========================================================================= Date: Tue, 28 Feb 1995 21:11:30 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ted Johnson Subject: Re: Roland D-10 You mentioned that you had some good patches for the roland d-10... Well, I have one and would love to get some more patches. Do you think you could send them to me? Perhaps attach them to some personal e-mail? ========================================================================= Date: Tue, 28 Feb 1995 23:41:05 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Radical Inc." Subject: SSM Chips - Available? I've been trying to find a source for the SSM oscillator and filter chips for a while now with no luck. Newark sent me an Analog Devices data book (nice service!) with plenty of SSM chips but no VCF's or VCO's. I do have some numbers - 2044, 2045, and 2047. Are these chips still available? Do they still make _any_ VCO's or VCF's? (quiver, quake) If someone could point me to a source I'd appreciate it greatly. - Paul ========================================================================= Date: Wed, 1 Mar 1995 09:30:09 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: miron deyssenroth Subject: Re: Shutting off Midi Manager Hi. The comfusion doesn't end here. Because of some reason I've got Sys 7.5 and Sys 7.1 running and use SystemSwitcher. Now if I activate the midi manager in Sys7.5 and then change to Sys7.1 (in which system folder is NO midi manager) i cannot use the ports witch my modem. I have to go back to Sys 7.5, drag it out, restart on Sys 7.5 then restart on 7.1 . As if this wasn't bad enough - it doesn't always happen. Just as my IIsi feels like - this nasty bugger. But come to that it hates the midi manager anyway and produces quite a mess at the ports. I just got OMS and will check it out... greetings miron miron deyssenroth mdeyssen@ix.urz.uni-heidelberg.de ( ... "mind the gap" ... ) ____________________________________ ========================================================================= Date: Wed, 1 Mar 1995 03:16:12 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Eugene Subject: Re: Song List; Droooool! In-Reply-To: Message of Mon, 27 Feb 1995 13:20:52 EST from Thanks a lot for the list, Bill. I am, of course, consumed by a blinding jealousy that you are permitted to perform intelligent works by stellar musicians. The repertoire of all the bands I've been in has been dictated by inebriated philistines with a penchant for shouting, "Free Bird." Sigh...... Life is so unfair... Eugene ========================================================================= Date: Wed, 1 Mar 1995 07:17:36 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: PaulX_Hayes In-Reply-To: <9502282247.AA17229@marais.math.lsu.edu> from "Stephen David Beck" at Feb 28, 95 04:47:32 pm First of all, while I have to double-check the member listings, I have a suspicion that the following >> I Hope I have the right list. Can someone please >> explain via >> the List Server why Electronic Music (particularly that >> Dance stuff) is so repetitive and boring. And Ambient >> what a load of rubbish that is where is the guitars and >> drums, where are the vocals can someone please name >> three electronic / dance classics. was not even posted by a list member; it was just a passing load of birdshot and rock salt from someone's e-scattergun, intended to get our collective attention. I was very pleased to see that it was largely ignored for a day or so, and disappointed to note the many replies it got soon after that. I am, however, happy at the level and tone of the responses, which were written in good faith and had a lot of good pointers in them. Taking the level of writing skill in the above post as a pointer to the background, education and age of the poster, I'll just say, in response to his complaints, that he should stick to Green Day if that's his idea of meaningful music, note that I enjoy using guitars and drums in my music, and (since a mentality like this can only classify something as "classic" if it makes a lot of money and gets a lot of airplay for more than six months) list the following: Donna Summer's "I Feel Love" (synths by Moroder; good call, John3) Herbie Hancock's "Rockit" Harald Faltermeyer's "Axel F" These pieces all did well on the charts, have staying power even today, and most important of all, they all have videos so you can WATCH them. Buh. >> Rgrds...Paul. >> "My views are my own and nobody elses at all" If only we were so lucky. And SDBeck sez-- >Buckminster Fuller once said (or if he didn't, he should have) >"95% of everything is junk!" The quote is "Nine tenths of science fiction is crap. Then again, nine tenths of EVERYTHING is crap." It was said by Theodore Sturgeon. mike -- mike metlay | "No matter how good the rest of your life is, if you've atomic city | got a hole in your heart where your muse used to be, p.o.box 81175 | eventually it'll hurt enough to make a song." pgh pa 15217-0675 | atomic@netcom.com | (me, actually) ========================================================================= Date: Wed, 1 Mar 1995 07:34:44 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: Differences of opinion In-Reply-To: from "john rossi" at Feb 28, 95 10:34:58 pm john rossi writes-- > > Strange you should have mentioned FSOL >'Lifeforms', I just discovered it Sunday night in a Techno bin and I have >fallen absolutely in love with it. As a matter of fact it was playing >when I wrote that post. It's an interesting album, to be sure, but I find it rather uneven in spots and (maybe this is a strong point in its favor, it's hard to tell these days) there is no one strong musical section or theme that sticks in my mind about it. I can name at least two double-CDs in the same general area with similar if not identical intent that work better musically. John, if you like _Lifeforms_, you would probably find it a safe investment to get FSOL's other two records, which I like better. _Accelerator,_ their first CD, is a collection of songs rather than a unified album, but a couple of the songs represent their best work to date, especially the compelling "Expander" and "Papua New Guinea." Their newest, _ISDN_, is mentioned in a recent KEYBOARD interview; it's a collection of live pieces broadcast around the UK on digital telephone lines for one occasion or another. Some folks like it, many don't; I actually think it's tighter and more effective in its intent than _Lifeforms_ was. mike -- mike metlay | "No matter how good the rest of your life is, if you've atomic city | got a hole in your heart where your muse used to be, p.o.box 81175 | eventually it'll hurt enough to make a song." pgh pa 15217-0675 | atomic@netcom.com | (me, actually) ========================================================================= Date: Wed, 1 Mar 1995 10:36:51 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Patrick Robinson Subject: nine tenths > The quote is "Nine tenths of science fiction is crap. Then again, nine > tenths of EVERYTHING is crap." It was said by Theodore Sturgeon. ...including nine tenths of the one tenth left over. Apply recursively to taste. --- Patrick Robinson Extension Information Systems, Virginia Tech pgr@ramandu.ext.vt.edu ========================================================================= Date: Wed, 1 Mar 1995 07:43:36 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: Song List; Droooool! In-Reply-To: <199503010927.EAA79285@atlanta.american.edu> from "Eugene" at Mar 1, 95 03:16:12 am Eugene writes-- > >. The repertoire of all the bands I've been in has been dictated by >inebriated philistines with a penchant for shouting, "Free Bird." Sigh...... I've often thought that a 29-minute dark ambient version of "Free Bird" would be a handy SMF to have on file for gigs when the crowd is feeling obnoxious. That, and "Stairway to Heaven." And "my Way." mike -- mike metlay | "No matter how good the rest of your life is, if you've atomic city | got a hole in your heart where your muse used to be, p.o.box 81175 | eventually it'll hurt enough to make a song." pgh pa 15217-0675 | atomic@netcom.com | (me, actually) ========================================================================= Date: Wed, 1 Mar 1995 11:02:31 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: kandinsky cont'd Comments: To: eml@physics.american.edu metlay's initial response to my list of exercises fits in nicely with things we've been talking about recently in this group, and with things that i've been trying for years to get my students to come to grips with on a more conscious level. clearly, electronic music is an idiom. i, for one, have attempted to convince myself that it is an essentially independent idiom, free of context by the nature of its differentness, but of course this is nonsense, and belied in my own teaching practice by the fact that i expose my students to various non/pre-electronic musical styles that i believe are relevant for various reasons, well before i play them a single bit of real emusic. the idiom creates expectations. take metlay's "edge" response. as he described it, i thought clearly of a sound off "pretty hate machine" (i think it's the second cut) where, in the bridge, a metallic white noise that pans quickly across the speakers both burns a hole in your frontal lobe and neatly partitions the lyric (i think it's "sanctify") from the sampled guitar hit. now, here, the "edge" is a double-entendre. it's "edgy" in the sense that metlay's response tone is (and i think is even similar in tone to the intent of his response), but it also *is an edge*, a dividing line, a drop in the soundscape from one layer to another. and this is where i want the experiments to go. metlay's responses were all very much like my own, and drawn directly upon the idiom... they were to some extent dictated by emusic's own "ethos doctrine" (a term i picked up from a friend of mine with a doctorate in composition, and which i will leave to others here with more training than i to fully explain... i think we could use it). but i want us to question the idiom. why is the sound that you make an "edge" sound? is it because it makes you edgy? is it because it divides without warning? is it because the trajectory of some parameter is acute? is it because it sounds like something U2 would do? i don't want to propose answers. the idea is for the artist to develop their own vocabulary, to be specifically conscious of the elements of their pallette and their own sense of the relations therein. here's a slightly more involved addition to the series, also directly lifted from "kandinsky-training": additive and subtractive color control is different. one of the fundamental skills in design class is to work with subtractive media (paint) to acheive the effects of additive media (light). to practice this, students lay down a strip of color, and then another which crosses the first. the exercise is to choose a color for the area of intersection that provides the illusion of looking *through* the top to the bottom strip, as if they were not pigments but transparencies. it's actually an experiment in three-dimensional perception in an unfamiliar vector space (hue, saturation, and luminence). so... try the same thing with audio. construct two sounds, and then a third that binds or bridges the other two in some coherent way. no fair morphing, and you'll find that linear superposition probably is unsatisfying. <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 ========================================================================= Date: Wed, 1 Mar 1995 11:09:37 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Eugene Subject: Re: Song List; Droooool! In-Reply-To: Message of Wed, 1 Mar 1995 07:43:36 -0800 from On Wed, 1 Mar 1995 07:43:36 -0800 atomic city said: >Eugene writes-- >> >>. The repertoire of all the bands I've been in has been dictated by >>inebriated philistines with a penchant for shouting, "Free Bird." Sigh...... > >I've often thought that a 29-minute dark ambient version of "Free >Bird" would be a handy SMF to have on file for gigs when the crowd is >feeling obnoxious. That, and "Stairway to Heaven." And "my Way." > >mike >-- And "Achy Breaky Heart." And "Cocaine." And "Johnny B. Goode." > mike metlay | "No matter how good the rest of your life is, if you've > atomic city | got a hole in your heart where your muse used to be, > p.o.box 81175 | eventually it'll hurt enough to make a song." >pgh pa 15217-0675 | >atomic@netcom.com | (me, actually) Eugene ========================================================================= Date: Wed, 1 Mar 1995 10:21:10 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "< >" Organization: KUTEK Subject: Re: SSM Chips - Available? In-Reply-To: < >I've been trying to find a source for the SSM oscillator and filter chips >for a while now with no luck. Newark sent me an Analog Devices data >book (nice service!) with plenty of SSM chips but no VCF's or VCO's. > >I do have some numbers - 2044, 2045, and 2047. Are these chips still >available? Do they still make _any_ VCO's or VCF's? (quiver, quake) > >If someone could point me to a source I'd appreciate it greatly. PAIA electronics, somewhere in the midwest used to have the entire line -try 800 info for a phone number-if I can locate a flyer I'll get back to you with more . I can't believe that analog dinosaurs like myself are still out there. You can also try looking in the IC MASTER, available at any good engineering library-if they're still available, they will be listed there, along with the manufacturer's contact info. Anybody know anything about the latest work of Subotnick,Stockhausen, or electrons at Columbia U ? It's been a long long time....... ========================================================================= Date: Wed, 1 Mar 1995 13:11:15 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Kevan L. Moore" Subject: Re: Song List; Droooool! > >I've often thought that a 29-minute dark ambient version of "Free > >Bird" would be a handy SMF to have on file for gigs when the crowd is > >feeling obnoxious. That, and "Stairway to Heaven." And "my Way." > > > >mike > >-- > > And "Achy Breaky Heart." And "Cocaine." And "Johnny B. Goode." if the masses were, intellectually, as advanced as they are musically, Mr. Rogers Neighborhood would be on network prime time Friday nights. kevan l moore ========================================================================= Date: Wed, 1 Mar 1995 15:54:13 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: New policy re full mailboxes Comments: To: emusic-l@AMERICAN.EDU, synth-l@AMERICAN.EDU Effective immediately, I' setting "digest" for anyone whose mailer tells me their mailbox is full. I realize that many of you can't read mail every day. I have a sneaky suspicion that AOL decides whether your mailbox is full based on the number of items rather than their size, so this should help a lot. (I received over 400 bounces the day before yesterday! Setting digest for a number of people cut it down to about 20 this morning.) --- Joe M. -- "You know you've been using the Web way too much when you access your hotlist and the lights dim." - yuji@chem.duke.edu ========================================================================= Date: Wed, 1 Mar 1995 16:38:39 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: kandinsky cont'd >why is the sound >that you make an "edge" sound? is it because it makes you edgy? is it because >it divides without warning? is it because the trajectory of some parameter >is acute? is it because it sounds like something U2 would do? Interesting. I think an "edgy" sound *feels* like it has an edge. Your example is a good one; I personally would also describe the plangent sound that Lyle Mays uses during one of the semi-meterless sections of "As Falls Wichita, So Falls Wichita Falls" as very edgy. It's not percussiveness, per se, because I can think of a number of patches that have a 'tick' or even a 'clack' at the beginning that are not edgy at all. I think it's related to high-frequency content. I've got a string patch with a shimmery 'edge' caused by aliasing. >it's actually an experiment in three-dimensional perception in an >unfamiliar vector space (hue, saturation, and luminence). so... try the >same thing with audio. construct two sounds, and then a third that binds or >bridges the other two in some coherent way. no fair morphing, and you'll >find that linear superposition probably is unsatisfying. An aside: I met one of the more famous of the current computer composers recently (I don't think I'll say just who it was...). He had been talking about (and demonstrating), among other things, a sound he'd gotten by phase-shifting a sampled coastal storm - the phase relations cause all kinds of nifty chromatic little runs to pop out. I mentioned to him offline that I'd found exactly the same phenomonon to occur when two slightly shifted noise fields were combined in the proper way in Photoshop - you get a gray background with all kinds of complex filigree - my guess is that it is caused by a very similar mechanism. I got this "So?" look. So not all musicians are as, um, susceptible to inspiration from other arts. --- Joe M. -- "You know you've been using the Web way too much when you access your hotlist and the lights dim." - yuji@chem.duke.edu ========================================================================= Date: Wed, 1 Mar 1995 16:56:00 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bourgouin, Gaetan" Subject: Re: SSM Chips - Available? Comments: To: emusic-l Paul wrote : >I've been trying to find a source for the SSM oscillator and filter chips >for a while now with no luck. Newark sent me an Analog Devices data >book (nice service!) with plenty of SSM chips but no VCF's or VCO's. >I do have some numbers - 2044, 2045, and 2047. Are these chips still >available? Do they still make _any_ VCO's or VCF's? (quiver, quake) I've check in the NEWARK catalog (brick) and they do have those # .(2044,2045,2047). These are all VCF . Analog devices is making those and some VCA ,A/D & D/A conv . But I didn't saw any VCO's . 2044 & 2047 were new release last year , so they should be available still for a couple of years . Hope this help . Gaetan Bourgouin gbourgou@po2.mtl.marconi.ca ========================================================================= Date: Wed, 1 Mar 1995 22:14:53 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Rothwell to the MAX >In the animated-film fests where they're seen, they're well liked. "A Grand >Day Out" is a perennial fave. If you haven't already, run, don't walk, to your nearest video outlet and get a copy of the sequel (The Wrong Trousers). "It's the wrong trousers, Gromit! And they've gone wrong!" >You've been listening to me too long. *sigh* Listening to you, Mike? Perish the thought. >I had thought that MAX wasn't very good for tight timing? It's not stellar. There are two potential problems. The first is that there can be CPU bottlenecks in complex message dispatches (especially if there's an embedded language being used as well, which I'm using quite heavily); the second problem is a lack of tightness in the millisecond timers. The first problem is solvable with a little effort (like lifting some tasks out of the "overdrive" interrupt-level and deferring them, or precalculating things before the beat, like a complex arpeggiator's next note). The second problem isn't solvable until/unless David Z. looks at it, but it's not that noticeable. If MAX is just clocking a drum machine playing nothing but 16th notes, it's fairly apparent, but anything more complex than that and it's fine. The live piece I was doing on Sunday was glitching slightly, but I could have worked round that with a little effort; the dancer (and audience) didn't even seem to notice. An obvious partial fix is to use an external sync source, like the R-8; then, at least the drums and direct MIDI beat slaves (like wave sequences) would be locked fairly tightly. >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. Erm; yes. I might have eight bars of something like a repeating two-note motif through several effects with three or four degrees of freedom (i.e. fader routings). The scope is those eight bars. Outside that scope the effects and voice patches can be used for something else; and the fader routings must also be disabled. I have a native-coded chunk manager which takes care of a lot of this; it enables a chunk to set up what it needs (patches, volumes) before a chunk becomes active (i.e. in the preceeding bar), and to reset things (like cancel any active notes) a specified time in msec after the chunk exits. >>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. Actually, I've not been telling the whole story. James McCartney has implemented a superb little embedded programming language called Pyrite, a sort-of object-based non-applicative list processing language. Its primitives include note scale generation. My arpeggiators are all written in Pyrite as well. >I'd love to hear it in practice. It's easy to play it manually on a keyboard; just run a 3-note window along a minor scale. (I might have made it a major 6th, just for interest.) Since I don't use a keyboard live, I had to generate it with a fader. In fact I think there's a ramp generator in there as well to avoid voice stealing. >>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! Hmm? >And the buttons 'fire' events. Well, there were some buttons which were just playing chords as well, but in this case it was different. Think of a set of twelve related chords (I tend to use ninth-clusters and major fourth chords a lot). These can be pulled up in MAX via a pop-up menu. Now imagine the fader generating numeric values (0..127). Divide by ten, giving: 0..12. Now map that number to the menu. Result: a fader which plays chords, according to the tens-part of the controller value. There's a little Pyrite program which holds common notes to avoid voice-stealing. Ditto the wave sequence selection: I had to remember that, for the strongest part of the music, fader #4 had to be at a value between 30 and 39. >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. Absolutely. Temporal flexibility requires some work; a lot of the chunks will interfere if they use the same faders or the same MIDI "resources" in incompatible ways, so they can't be freely extended and moved around without possible overlaps being taken into account. In this piece I had something like twenty bars maximum that I could extend the rhythm section of the dancer was slow (since she was improvising); in the event, she was, so I really had to let things drag and blur quite a lot until she was back on cue. The other issue is one of degrees of freedom. For the first section I had only four faders (and six buttons) active for all the vocoder stuff, which wasn't quite enough for the variation in the dance; I'll improve this later. For the ambient stuff at the end, (a different) eight faders and two buttons were plenty, because of the programming of the chunks: lots of chromatic runs produced by ramp generators and stuff like that, which were autonomously quite animated. >I like this, it beats >the heck out of what I did for the dance piece I scored last fall. There's a place for fixed, prerecorded scores as well. In the audience discussion period after the performance, I made it quite clear that the music the audience heard was very much influenced by the constraints of the performance system; had it been an "album piece" it would have sounded more complete and polished, but a lot less organic and integrated. Besides, in an arts community starved of cash and targeted by bedroom composers, one has to be a little different, and to be attempting to push the envelope and do something new. It didn't work totally, but the ending section where Clare was doing the foetal stuff down into a centre-spot and I was bringing the MicroWave filter and wavetable settings back to centre, it really clicked totally, and that seemed to come across to the punters; it would never had worked with recorded music, or even with "preset" live music. >>Does what it's told and doesn't try to think, just like >>the best dancers. > >No comment. :) I typed that with a totally straight face, and I stand by it, in the appropriate context. While there is a place for active collaborations, and I've been involved in several, the established dance scene rotates around the choreographer as artist, programming dancers to do the moves. You want a little interpretation here and there, some application of learned technique, but otherwise the dancers are there to do as they're told. London Contemporary Dance School turns out hordes of young neurotic anorexics every year. There's a reason for this. >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. I've come to exactly the same realisation. Sequencers have their place, as recorders and editors of performance data. But that's not the same as the tools which allow the music [systems] to be structured and developed. That's a distinction which occurred to me not ten seconds ago, but I think it's important. >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. :( Sigh. I feel so guilty about this. I *knew* this would be the case. Gigging with sequence playback just doesn't suit the way your head works, and when I saw that Sound Brush sitting on the top shelf of the wardrobe in your spare room, I didn't think it would ever be going anywhere near a stage. I started out doing sequence playback on stage (admittedly with a very capable master keyboard, the VFX). It never felt right, even at the very beginning before I'd ever been on a stage, and I'm so pleased I've managed to move on. I mean, here's one more example: last technical rehearsal on Sunday, and I'm doing the manual fade of the last note loop... and the choreographer wants to end the piece with a fade-out of the music while Clare and I take a bow and walk offstage, and I have to cue from her for the time to move. Solution: program up a ramp generator for the volume fade, attach to a spare button on the fader box. An on-cue ten-second fade and end of problem. Sounds trivial, I know, but the point is that it was so obvious and easy, even to program it on-stage with lights being put up and other distraction going on. The more I get into doing things this way, the more I hate the way sequencers have evolved into such vampires. Nick Rothwell nick@cassiel.com | "Ey Wot? Ey Wot? Ey Wot? Ey Wot? CASSIEL Contemporary Music/Dance | Ey Wot? Ey Wot?" -- Flatlanders ========================================================================= Date: Wed, 1 Mar 1995 15:45:08 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Eugene Subject: Re: SSM Chips - Available? In-Reply-To: Message of Wed, 1 Mar 1995 10:21:10 -0500 from On Wed, 1 Mar 1995 10:21:10 -0500 < > said: > >PAIA electronics, somewhere in the midwest used to have the entire line >-try 800 info for a phone number-if I can locate a flyer I'll get back to you >with more . > What nostalgia...there was a guy in my very first band who sent away for a PAIA synth that came in kit form. After he spent two months assembling it, it turned out to be musically unusable onstage because of the old-fashioned ocillators that wouldn't stay in tune for a whole song. We mostly used it to make weird noises, a task it was only too happy to accomodate. >I can't believe that analog dinosaurs like myself are still out there. > Analogs rule. I really like the ARP String Ensemble and the Mini-Moog. And, to my ears anyway, there has never been a better electric piano than the Fender Rhoades, despite the horrendous maintainence headaches. Eugene ("Okay, let's try that Uriah Heep one more time...") ========================================================================= Date: Wed, 1 Mar 1995 19:45:31 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Phillips/Healy Subject: Re: SSM Chips - Available? >On Wed, 1 Mar 1995 10:21:10 -0500 < > said: >> >>PAIA electronics, somewhere in the midwest used to have the entire line >>-try 800 info for a phone number-if I can locate a flyer I'll get back to you >>with more . The new PAiA catalog has EKx module chips (Curtis ElectroMusic ICs) available in VCO, VCF, ASDR, VCA. Nice folks. 1 405 340 6300 3200 Teakwood Lane Edmond OK 73013 Hope this is of use--- John John J.H. Phillips, Carolyn Healy -TerraGizmo Studios -Philadelphia, PA. USA jpch@pobox.upenn.edu ========================================================================= Date: Wed, 1 Mar 1995 19:55:53 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Greg Dorter Subject: Re: Shutting off Midi Manager In-Reply-To: On Wed, 1 Mar 1995, miron deyssenroth wrote: > The comfusion doesn't end here. Because of some reason I've got Sys 7.5 and > Sys 7.1 > running and use SystemSwitcher. I've never heard of SystemSwitcher (I assume it allows you to switch between different systems without dumping the old one and installing the new one). How can I get it? Thanks, Greg Dorter University of Western Ontario 215 Bernard Ave. gdorter@julian.uwo.ca London, ON N6A 2M9 519-438-2287 CANADA ========================================================================= Date: Wed, 1 Mar 1995 20:28:11 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "James G. Lamar" Subject: musique concrrete and literary Hi. I've been listening for a while and very nearly unsubscribed when I realized there are a few things that I have not yet seen discussed which seemed like good enough reasons to stick around. I like the whole exchange about literary sources... and on that note let me have my little list added to the pot. Aldous Huxley The Perennial Philosophy (open to a random page & there's the whole deal) Hesse Das Glasperlenspiel, or Magister Ludi. Incredible ... game-theory philosophy-of-art-hence-life stuff Capote Music of Chameleons Galway Kinnell poetry (uh...any) Grass The Flounder Re/Search Throbbing Gristle, Brion Gysin and W.S.Borr./.. The Three-Fisted Tales of Bob (although I'm no subgenius) etc...... Enough.. I know this is not necessarily the place for scrapbook-sharing, but i also know when I visit someone for the first time, I like to check out their bookcase and record collection. So, more to my original point, who out there has any obscure information leading to recorded works of Pierre Henry or Vlad.Ussachevssky? I have an unruly appetite for old musique concrete. Also of interest; do any of the la-de-dah, uh, that is, 'new' composers out there have any use for montage or dada techniques in their music (electro-acoustic, conceptual(ly), or orchestral)? Many haours of improv musique concrete happened during my undergrad years at the CLeveland insitute of Music, myself always a prime instigator. Also of interest: recording geeks like me with any creative ideology to create music through a plastic , manipulatible medium.... (or something like that...i wonder what kinds of responses i'll get if i'm REALLY VAGUE) Thanks in advance for your stimulating repartee. , 36L ========================================================================= Date: Wed, 1 Mar 1995 21:02:33 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "James G. Lamar" Subject: Re: Shutting off Midi Manager Digest ========================================================================= Date: Thu, 2 Mar 1995 14:56:02 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Song List; Droooool! Hi Mike, > And "my Way." Sure, but Sid Vicious's version! Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Wed, 1 Mar 1995 23:01:33 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jonathan George Bakan Subject: Pre-hispanic sounds I am working on a modern dance score that is an astec legend. The choregraphers have requested that all the music be sounds from pre-hispanic mexico, or evoke the idea thereof. Does anyone out there have any samples i can obtain or know where on the Net something might be available? Examples of instrumentation i'm looking for are: slit drums, ocarinas, chanting loops, tortise shell gong (sound of hollow tortise shell being played with deer antlers), musical stones, water drum etc.. If anyone knows of someone who makes inst's like these, that info would also be appreciated. Artists who write in the style I am working in are Steve Roach cf. "Distant memories, forgotten gods" and jeorge reyes "nerika". Thanks, j. bakan Jonathan Bakan "embrace the electronics" bakan@cs.unca.edu ========================================================================= Date: Thu, 2 Mar 1995 01:23:35 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Brad Fetter Subject: Music >Some basic questions for you guys. What are some good FTP sites for MIDI music? Who are the more talented musicians to look for? I am planning on doing some midi work myself, but time is my enemy. I have been content for the time being listening to the work of others. Maybe some of you have music out there that you have created and uploaded. I would be quite interested to hear how you approached this process... and any tips you might have to a novice. Brad Fetter ========================================================================= Date: Thu, 2 Mar 1995 11:54:48 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: p.jones01@IC.AC.UK Subject: Re frequency of scale Hi all I was wonderinf if anyonecould help me by telling me how the notes of a scale are related in terms of frequency? I appreciate that octaves are frequency multiples of two, but how are the notes within a scale realted.` That is is the frequency range between the root and it octave linearly divided up by 12 or how does it work. If anyone can give me some insight into this I would be greatly appreciative as I am thinking of doing some work into designing digital harmonisers and need to know what frequency notes are at relative to each other so that I can resmaple the signal at the right frequency. Thank Phil Jones (pj02) ========================================================================= Date: Thu, 2 Mar 1995 15:20:48 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Miron Deyssenroth Subject: Re: Shutting off Midi Manager well, SystemSwitcher is available at Sumex. If you can't get it, i'll send it to you. miron ========================================================================= Date: Thu, 2 Mar 1995 10:10:05 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Frederic M Trobaugh Subject: Re: Re frequency of scale In-Reply-To: <685.9503021154@asterix.ee.ic.ac.uk> from "p.jones01@IC.AC.UK" at Mar 2, 95 11:54:48 am each pitch (in today's equal-temperment tuning system) is 8.33% higher than the one the before it. Concert A is 440 Hz, so Bb is 440+(440*(1/12)). C#, which is four semi-tones higher, is 440+(440*(4/12)). However many semi-tones you want to go up, just plug that number into the numerator. A5, an octave higher than concert A4 is 440+(400*(12/12)) or 880 Hz. Ted Trobaugh ========================================================================= Date: Thu, 2 Mar 1995 10:14:10 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Shawn T. Rutledge" Subject: Re: Re frequency of scale In-Reply-To: <199503021510.KAA21387@ucunix.san.uc.edu> from "Frederic M Trobaugh" at Mar 2, 95 10:10:05 am > each pitch (in today's equal-temperment tuning system) is 8.33% higher than > the one the before it. Concert A is 440 Hz, so Bb is 440+(440*(1/12)). C#, > which is four semi-tones higher, is 440+(440*(4/12)). However many semi-tones > you want to go up, just plug that number into the numerator. A5, an octave > higher than concert A4 is 440+(400*(12/12)) or 880 Hz. > > Ted Trobaugh Not quite, you multiply by the twelfth root of 2 in order to move up from a given note to the next half-step. So to go from A to B you multiply by the twelfth root of two twice. Since doing this twelve times is (2 ^ (1/12))^(12) = 2, it is still true that going up an octave doubles the frequency. -- _______ KB7PWD - now on packet! shawn.rutledge@asu.edu (_ | |_) html: http://enuxsa.eas.asu.edu/~rutledge/home.html __) | | \__________________________________________________________________ * ham radio * IEEE * fusion * virtual reality * capitalism * Star Trek * ========================================================================= Date: Thu, 2 Mar 1995 13:43:15 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Re frequency of scale >Hi all > >I was wonderinf if anyonecould help me by telling me how the notes of >a scale are related in terms of frequency? I appreciate that octaves >are frequency multiples of two, but how are the notes within a scale realted.` >That is is the frequency range between the root and it octave linearly >divided up by 12 or how does it work. > >If anyone can give me some insight into this I would be greatly appreciative >as I am thinking of doing some work into designing digital harmonisers >and need to know what frequency notes are at relative to each other so >that I can resmaple the signal at the right frequency. > >Thank > >Phil Jones (pj02) In standard equal-tempered tuning, the ratios are in the 12th root of 2 to one another - the frequencies fall along an exponential curve, so the higher one goes, the further apart the frequencies fall. So you have (for an example): A 440 = 440 A#/Bb 440*10^((log 2)/12) = 466.163... B 440*10^((log 2)/12)^2 = 493.883... C 440*10^((log 2)/12)^3 = 523.251... C#/Db 440*10^((log 2)/12)^4 = 554.365... D 440*10^((log 2)/12)^5 = 587.330... D#/Eb 440*10^((log 2)/12)^6 = 622.254... E 440*10^((log 2)/12)^7 = 659.255... F 440*10^((log 2)/12)^8 = 698.456... F#/Gb 440*10^((log 2)/12)^9 = 739.989... G 440*10^((log 2)/12)^10 = 783.991... G#/Ab 440*10^((log 2)/12)^11 = 830.609... A 440*10^((log 2)/12)^12 = 880 --- Joe M. -- "You know you've been using the Web way too much when you access your hotlist and the lights dim." - yuji@chem.duke.edu ========================================================================= Date: Thu, 2 Mar 1995 19:16:05 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Herbert Janssen Subject: Re: frequency of scale Hi, > each pitch (in today's equal-temperment tuning system) is 8.33% higher than > the one the before it. Concert A is 440 Hz, so Bb is 440+(440*(1/12)). C#, > which is four semi-tones higher, is 440+(440*(4/12)). However many semi-tones > you want to go up, just plug that number into the numerator. A5, an octave > higher than concert A4 is 440+(400*(12/12)) or 880 Hz. No. For equal temperament, the relative frequency of subsequent semi tones is about 1.059463. This value is computed as 2^(1/12). Thus each note is 5.9463 % higher than the note before it in the chromatic scale. Or more generally if n is the number of semi tone steps: f/f0 = n * 2^(1/12) = 2^(n/12) ciao Herbert ========================================================================= Date: Thu, 2 Mar 1995 13:00:11 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Thielk Subject: Re: Re frequency of scale Hi Phil I recently asked the same question and generated the following equations: A0 = 27.5 Hz frequency of A0 R raised to 12 power = 2 R is the ratio of any two adajacent notes R = 1.059463 solve for R i = 0 to 11 12 notes per octave j = 0 to 7 8 octaves F=A0 * 2 to j power * R to the i power F is the frequency of all notes I use MathCad for doing these calculations. A Great program! Mike Thielk ========================================================================= Date: Thu, 2 Mar 1995 16:59:07 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Keith Touchton Subject: Pleas help me Comments: To: HELP ANYONE If any one out there knows who the owner of this discussion list is, and how to unsubscribe me please send a direct message to: Keith E. Touchton e-mail: MUKET@vm.cc.olemiss.edu Thanks all touch ========================================================================= Date: Thu, 2 Mar 1995 18:46:00 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Farnell Subject: Re: Flock of Birds In-Reply-To: <01HNJRGIL95E91WTDF@LURE.LATROBE.EDU.AU>; from "David Rodger" at Feb 27, 95 3:20 pm > > 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 No but I've had some experience using the Polhemus 3-space for gestural control. It's a very similar (I guess) 6D input device x,y,z,roll,azimuth,yaw. ------------------------------------------------------------------------------ Andy Farnell, Music Technology Research Computing and Cognition Dept. Applied Computing & Electronics # # BOURNEMOUTH Bournemouth University # UNIVERSITY Janet: afarnell@uk.ac.bmth World: afarnell@bournemouth.ac.uk Voice: (0202) 595073 ------------------------------------------------------------------------------ ========================================================================= Date: Fri, 3 Mar 1995 03:23:45 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bill Calvery Subject: Duran Duran's gear Greetings I was trying to find out more about Nick Rhodes and the equipment he used(s). I think Nick was on the cover of the Feb., '86 Keyboard issue. I believe he make the front of the May, '84 issue also. I'm only interested in a copy of the text of these articles and not necessarily the entire magazine since most who have one would not part with it (I wouldn't). Also, if anyone has any other general info. on Nick's gear aside from these magazines, please post or mail me. I know he used a Fairlight, but I was just curious about any other more affordable, more common synths. I'm really getting into those retro-analog-thick sounding-early MIDI-80's synths. In my opinion (an opinion many share), there haven't been any truly innovative new synths to come out in a while. No Moogs (and it's pronounced like "vogue" --seriously), no ARP's, no SC Prophet 5's or VS's, no Jupiter 10's, etc.... Screw that PCM sampled waveform based synthesis crap. I mean the specs on some new units are good, but look at the NEW products some companies are producing. The new Oberheim synth--totally analog with a digital interface, the ddrum Nord Lead (with that cool pitch ribbon), the Studio Electronics SE-1, the Marion Systems MSR-32 or whatever. Now those are cool machines. Just my 98.6c worth. Later. Bill in Nashville ========================================================================= Date: Fri, 3 Mar 1995 10:23:40 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: p.jones01@IC.AC.UK Subject: Subject: Re. RE: frequency of scale Thank you to everyone that supplied answers to my query you've been most helpful and this is just what I needed. Cheers Phil Jones (pj02@ee.ic.ac.uk) ========================================================================= Date: Fri, 3 Mar 1995 08:48:11 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Carnes Subject: Re: Frequency of scale In-Reply-To: <199503030600.BAA52276@atlanta.american.edu> ---------- X-Sun-Data-Type: text X-Sun-Data-Description: text X-Sun-Data-Name: text X-Sun-Content-Lines: 16 X-Sun-Content-Length: 978 The frequency ratio between semitones (in the equal-tempered scale) is the 12th root of 2. My calculator shows it as 1.0594631. For example, if you have an A-440, the semitone above is obtained by multiplying 440 by this factor (440 * 1.0594631 = 466.16376). The next semitone above that is obtained by the same formula (466 * 1.0594631). Equal temperament of any scale works by spreading the mistuning equally among all intervals. Since traditional western music divides the octave into twelve steps then you find the twelfth root of the octave interval (which is of course 2). Five-tone equal temperament would use the fifth root of 2. I'm not going to say anything more about tunings here. There have been many other ways of dividing the octave (even into twelve steps). Each has its own strengths and weaknesses. This has been the subject of much study by musicians. I hope that you'll investigate before you spend much time thinking about harmonization software. ========================================================================= Date: Fri, 3 Mar 1995 09:11:09 EST Reply-To: STERN@MAIL.LOC.GOV Sender: Electronic Music Discussion List Comments: OPCODE MAX FOR PC/WINDOWS From: JOEL STERN Subject: OPCODE MAX FOR PC/WINDOWS Comments: To: emusic-l@american.edu As you may already know, I'm collecting names for a petition to urge Opcode to release MAX in a PC/Windows version. If you support this idea please send a personal email to me with your name and e-mail address and something about MAX in the subject line. After a reasonable period of time I'll collate all of the names and send them to Opcode. Thanks˙ Joel Stern stern@email.loc.gov ========================================================================= Date: Fri, 3 Mar 1995 09:21:06 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "L Mccoy (GD 1999)" Subject: the "so" look Comments: To: emusic-list Joe and I were at the same event where he received the "so" look. MacMahon seems to be more tactful than I, so I will reveal the origin of that look: Jean-Claude Rissett. At least I'm pretty sure it was he. Personally, Joe, I am as excited by the gray background and filligree as you are. For Rissett, who has been doing this kind of thing for 40 years, it was probably a revelation of the obvious. In addition, Rissett was (as you recall) combining more traditional materials with his sampling. For some reason, he has sought to reinforce his sounds with other conceptual constructs. Not that this is bad, just that his sounds are so rich, they don't seem to need that kind of reinforcement. In my own composition, I am extending some of Yuasa's use of sound objects to create shapes that don't move anywhere. They just sit. And the silences are incredibly full. More details as the piece develops. Does anyone know of other recordings (besides the 1970) of Lucier's "I Am Sitting in a Room?" Interesting reflection: Lucier's characteristic stutter in the text, which is an obfuscation OF the text in the first 8-9 playbacks, is eventually the last discernible semblance of speech to get filtered out. This stutter (on the word "rhythm" and "smooth") becomes transferred from a possible "disruption" of the narrative to the only thing "carrying" the narrative as the instrument (room) is gradually created. Quite beautiful. And it wouldn't have been the same piece without him, his voice, and his rhythm. Amazing that in 1970, with only a microphone, speaker, and two tape recorders, a composer was able to bring out resonant frequencies so beautifully. Best to all, Scott McCoy mcco5@minerva.cis.yale.edu By the way, Boulez will be in New York in April (with his ensemble, the name escapes me) to conduct [hopefully] the Webern cantatas. A bunch of new recordings are coming out to celebrate his 70th. Also, how is Elliot Carter? I hear he has taken a turn for the worst. Please post if you have any information. ========================================================================= Date: Fri, 3 Mar 1995 10:19:58 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul Edson Subject: i am sitting in a room No, I don't have any other recording of this piece. Actually, I was hoping you could tell me where to find the one you have? Also, any folks out there aware of a way to get one's hands on some of Glenn Gould's radio pieces ("The Idea of North", etc...)? I'd be willing to bribe someone at CBC. Paul Edson wespee@aol.com "I saw myself in the form of a wolf. I sped through space with the rapidity of words." (Max Ernst) ========================================================================= Date: Fri, 3 Mar 1995 09:37:52 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Kent Williams Subject: Re: OPCODE MAX FOR PC/WINDOWS Comments: To: STERN@MAIL.LOC.GOV In-Reply-To: (message from JOEL STERN on Fri, 3 Mar 1995 09:11:09 EST) What is Opcode Max? I've got Vision for Windows, it's a sequencer. Anyway, I support them releasing anything on Windows ... Kent Williams kent.williams@cadsi.com ========================================================================= Date: Fri, 3 Mar 1995 09:50:00 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter_Mueller@UCSDLIBRARY.UCSD.EDU Subject: Re: i am sitting in a room Comments: To: Wespee@aol.com No, I don't have any other recording of this piece. Actually, I was hoping you could tell me where to find the one you have? Also, any folks out there aware of a way to get one's hands on some of Glenn Gould's radio pieces ("The Idea of North", etc...)? I'd be willing to bribe someone at CBC. Paul: the Lucier is available on a Lovely Music cd. (LCD 1013) Gould's "Solitude Trilogy", which includes "The Idea of North", has been released on a 3 cd set by CBC (PSCD 2003-3). Paul Edson wespee@aol.com "I saw myself in the form of a wolf. I sped through space with the rapidity of words." (Max Ernst) >-- Saved internet headers (useful for debugging) >Received: from atlanta.american.edu by ucsd.edu; id IAA25715 sendmail 8.6.10/UC >Received: from atlanta (atlanta.american.edu [147.9.1.6]) by atlanta.american.e >Received: from LISTSERV.AMERICAN.EDU by LISTSERV.AMERICAN.EDU (LISTSERV-TCP/IP >Received: from mail02.mail.aol.com (mail02.mail.aol.com [152.163.172.66]) by >Received: by mail02.mail.aol.com (1.37.109.11/16.2) id AA159103998; Fri, 3 Mar >Message-ID: <950303101957_38053173@aol.com> >Date: Fri, 3 Mar 1995 10:19:58 -0500 >Reply-To: Electronic Music Discussion List >Sender: Electronic Music Discussion List >From: Paul Edson >Subject: i am sitting in a room >To: Multiple recipients of list EMUSIC-L Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Pre-hispanic sounds >Does anyone out there have any samples i can obtain or know where on the >Net something might be available? There's no end of sample CD's with "world" instruments on them - check any magazine. Depending how good your sampler or sample-editing software is, you should be able to bend the samples pretty much to your will. So, what *did* the Aztecs sound like? Nick Rothwell nick@cassiel.com | "Ey Wot? Ey Wot? Ey Wot? Ey Wot? CASSIEL Contemporary Music/Dance | Ey Wot? Ey Wot?" -- Flatlanders ========================================================================= Date: Fri, 3 Mar 1995 19:42:16 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Differences of opinion >> Strange you should have mentioned FSOL >>'Lifeforms', I just discovered it Sunday night in a Techno bin and I have >>fallen absolutely in love with it. >It's an interesting album, to be sure, but I find it rather uneven in spots >and (maybe this is a strong point in its favor, it's hard to tell these >days) there is no one strong musical section or theme that sticks in my >mind about it. My main problem with it is that it seems to be written for listeners with a short attention span. Right now my gramophone is playing one of the Aphex Twin Ambient II platters, and I'm most impressed. Oh: is Anne Dudley's new album out in the US yet? I think it's available here in the UK and is on my hit list (which is about 40 discs long, sigh). Nick Rothwell nick@cassiel.com | "Ey Wot? Ey Wot? Ey Wot? Ey Wot? CASSIEL Contemporary Music/Dance | Ey Wot? Ey Wot?" -- Flatlanders ========================================================================= Date: Fri, 3 Mar 1995 19:42:31 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: PaulX_Hayes >These pieces all did well on the charts, have staying power even today, >and most important of all, they all have videos so you can WATCH them. There's an I FEEL LOVE video? Be still my heart. Nick Rothwell nick@cassiel.com | "Ey Wot? Ey Wot? Ey Wot? Ey Wot? CASSIEL Contemporary Music/Dance | Ey Wot? Ey Wot?" -- Flatlanders ========================================================================= Date: Fri, 3 Mar 1995 13:57:16 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Randy Budnikas Organization: Biola University Subject: frequency of scale What about unequal temperaments? What is the theory behind that? What are the standard frequencies on a piano for instance? Are there any equations or anything? I'm just curious. Randy_Budnikas@bubbs.biola.edu ========================================================================= Date: Fri, 3 Mar 1995 13:57:19 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Randy Budnikas Organization: Biola University Subject: Midiverb III I just bought a Midiverb III and noticed that its reverbs have a pulsating quality to them. Does anyone else notice this? It's like there's an LFO on the reverb. I just want a straight reverb with no fluctuations. Am I programming it wrong, or is this how Midiverbs are supposed to sound? Does anyone else notice this? Randy_Budnikas@bubbs.biola.edu ========================================================================= Date: Sat, 4 Mar 1995 09:21:35 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: FSOL (was Differences of Opinion) Comments: To: emusic-l@american.edu Hi Nick and others, when I mentioned FSOL's Lifeformes I meant the 'song'. piece, whatever you want to call it. I didn't know it was the name of the record and I have not heard anything else from it. As a rule (well, perhaps the word 'rule' is a bit strong) I don't buy much, if any, of this sort of thing. My CD budget is limited and my tastes are broad. Other styles and genres get a higher priority, I'm afraid. Wish I could afford to buy more of everything! This is where all those 'classics' suggestions are very useful. If we get into any more of these long running debates or are sparked by the likes of interlopers by Paul XHayes, I'd be pleased to see more suggestions relevant to the topic. Thanks for your thoughts, emusicers. DAvid musdr@lure.latrobe.edu.au ========================================================================= Date: Sat, 4 Mar 1995 09:08:25 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: the "so" look HI Scott... > By the way, Boulez will be in New York in April (with his ensemble, the > name escapes me) to conduct [hopefully] the Webern cantatas. Would this be the Ensemble Intercontemporain? They came with him to Melbourne a few years back. I didn't know Webern wrote any cantatas; as one who has studied ALL of his works (a very small opus), I'd be surprised if I missed them! What I can say is that, when Boulez and co performed here, they did a Webern piece and it absolutely left me cold. It was the most unexpressive performance I've heard in a long time (and since, too). A real pity, since I was in the middle of my Webern kick then, and most of the other stuff they played was great. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Sat, 4 Mar 1995 09:27:49 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Gould and Lucier Comments: To: emusic-l@american.edu Hi Gould and Lucier fans, thanks for the Gould and Lucier record references. I'm glad the worth of this stuff has been recognised. I can imagine desperate archivists baking tapes to get them to play. Indeed, much of the stuff we'd consider electronic music classics must be on tapes which are becoming unstable. What others would you wish to appear on re-issue? Wish list, anyone? BTW, the Goulld and Lucier CDs mentioned are availble online from CD Connection telnet cdconnection.com I'm not connected with the company but I'm a happy customer and they do seem to have rare stuff on their books. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Fri, 3 Mar 1995 14:40:53 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Fernando Pablo Lopez Lezcano Subject: CCRMA Concert on March 5th Comments: To: jody@leland.Stanford.EDU, et.mgm@forsythe.Stanford.EDU, barth@leland.Stanford.EDU, kberger@leland.Stanford.EDU, hf.jbz@forsythe.Stanford.EDU, alcohen@leland.Stanford.EDU, hf.mvd@forsythe.Stanford.EDU, hf.smg@forsythe.Stanford.EDU, hf.bmg@forsythe.Stanford.EDU, tsgrey@leland.Stanford.EDU, cisco@leland.Stanford.EDU, stephenh@leland.Stanford.EDU, shinton@leland.Stanford.EDU, mhui@leland.Stanford.EDU, mjohnson@leland.Stanford.EDU, hf.kak@forsythe.Stanford.EDU, mahrt@leland.Stanford.EDU, et.jap@forsythe.Stanford.EDU, sano@leland.Stanford.EDU, cn.bes@forsythe.Stanford.EDU, sheridan.schroeter@forsythe.Stanford.EDU, et.ads@forsythe.Stanford.EDU, cn.mmt@forsythe.Stanford.EDU, tenor@leland.Stanford.EDU, weldy@leland.Stanford.EDU, adams@interval.com, alex@korgrd.com, siyer@netcom.com, timis@opcode.com, rob@opcode.com, Eichenberg_Tom.EVE@macmail1.nb.rockwell.com, kato@lab4.yamaha.co.jp, USERS@CNMAT.berkeley.edu, musjkm@samba.ucsb.edu, craig@well.sf.ca.us, amirk@well.com, dgl@netcom.com, fish@musclefish.com, timis@opcode.com, robert@rockmore.com, rww@sgi.com, studer@applelink.app.com, muscom@mills.edu, tildy@ella.mills.edu, dej@cats.ucsc.edu, mab@dolby.com, STRANGE@SJSUVM1.sjsu.edu, furman@SJSUVM1.sjsu.edu, wendt@SJSUVM1.sjsu.edu, michael@mcnabb.com, david@jaffe.com, kathy@jaffe.com, cstone@netcom.com, raf@mercury.sfsu.edu, econcert@charles.ucdavis.edu, timper@holonet.net, js%timbre.uucp@nbn.com, scotgl@csuhayward.edu, emusic-l@AMERICAN.EDU, edens@interval.com Next Sunday, March 5th at 8pm (CCRMA, Stanford University, The Ballroom) An Electroacoustic Music Concert at CCRMA featuring new works by Argentinian composers. Jorge Sad (just arrived from Argentina, Visiting Scholar / Composer at CCRMA through the Rockefeller Exchange Program) and David Horta (same at CRCA, UCSD) will be presenting the concert. In the program: "El libro de los seres imaginarios", Jorge Sad "Los Viajes de Gulliver", Javier Leichman "Mestizaje", Gonzalo Bifarella "Paradiddles", David Horta "Apocalypse was postponed due to lack of interest", Juan Pampin See you there!! -- Fernando ========================================================================= Date: Sat, 4 Mar 1995 09:59:11 -0500 Reply-To: Greg Dorter Sender: Electronic Music Discussion List From: Greg Dorter Subject: Re: the "so" look In-Reply-To: <01HNQDUDY5RO91XJA7@LURE.LATROBE.EDU.AU> On Sat, 4 Mar 1995, David Rodger wrote: > a few years back. I didn't know Webern wrote any cantatas; as one who has > studied ALL of his works (a very small opus), I'd be surprised if I missed > them! "The last years of [Webern's] life were primarily occupied with the composition of two vocal works, the Cantata No. 1, Op. 29 (1939), and No. 2, Op. 31 (1943), both for soloists, chorus, and small orchestra. (They were preceded by an earlier cantata, _Das Augenkicht_, Op. 26, composed in 1935." (Robert Morgan, _Twentieth-Century Music_, 209) > What I can say is that, when Boulez and co performed here, they did > a Webern piece and it absolutely left me cold. It was the most unexpressive > performance I've heard in a long time (and since, too). A real pity, since I > was in the middle of my Webern kick then, and most of the other stuff they > played was great. When was this performance? Boulez has discussed his Webern recordings twice in _Gramaphone_ magazine, in the most recent issue, and a couple of years ago. If I recall what he said, it seems he is not satisfied with his original recordings (_The Complete Works of Webern, Vol. 1 -- a title I've never understood as this recording contained everything except some alternate orchestrations, so I don't know if a Vol. 2 was ever intended, and if so, what it would include) because this type of music was very new to the performers and they didn't understand how to play it, and that Boulez felt his interpretations concentrated too much on the structure of the music and neglected the expressiveness of phrasings etc. He promised more attention to the expressive qualities of Webern in his current recordings. If the performance you heard was awhile ago, when Boulez was in his illuminate the structure of Webern stage, then it is not surprising that you found the music cold. If, however, this was a recent performance, I'm surprised you found it cold (not that I'm disagreeing with you -- I have only heard the original Boulez recordings) because this seems to be what Boulez is now trying to avoid. Greg Dorter University of Western Ontario 215 Bernard Ave. gdorter@julian.uwo.ca London, ON N6A 2M9 519-438-2287 CANADA ========================================================================= Date: Sat, 4 Mar 1995 11:43:21 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Guy R. Croteau" Subject: LOW LEVEL FEEDBACK Comments: To: EMUSIC-L@AMERICAN.EDU --------------------- Forwarded message: Subj: LOW LEVEL FEEDBACK Date: 95-03-04 11:20:05 EST From: KawaiGuy To: EMUSIC-L@auvm.america.edu To: gbjazz@aol.com.,WKF JR To: support@tbeach.com I've just installed a new TB Monterey card in my TriStar 486/33. When connecting the card to my amplifier, I get a low level hum that is never present when any other component is attached to that input jack. I suspect it has something to do with grounding, but I'm not a electronic wiz. There is no "grounding" wire or grounding instructions with the TB card. Anyone out on the list ever had this problem and can give advise? Other things to note: No feedback hum is heard when headphones are attached to the TB card. I also got no feedback hum when I attached a portable CD player to the Amp with the cable privided by TB. Any help/advise would be appreciated. Thanks ( KAWAIGUY@AOL.COM ) Guy R. Croteau Vernon Ct 203-875-3209 ========================================================================= Date: Sat, 4 Mar 1995 14:59:30 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Harold C Cowherd Subject: Re: musique concrrete and literary In-Reply-To: <950301202810_36461148@aol.com> from "James G. Lamar" at Mar 1, 95 08:28:11 pm > Also of interest; do any of the > la-de-dah, uh, that is, 'new' composers out there have any use for montage or > dada techniques in their music (electro-acoustic, conceptual(ly), or > orchestral)? Many haours of improv musique concrete happened during my > undergrad years at the CLeveland insitute of Music, myself always a prime > instigator. As a matter of fact, compositionally I do make use of collages in my electro-acoustic music--typically what I do is employ anywhere from two or three styles concurrently in a composition, needless to say this creates a textural complexity that at times may sound "confusing" and/or "new-ageish" but I never had any complaints (only praise) from the listening audience. During my years at Syracuse University (master's program) I was the only proponent of this approach to electro-acoustic music. Now that I am at Michigan State in a doctoral composition program I have found that once again that the listening public enjoy this approach, but you guessed it, I faculty (with one exeception) was not amused (and I really don't give a damn). You (J.L.) and I may be kindred spirits in this respect, but I would like to hear from others--what positive and/or negative experiences have you encountered? More importantly, what compositional problems does this pose for you? Me in my arrogance sometimes overlook these concerns. Peace, Hal Cowherd cowherdh@student.msu.edu ========================================================================= Date: Sat, 4 Mar 1995 15:22:37 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Gary Goldberg Subject: Re: LOW LEVEL FEEDBACK try a $.89 ground lift on the power cord of the device a simple three to two adapter or plug amp into one plug cd player in another outlet. also are you taking line out or phones out on your cd player? use line out (unamplified line level source). good luck ========================================================================= Date: Sat, 4 Mar 1995 15:42:19 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Giovanni Tradardi <100423.3604@COMPUSERVE.COM> Subject: Morpheus users Comments: To: SYNTH-L , EMUSIC-L Hi fellows Morpheus users, I'd like to exchange or trade sounds,tips or whatever you want,for this great machine.. Giovanni Tradardi ========================================================================= Date: Sat, 4 Mar 1995 15:42:24 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Giovanni Tradardi <100423.3604@COMPUSERVE.COM> Subject: Wavestation SR users Comments: To: SYNTH-L , EMUSIC-L Hi fellows Wavestation SR users, I'd like to exchange or trade sounds,tips or whatever you want,for this great machine.. Giovanni Tradardi ========================================================================= Date: Sat, 4 Mar 1995 15:42:16 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Giovanni Tradardi <100423.3604@COMPUSERVE.COM> Subject: TS-10 users Comments: To: SYNTH-L , EMUSIC-L Hi fellows TS-10 users, I'd like to exchange or trade sounds,tips or whatever you want,for this great machine.. Giovanni Tradardi ========================================================================= Date: Sat, 4 Mar 1995 15:42:21 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Giovanni Tradardi <100423.3604@COMPUSERVE.COM> Subject: JD-990 users Comments: To: SYNTH-L , EMUSIC-L Hi fellows JD-990 users, I'd like to exchange or trade sounds,tips or whatever you want,for this great machine.. Giovanni Tradardi ========================================================================= Date: Sat, 4 Mar 1995 17:03:07 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Lee McClain Subject: EMU Proteus users Hello to all Proteus users. As most of you know, EMU's Proteus series (Proteus 1, 2, and FX, and MPS keyboard) features some great sound samples. Unfortunately, the patches are not laid out in General MIDI format, making MIDI file playback rather "adventurous." Because of this, I am looking for friends to swap MIDI files and custom sound patches that have been composed on Proteus instruments. If anyone is interested, please E-Mail me at my AOL address: Lee TM 94@aol.com Thanks for your time in this matter. Take Care... ========================================================================= Date: Sat, 4 Mar 1995 18:35:53 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Angie Revis Subject: flute & electronics I am a flutist at Peabody Conservatory in search of pieces. I am accumulating scores and music for an upcoming recital, and am looking for pieces to play, including: Julio D'Escrivan-Rincon: "Sin ti por el almo adentro"(1988?) Maggi Payne: Scirocco (1991) Kaija Saariaho: NoaNoa: for flute and computer (1992) Eric Chasalow: Over the Edge (flute and tape) Any info appreciated! Angie Revis revis@peabody.jhu.edu ========================================================================= Date: Sat, 4 Mar 1995 17:30:22 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ted Johnson Subject: Re: LOW LEVEL FEEDBACK Try to turn off your monitor and see if the feedback goes away. Also try plugging your computer into a different curcuit than your amp and see if that helps. If its the monitor, then try moving your amp furthur away from it... Also just try moving the amp furthur away from the computer. Make sure your cable is well sheilded. -------------------[ This message brought to you by: ]------------------- #### #### ####### ## ### ## ## ### ## #### ### ## ### #### ### ## ### # # ## # ## ### #### ## ## ### ## # # ### ### ### # ### # ## # ## ## ## ## ## ##### ### ### ## ### ## # ## # ## # ## # ###### ## ## ## ## ## ## # ### # ## ## ## ## #### ## ## ## ## ## ## # ## # ## #### ## ## #### ## ## ## ## ## ## # ### # ## ## ## ## ## ### ## ## ## ## ## ## # ### ## ## ## ## # ## ### ## ## ## ## ## ## # ### ## ####### #### ## ### #### ############### #### ## # ## ## ### ##### # ##### ####### @UCLA.edu -- Sometimes known as Ted Johnson -- ========================================================================= Date: Sat, 4 Mar 1995 19:54:35 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: musique concrrete and literary In-Reply-To: <9503041959.AA39990@student1.cl.msu.edu> from "Harold C Cowherd" at Mar 4, 95 02:59:30 pm Harold C Cowherd writes-- > >As a matter of fact, compositionally I do make use of collages in my >electro-acoustic music--typically what I do is employ anywhere from two or >three styles concurrently in a composition, needless to say this creates a Buh. How do you do this? I wouldn't even know where to start. I have an almost instinctive avoidance of clashes in rhythm or style, for fear that my work will become murky...how do you make it 'work'? mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "Line remembers being afraid when he was a little grub, and his mother let him cut a ham with a newly-sharpened knife, and he cut very slowly because he was afraid he would start a chain reaction if he cut an atom in half." ========================================================================= Date: Sat, 4 Mar 1995 20:20:36 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: Rothwell to the MAX In-Reply-To: from "Nick Rothwell" at Mar 1, 95 10:14:53 pm Nick Rothwell writes-- > >Listening to you, Mike? Perish the thought. *whew* That's a relief. [much good stuff deleted] >>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. > >I've come to exactly the same realisation. Sequencers have their place, as >recorders and editors of performance data. But that's not the same as the >tools which allow the music [systems] to be structured and developed. >That's a distinction which occurred to me not ten seconds ago, but I think >it's important. I think "important" is about as much of an understatement as John 4 looking at a plateful of Lucy's best stir-fried to-maio greens, and asking, "Is that good?" I think VITAL would be a much more appropriate word. For a long time, people developed a set of reflexes and techniques to 'get creative' with sequencers; in fact, Freff wrote a very nice article on this for either EM or KB a number of years back. But the medium doesn't lend itself to the development of gestural technique, only to the recording and arrangment AFTER the gesture. It's an imperfect fit, like trying to get a good piano out of a sampler with 64k of RAM. >>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. :( > >Sigh. I feel so guilty about this. I *knew* this would be the case. Gigging >with sequence playback just doesn't suit the way your head works, and when >I saw that Sound Brush sitting on the top shelf of the wardrobe in your >spare room, I didn't think it would ever be going anywhere near a stage. Nick, you may be the best friend I have in the music business, but you needn't feel guilty about me doing something boneheaded like this; I seem to walk into these problems face first on a fairly regular basis. It was a worthwhile gamble for what I paid for it, and it'll be easy enough to move it along when the time comes if it doesn't do what I need. I'm willing to pay the price for not thinking these things out ahead of time. How was I to know that the Studio 5LX was going to be the box that opened my brain up to how things should actually work? It's no great loss. Besides, future circumstances may force my partial retirement from music anyway, at least for a few years, and if I have to cut back, live gigs will be the first to go. *sigh* >I started out doing sequence playback on stage (admittedly with a very >capable master keyboard, the VFX). It never felt right, even at the very >beginning before I'd ever been on a stage, and I'm so pleased I've managed >to move on. Well, at the rate my life is changing right now, vanishing into the woodwork with a copy of MAX may be in my future yet. One question: I'm looking at the possibility of a used Color Classic as a cheap, reliable, semi-portable MIDI box. Is it fast enough to handle complex MAX stuff? I know you don't have any problems with your PB 155, but I don't remember offhand what the difference in clockspeed is.... >The more I get into doing things this way, the more I hate the way >sequencers have evolved into such vampires. You may make a convert of me yet, and I'm not sure that'd be a good thing; I think this whole MAX paradigm comes more easily to you because you do nittygritty work with computers more than I do, and have the mindset to get at it quickly. I've never actually gone so far as to throw a piece of gear that makes me crazy against the wall (I leave that to DAC, whose DR-220A looks that way for a reason), but with MAX the temptation might be too great, and I can't go busting Macintoshi. mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "Line remembers being afraid when he was a little grub, and his mother let him cut a ham with a newly-sharpened knife, and he cut very slowly because he was afraid he would start a chain reaction if he cut an atom in half." ========================================================================= Date: Sun, 5 Mar 1995 00:58:24 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ian Varley Subject: Re: Duran Duran's gear >Also, if anyone has any other general info. on Nick's gear aside from these >magazines, please post or mail me. I know he used a Fairlight, but I was >just curious about any other more affordable, more common synths. I'm really >getting into those retro-analog-thick sounding-early MIDI-80's synths. In my >opinion (an opinion many share), there haven't been any truly innovative new >synths to come out in a while. No Moogs (and it's pronounced like "vogue" >--seriously), no ARP's, no SC Prophet 5's or VS's, no Jupiter 10's, etc.... > Screw that PCM sampled waveform based synthesis crap. I mean the specs on >some new units are good, but look at the NEW products some companies are >producing. The new Oberheim synth--totally analog with a digital interface, >the ddrum Nord Lead (with that cool pitch ribbon), the Studio Electronics >SE-1, the Marion Systems MSR-32 or whatever. Now those are cool machines. In the studio I work in, we just got a new synth (I'm not sure if it is truly new or not...it's new to us, anyway...) from Emu. It's a Proteus, and it's called "Vintage Keys". It is filled with over 200 sounds from old beasts, like Moogs and such. I know it isn't exactly what you were looking for, but it sounds like something you might be interested in. (They are great fun to play with!) I don't know its model number off hand, but we must have the manual for it somewhere...it was just intalled in our rack a couple days ago. Has anybody else used it? I like it so far. "Yeah, screw the PCM sampled waveforms! WE WANT CASIO!" :-) 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: Sun, 5 Mar 1995 04:32:05 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Robert G. Simpson" Subject: SHADOW I am interested in getting any information about a MIDI guitar controller. There is a unit called the SH 075 QUICK MOUNT GUITAR MIDI SYSTEM made by an outfit called SHADOW. It was listed in Musician's Friend up until recently as the WIDGIT. I am also interested in ROLAND's GR 9. How does it compare? ========================================================================= Date: Sun, 5 Mar 1995 10:16:43 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Trolls think exceedingly slowly... Comments: To: EMUSIC-L@AMERICAN.EDU ...but I remember someone or other posting for a list of "classic" pieces of music in genres as diverse as Celtic and Techno. It just dawned on me now that I was listening to something which was both: the first MOUTH MUSIC album (on Triple Earth Records, TERRACD109). The follow-up albums are, I'm told, not so good. Talitha MacKenzie's solo (SOLAS) isn't bad but doesn't have quite the style and sparkle (or techno) of MOUTH MUSIC. I won't bore you all with the story of my "across-a-crowded-room" encounter with Talitha MacKenzie. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "The first sound to send a room to sleep..." "No, I think Yanni did it first." -- The New Adventures of Superman ========================================================================= Date: Sun, 5 Mar 1995 09:40:31 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Greg Dorter Subject: Re: SHADOW In-Reply-To: <950305043205_39689651@aol.com> On Sun, 5 Mar 1995, Robert G. Simpson wrote: > I am interested in getting any information about a MIDI guitar controller. > There is a unit called the SH 075 QUICK MOUNT GUITAR MIDI SYSTEM made by an > outfit called SHADOW. It was listed in Musician's Friend up until recently as > the WIDGIT. I am also interested in ROLAND's GR 9. How does it compare? > I use the Shadow unit and it tracks as well as any guitar MIDI controller I've seen. IT has 4 modes: 1) all strings MIDI CH. 1 with bends/glisses treated as chromatic notes 2) all strings MIDI CH. 1 with bends/glisses treated as MIDI pitch bend message 3) = 1) with 1st string = Midi Ch. 1, 2nd string MIDI Ch. 2 etc. 4) = 1) with 1st string = Midi Ch. 1, 2nd string MIDI Ch. 2 etc. It has a control unit which mounts on the guitar that allows program changes. Velocity sensitivity can be altered from fully sensitive to all notes = 64. OCtave transpositions only (1, 2, 3 8ves up or down). Guitar tuner, but not chromatic tuner -- EADGBE only. The best reason for buying it is it relatively inexpensive as you don't need to buy a Roland Synth with it. Apparently you can get the Roland unit now without the synth, in which case I'm not sure how the prices compare. Greg Dorter University of Western Ontario 215 Bernard Ave. gdorter@julian.uwo.ca London, ON N6A 2M9 519-438-2287 CANADA ========================================================================= Date: Sun, 5 Mar 1995 08:16:56 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "< >" Subject: Re: Trolls think exceedingly slowly... In-Reply-To: < Does anybody know if BUCHLA is still in business? If so, I'd appreciate a contact address. TIA ========================================================================= Date: Sun, 5 Mar 1995 13:36:07 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: pseudomoduli Comments: To: eml@physics.american.edu this is not flamebait. repeat. this is not flamebait. this is an honest inquiry, meant to elicit (i almost typed "illicit"... now there's a good freudian) real information. why should i give a damn about these new "modular/analog-style" synths? i poked at the Marion for a few minutes and determined that its architecture was identical to the matrix6 (of which i have two). i did not understand why the menu came up saying something like "loading modules". is the architecture variable? is there something there worth paying more than $1K for? i didn't see it. ditto the ObMx. sure, it's nice to have the knobs back, particularly now that the big moog really does seem to be out of commission for a while, but again... can i reroute signal? can i audio modulate on either of these things? can i set up a keyless event, or do i still need a damned midi driver? it's my impression that there about half a dozen machines on the market now that simply return us to the tired old days of the fixed analog basic patch. i include my own jd800 in this category, but at least it's got a hell of a lot of sliders, a resonant hipass filter, some pretty flexible lfos, and a nice crisp sound. now, i'm just as tired as anyone of the sample-playback-engine thing... but it's not too bad if you get a decent amount of control. i mean, the m1 didn't even have resonant filters, if you will remember. i try to look at sampling technology in general in the manner suggested by Larry Fast: it's just a way of obtaining complex source waveforms as the ground for further synthesis. but i gotta say, the synthesis options we're currently provided aren't particularly varied or exciting, outside of some of the odder K2000 gizmos, or the microwave. which reminds me... the K2000 implements waveshaping synthesis, which i remember reading about in hal chamberlin's book years ago, and always wondered why i didn't see it implemented anywhere. i also know that chamberlin worked for kurzweil when they were producing the midiboard (i was a beta site). did he stay with them? is he one of the engineers on the K2K? ========================================================================= Date: Sun, 5 Mar 1995 18:27:19 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jonathan George Bakan Subject: Re: Pre-hispanic sounds In-Reply-To: I am a regular subscriber to Keyboard Magazine. Thus far I have not seen sampling CD's that appear to have the sounds I need--esp the more exotic ones. They all seem to be hip-hop, rock, or if they are world stuff it's more asian oriented. Any further ideas, or a particular sampling cd(s) come to mind? Thanks. jb Jonathan Bakan "embrace the electronics" bakan@cs.unca.edu On Fri, 3 Mar 1995, Nick Rothwell wrote: > >Does anyone out there have any samples i can obtain or know where on the > >Net something might be available? > > There's no end of sample CD's with "world" instruments on them - check any > magazine. Depending how good your sampler or sample-editing software is, > you should be able to bend the samples pretty much to your will. > > So, what *did* the Aztecs sound like? > > > Nick Rothwell nick@cassiel.com | "Ey Wot? Ey Wot? Ey Wot? Ey Wot? > CASSIEL Contemporary Music/Dance | Ey Wot? Ey Wot?" -- Flatlanders > ========================================================================= Date: Sun, 5 Mar 1995 20:49:58 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Steinkamp Subject: Roland Expansion Cartridge I just bought a Roland 626 Rhythm Composer for next to nothing. I would like to find an expansion cartridge for it. If anyone has one they would like to sell or knows where I could get more information, please send me some mail. Thanks in advance. Furthermore, if anyone has any tips or tricks or would like to trade ideas about the Roland, or the Alesis D-4, or Sound Canvas', let me know. Thanks again. Mike Steinkamp Musician, Educator http://unitravel.com/mstein/ DeSoto Public Schools/Jefferson College vdd001@mail.connect.more.net "Education is the art of explanation." ========================================================================= Date: Sun, 5 Mar 1995 22:37:47 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Phillips/Healy Subject: Re: Trolls think exceedingly slowly... >Does anybody know if BUCHLA is still in business? If so, I'd appreciate a >contact address. TIA Try Buchla and Associates P.O. Box 10205 Berkeley, CA. 94709 USA John John J.H. Phillips, Carolyn Healy -TerraGizmo Studios -Philadelphia, PA. USA jpch@pobox.upenn.edu ========================================================================= Date: Sun, 5 Mar 1995 22:41:17 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: john rossi Subject: Re: Differences of opinion In-Reply-To: On Fri, 3 Mar 1995, Nick Rothwell wrote: > My main problem with it is that it seems to be written for listeners with a > short attention span. > Thank you, maybe the drugs have been working... John 3 ========================================================================= Date: Sun, 5 Mar 1995 23:00:00 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: john rossi Subject: Re: pseudomoduli In-Reply-To: <0098CE86.889DC440.14318@physics.american.edu> On Sun, 5 Mar 1995, Eric Harnden (Ronin) wrote: > is there something there worth paying more > than $1K for? No! I think it is really pathetic, myself. > i didn't see it. ditto the ObMx. Even more so. John 3 ========================================================================= Date: Mon, 6 Mar 1995 10:25:05 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Richard Stellar Subject: Re: Laurie Anderson By accident on Saturday, while I was cable surfing, I saw a video by an electronic music performer named Laurie Anderson. I was fascinated by her performance. If anyone has any information on her, please forward it to me. ========================================================================= Date: Mon, 6 Mar 1995 10:47:52 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Carnes Subject: frequency of scale .. unequal temperaments In-Reply-To: <199503040600.BAA50610@atlanta.american.edu> ---------- X-Sun-Data-Type: text X-Sun-Data-Description: text X-Sun-Data-Name: text X-Sun-Content-Lines: 42 X-Sun-Content-Length: 2700 So-called "unequal temperaments" are actually tunings more closely based on "true" sound (that is a loaded description). For example, we all know that an octave is a frequency ratio of 2:1. A true perfect fifth is a ratio of 3:2 and a major third is a ratio of 4:3. Unfortunately, if you follow the cycle of fifths in this manner (C-G-D-A and so on), you don't get back to C. This is not a problem in modal music that remains centered around a solid root note. It **is** a problem as soon as you leave the key the scale was built on, since the "same" intervals sound different in different keys. There were many efforts in the baroque period to find a system of tuning that would allow an instrument (particularly a keyboard instrument) to play in different keys without having to be retuned. Many of those tunings are available on modern synths -- it can be quite illuminating to play with them. The justly-famous "Well-Tempered Clavier" of Bach is one of the earliest-known examples of music which was expressly written to demonstrate these new tunings. Bach actually didn't have equal-temperament available -- he used an earlier attempt. In the classical music world, different keys were used because of the different characteristics of their tunings. D was typically sunny, while C-minor was dramatic. Although those reasons no longer hold because of equal temperament, it is quite instructive to dial up an earlier tuning and play with the keys. Equal-temperament is a compromise that guarantees uniform intervals regardless of key. For example the perfect fifth is no longer 3:2. It becomes something like 2.99:2. Temperament confers both curses and blessings. In this discussion, there are always claims that people with flexible tuning (singers, strings) will unconsciously move over to "true" tuning whenever they can. I have seen one investigation that tended to disprove this claim. At the same time, a good choir director will "tune" certain chords to avoid beat frequencies caused by equal-temperament. Many guitarists (and their colleagues) suffer from a lack of understanding of equal-temperament. Those of the loud-and-thrashy sort often like to tune their instruments to a 7th-position E-major. The tuning of this chord is E/E/B/E/G#/B. The more astute among you will see that is is a perfect harmonic series (from E). Because of the reinforcement of the harmonics, it's very easy to bring the strings perfectly in tune with the harmonics of the low E. Unfortunately, this is not equal-temperament and then the guitarist ends up fiddling with his grossly sharp G-string. The rest of the band cools their heels, perhaps dreaming of a band with only keyboards. ========================================================================= Date: Mon, 6 Mar 1995 17:59:44 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: miron deyssenroth Subject: Re: Wavestation SR users >Hi fellows Wavestation SR users, I'd like to exchange or trade sounds,tips or >whatever you want,for this great machine.. > Hi. I got an A/D. What sort of sounds have u got ? Self made, card dumps, commercial disks ? greetings miron miron deyssenroth mdeyssen@ix.urz.uni-heidelberg.de ( ... "mind the gap" ... ) ____________________________________ ========================================================================= Date: Mon, 6 Mar 1995 11:29:33 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: Laurie Anderson In-Reply-To: <950306102503_40699561@aol.com> from "Richard Stellar" at Mar 6, 95 10:25:05 am Richard Stellar writes-- > >By accident on Saturday, while I was cable surfing, I saw a video by an >electronic music performer named Laurie Anderson. I was fascinated by her >performance. If anyone has any information on her, please forward it to me. Heavens. you'll be digging out from under a huge pile of mail in no time; she's actually one of the better-known and better-liked modern electronic composers, and a nifty perfomrnace artist to boot. There's even an entire USENET newsgroup devoted to her, which probably has a detailed FAQ that can answer a lot of your questions. discography (partial): BIG SCIENCE (essential!) UNITED STATES LIVE (4-cd set of a five-hour piece; amazing) MISTER HEARTBREAK (the tail end of the US stuff) HOME OF THE BRAVE (also a movie on video) STRANGE ANGELS \ BRIGHT RED / her later stuff, which does less for me. Remarkable woman. Joe McMahon and I went to see her in a one-woman show the last time I was in DC. Much fun. -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "Line remembers being afraid when he was a little grub, and his mother let him cut a ham with a newly-sharpened knife, and he cut very slowly because he was afraid he would start a chain reaction if he cut an atom in half." ========================================================================= Date: Mon, 6 Mar 1995 15:55:42 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Friesen Subject: Re: Pseudomoduli In-Reply-To: <199503060600.BAA50338@atlanta.american.edu> re. the question of whether a bunch of knobs and 15-year-old technology are worth more than $1k... I think the answer to the "is it worth it" question is directly related to one's musical inclination. I offer the following only as personal experience which may be instructive: I've got a Kurzweil K1000 (fully expanded) with 200 or so neat sounds in it. I've also got a Juno-106 that has memory for 128 sounds. When I'm writing a piece of music and I know what sounds I need, I'll usually go to whichever instrument has the right character. I'm not going to get a good piano out of the Juno; and I won't get a REALLY good pad out of the Kurzweil. But that's the composition process. When I'm interested in EXPLORING SOUNDS (synthesis, I think, is a popular term), then I'll usually leave the Kurzweil well alone. On the other hand, I won't get through 16 patches on the Juno before I find myself slipping sliders and bashing buttons. Never mind that the Kurzweil has SPECTACULAR synthesis capabilities (albeit no *^&% filters!!) -- as a tool for creating sounds it's virtually useless. If I were to shell out the bucks for an editor, that might change matters somewhat, but not much... When I'm creating a sounds, I NEED those controls. All the synthesis capabilities in the world don't matter to me if accessing them gets in the way of the creative process. And folks, a 2*16 display coupled with two rows of ten keys (not even a standard 10-key layout!!) is more than 'in the way': it's hell. The result? I won't touch the synthesis capabilities unless there's an easily rectified and serious problem with an existing sound. If I had the bucks, my rig would include more 'twiddle-knob' instruments 'a la OBMx, Xpander/Matrix 12, JD800, and (sigh of wist/lust) Wave. I do like making new sounds: I just don't want the agony of paging through nested menus with a pair of miniscule buttons. Just my 3 cents (Canadian) worth... Share and enjoy, Michael Friesen ========================================================================= Date: Mon, 6 Mar 1995 20:02:47 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: LOW LEVEL FEEDBACK >I've just installed a new TB Monterey card in my TriStar 486/33. When >connecting the card to my amplifier, I get a low level hum that is never >present when any other component is attached to that input jack. >Anyone out on the list ever had this problem and can give advise? Since this is the electronic music discussion list, I'd suggest recording about half an hour of the material on 1/2" tape, then running it back at double-speed through a set of Hewlett-Packard valve filters, putting it into a digital sampler and doing some notch-filtering as you assign it to different key ranges, and then use some kind of modal algorithmic composition algorithm in MAX. You have the potential of a very good piece here. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "The first sound to send a whole room to sleep..." "No, I think Yanni did it first." -- The New Adventures of Superman ========================================================================= Date: Mon, 6 Mar 1995 13:36:28 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: pseudomoduli In-Reply-To: <0098CE86.889DC440.14318@physics.american.edu> from "Eric Harnden" at Mar 5, 95 01:36:07 pm Eric Harnden writes-- > >this is not flamebait. repeat. this is not flamebait. this is an honest >inquiry, meant to elicit (i almost typed "illicit"... now there's a >good freudian) real information. This is not an opening statement guaranteed to elicit flames. >why should i give a damn about these new "modular/analog-style" synths? Don't ask me. The Marion is supposed to be exciting because it gives you the same butt-ugly UI for any number of different sound engines, none of which exist beyond the analog card. It is, as the Peavey DPM was before it, the ultimate reason why Metlay's Law is so important. It promises potential that does not exist, and probably will not exist, for the sake of improving sales. There's a similar flap going on right now on another mailing list about the new oscillator modelling hardware from Roland; a source who was "absolutely to be trusted but refused to be identified" claims that within six months to a year all analog synths will be effectively replaceable by this new medium. Time to sell my Xpander, I guess. The OBMx is exciting to anyone who has never owned a real analog synth, or at least a good one. It didn't do much for me. It's easy to forget that the synth-using community is getting younger all the time, and that kids are easily impressed into spending money on things that we know can be and have been done better. Besides, who can afford to wire up a whole modular synth any more? >. i try to look at sampling technology in >general in the manner suggested by Larry Fast: it's just a way of obtaining >complex source waveforms as the ground for further synthesis. but i gotta >say, the synthesis options we're currently provided aren't particularly >varied or exciting, outside of some of the odder K2000 gizmos, or the >microwave. It's interesting that you'd include the MicroWave there; it's actually a very boring, straightforward architecture, until you get inside the oscillators themselves. The same is true for vector synths, whether you're talking about a Prophet VS, Wavestation, or SY35. I would argue that with a bit of creativity, something by Emu with its extra audio outs configurable as send/return patch pairs would be much more amenable to being slpiced organically into a larger whole. The next megamodular synth might be a bunch of modules with A/D patchpoints all wired together and processing one another....an UltraProteus with a Wavestation A/D spliced into its effects loop....aieeee.... mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "Line remembers being afraid when he was a little grub, and his mother let him cut a ham with a newly-sharpened knife, and he cut very slowly because he was afraid he would start a chain reaction if he cut an atom in half." ========================================================================= Date: Tue, 7 Mar 1995 08:41:05 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: musique concrrete and literary Hello Harold, Mike et. al., this reminds me of Schnittke. He uses different styles in the same piece, but not concurrently; he tends to shift from one to another. So much so that upon my first hearing I thought he must have a very short attention span. I am NOT a fan! OTOH, my ire was partly inspired by the fact that this was at a Kronos Quartet concert and they withdrew Berg's Lyric Suite for this Schnittke piece. I couldn't believe it! They did, however, redeem themselves somewhat by doing an encore of Purple Haze! Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Mon, 6 Mar 1995 17:01:33 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Wavestation SR users In-Reply-To: On Mon, 6 Mar 1995, miron deyssenroth wrote: > I got an A/D. What sort of sounds have u got ? Self made, card dumps, > commercial disks? AGH. If you choose to exchange commercial disks, please do it via private mail. I do NOT want to get sent up the river for abetting a criminal enterprise, really I don't. I'm sure these are copyrighted, and of course this would be pirating. --- Joe M. ========================================================================= Date: Mon, 6 Mar 1995 19:55:01 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: DrewLesso@AOL.COM Subject: freq.of.scale.forum ...to get the latest on alternative tuning, send the following message to: listproc@eartha.mills.edu subscribe TUNING pretty heavy stuff here, so use with descretion! ========================================================================= Date: Mon, 6 Mar 1995 20:53:41 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Eugene Subject: Re: Laurie Anderson In-Reply-To: Message of Mon, 6 Mar 1995 11:29:33 -0800 from On Mon, 6 Mar 1995 11:29:33 -0800 atomic city said: >Richard Stellar writes-- >> >>By accident on Saturday, while I was cable surfing, I saw a video by an >>electronic music performer named Laurie Anderson. I was fascinated by her >>performance. If anyone has any information on her, please forward it to me. > >Heavens. you'll be digging out from under a huge pile of mail in no >time; she's actually one of the better-known and better-liked modern >electronic composers, and a nifty perfomrnace artist to boot. There's >even an entire USENET newsgroup devoted to her, which probably has a >detailed FAQ that can answer a lot of your questions. > >discography (partial): > >BIG SCIENCE (essential!) >UNITED STATES LIVE (4-cd set of a five-hour piece; amazing) >MISTER HEARTBREAK (the tail end of the US stuff) >HOME OF THE BRAVE (also a movie on video) >STRANGE ANGELS \ >BRIGHT RED / her later stuff, which does less for me. > >Remarkable woman. Joe McMahon and I went to see her in a one-woman >show the last time I was in DC. Much fun. > >-- To this list I would like to add the "Alive from Off Center" series she hosted on PBS a few years ago. >mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com >--------------------------------------------------------------------------- >"Line remembers being afraid when he was a little grub, and his mother let >him cut a ham with a newly-sharpened knife, and he cut very slowly because >he was afraid he would start a chain reaction if he cut an atom in half." Eugene ========================================================================= Date: Tue, 7 Mar 1995 16:36:45 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re: frequency of scale .. unequal temperaments Michael Carnes wrote-- > >Many guitarists (and their colleagues) suffer from a lack of understanding >of equal-temperament....[SNIP}... > >then the guitarist ends up fiddling with his grossly sharp G-string. ...but at least it gives the audience something to watch. Clive 'sorry, it was too tempting' McFarland Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Tue, 7 Mar 1995 11:26:19 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: miron deyssenroth Subject: Re: Wavestation SR users > >AGH. If you choose to exchange commercial disks, please do it via private >mail. I do NOT want to get sent up the river for abbetting a criminal >enterprise, really I don't. > >I'm sure these are copyrighted, and of course this would be pirating. > Hi AGH yourself. they might be copyrighted but there's nothing wrong with swapping selling and exchanging the originals. Chears :-) miron miron deyssenroth mdeyssen@ix.urz.uni-heidelberg.de ( ... "mind the gap" ... ) ____________________________________ ========================================================================= Date: Tue, 7 Mar 1995 17:06:45 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Laurie Anderson >STRANGE ANGELS \ >BRIGHT RED / her later stuff, which does less for me. Interesting; STRANGE ANGELS I found poppy and boring, but BRIGHT RED is beautifully moody and atmospheric IMHO. Probably that Eno person's fault. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "The first sound to send a whole room to sleep..." "No, I think Yanni did it first." -- The New Adventures of Superman ========================================================================= Date: Tue, 7 Mar 1995 17:07:07 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Trolls think exceedingly slowly... >Does anybody know if BUCHLA is still in business? If so, I'd appreciate a >contact address. They never returned my phone call about the Thunder a month or so ago. Then again, UK music companies never return anyone's calls about anything. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "The first sound to send a whole room to sleep..." "No, I think Yanni did it first." -- The New Adventures of Superman ========================================================================= Date: Tue, 7 Mar 1995 17:07:30 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: pseudomoduli >is the architecture variable? In accordance with Metlay's Law, the Marion architecture clearly is not at all modular. >i try to look at sampling technology in >general in the manner suggested by Larry Fast: it's just a way of obtaining >complex source waveforms as the ground for further synthesis. Speaking as a synthesist primarily, I see it differently; sampling is the most controllable, performable, permutable form of audio recording that exists. I never have any intention of owning any kind of multitrack since it's not possible to perform live with it; but a sampler delivers the benefits of reproducability with the flexibility afforded by sophisticated MIDI control. If I want to synthesise using sample data, I'll route it through piles of effects processors, and possibly resample. Onboard filtering is certainly useful, though, which is why I'm intending to buy an S-760 when my insurance money comes through (it has multimode resonant filters plus multiple parametric realtime-controllable EQ). As everyone knows btw, I can't stand the K2000. It left me cold, several times. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "The first sound to send a whole room to sleep..." "No, I think Yanni did it first." -- The New Adventures of Superman ========================================================================= Date: Tue, 7 Mar 1995 17:07:41 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Pre-hispanic sounds >Any further ideas, or a particular sampling cd(s) >come to mind? KEYBOARD do a reasonable review of sample CD's month by month, as do FUTURE MUSIC. Most sample CD's are crap. I have the East-West colour catalogue (look, I was given it, OK?) and about two CD's caught my fancy; the Peter P********k's Orchestral Colours, and the two New World Order ones. These latter two might be what you're after. I'm still curious what you think Aztec music is like. I mean, you aren't going to find sampled Aztec loops on these CD's, so you'll need to do some tuning, filtering, and general rehashing (which sounds like an interesting process). Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "The first sound to send a whole room to sleep..." "No, I think Yanni did it first." -- The New Adventures of Superman ========================================================================= Date: Tue, 7 Mar 1995 17:08:10 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Differences of opinion >> My main problem with it is that it seems to be written for listeners with a >> short attention span. >Thank you, maybe the drugs have been working... Yours or mine, John? Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "The first sound to send a whole room to sleep..." "No, I think Yanni did it first." -- The New Adventures of Superman ========================================================================= Date: Tue, 7 Mar 1995 17:08:33 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: frequency of scale .. unequal temperaments >The justly-famous "Well-Tempered Clavier" of Bach is one of >the earliest-known examples of music which was expressly written to >demonstrate these new tunings. I actually prefer Humphrey Littleton's "Bad-Tempered Clavier." >In the classical music world, different keys were used because of the >different characteristics of their tunings. D was typically sunny, while >C-minor was dramatic. Although those reasons no longer hold because of >equal temperament, it is quite instructive to dial up an earlier tuning >and play with the keys. Hmm. So does the panel think that, under equal temperament, keys no longer have different characters? Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "The first sound to send a whole room to sleep..." "No, I think Yanni did it first." -- The New Adventures of Superman ========================================================================= Date: Tue, 7 Mar 1995 12:44:43 -5 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Doug Ramsay Organization: digitalNATION @DCA Subject: EM Indexes Comments: To: synth-l@american.edu, emusic-l@american.edu Hi folks Last week, I requested copies of the EM Indexes fro 1990 and 1994 and ask that if anyone could e-mail them, thet could be sent to . That address is no invalid. Teh new address is . All help would be reatly appreciated. The final index should include from 1989 to 1994 and I will post it as soon as it's done. Thanks Doug ========================================================================= Date: Tue, 7 Mar 1995 12:15:43 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: ddg@DEVLAC.EMS.COM Subject: psuedomoduli interruptis... Comments: To: emusic-l@american.edu >>[Eric Harnden writes] >>why should i give a damn about these new "modular/analog-style" synths? >Don't ask me. The Marion is supposed to be exciting because it gives >you the same butt-ugly UI for any number of different sound engines, >none of which exist beyond the analog card. It is, as the Peavey DPM >was before it, the ultimate reason why Metlay's Law is so important. >It promises potential that does not exist, and probably will not exist, >for the sake of improving sales. Well, having taken a sucker-punch on both of these devices (the Marion and the DPM), and not having Metlay's Law committed to memory, I thought I'd respond - I purchased the DPM in 1990 as my first new synth purchase in five years. Why this over another? Well, because it fit my initial needs (writing some stock MIDI stuff) while giving me the ability to load external samples - which was something no other device (at the time) was doing. I also was able to catch onto the programming paradigm, and the price was right. While I appreciated the concept of "what-it-might-do", that was not a purchase cincher... I recently purchased a Marion MSR-2. Why this over another? Well, I liked what it had (16 channel multi-timbral, nice Obie sound, great modulation matrix, external audio ins) as well as what it didn't (infernal internal effects, a Roland-eze bureaucracy of sales-geeks). I'm also space conscious, so a single rack-space unit fit the bill. Again, I appreciated the "what- it-might-do" to the extent that I'm able to buy another ASM (analog) module for it, and that a patch editor was available for it. These are right-now things, and did have an impact on the purchase. In both of these cases, the units worked for me at the time of purchase. The DPM has gone on to different hands, but the MSR-2 is gonna be in my rack for a while. Exciting? Maybe not, but - in both cases - they were the right purchase at the time, and each was/is attractive to the hacker-mentality that I have toward hardware... I am concerned about the number of "uninformed" decisions (or opinions) regarding purchase of e-music gear, and the lack of forethought given to the purpose of that gear. To me, the purchase of a new peice of gear represents an enormous investment of time - literally dwarfing the initial cost of the unit itself. Hence, I try to examine, carefully, the units I'm interested in purchasing, and make appropriate decisions. In choosing a piece of gear, a main criteria is "Will this be worth the effort it takes to become competent?" I'm lucky enough to have a local dealer who will allow me time with a machine before purchase, and will not give me "sales-lit" pressure. Where has it gotten me? Well, I have a very few synths that I know quite well, and a decent knowledge about those I've not bought (despite some of the bone-head comments I've made in the past). Occasionally, my wife points out the stack of notebooks, full of drawings and notes, and giggles about the amount of work I do for play. However, I feel that this is the amount of effort I need to expend. I now have a system where there is limited unnecessary duplication of technology, and everything seems to work like I do. And I'm pretty happy... Now _that's_ exciting! [ddg] .............................................................................. Darwin Grosse . (414) 628-3045(h)/359-9800(w) . ddg@devlac.ems.com .............................................................................. ========================================================================= Date: Tue, 7 Mar 1995 14:04:57 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: really old wine. Comments: To: eml@physics.american.edu i think friesen missed my point. i've got the juno. i've got the jx, with a programmer. i've got the jd, with the sliders. i've got the prophet. i've got a pc1600, so i can get at the ob6 and the tx. i like knobs. i understand that aspect of the creative process very well, because it is the one i engage in most frequently. what i'm saying is that the marion costs more and offers less than an used ob6... that the ObMx dresses itself up like a real synthesizer, and then offers me the same architecture that i've already got half a dozen instances of: fixed signal path: OSC -> FILTER -> VCA. fixed control routes: Pitch EG, Filt EG, Amp EG; subaudio only LFOs. absolutely the only thing that seems to differentiate these things is the quality of their filters, and some variability in their LFO specs. oh, and hard sync. oh boy. (got that already, too). now, i have no problem with any of this per se... people need juno-like objects in their studios. the architecture is standard because it is classic and utilitarian. but if a company is going to tweak me with the "modular" buzzword, i want *modularity*. and there is no reason, given the current dsp capacities you see on these things, not to give it to me. to hell with onboard sequencers. i'd even be happy to drop some of the onboard processing. let me route! let me mix up the distinctions between signal, processing, control, and timing paths. and, frankly, there's no reason not to have the knobs, as well. as for the microwave... yeah, i know. the path is standard. but those filters really are good, and, as metlay mentioned, the whole fun is in the signal source. whee!! swept tables of grungy eight bit quarter cycle waves! nifty. and different. ========================================================================= Date: Tue, 7 Mar 1995 14:49:39 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Steve Jones Subject: The enigmatic (and inoperative) Siel [repost] Comments: To: SYNTH-L@AMERICAN.EDU, EMUSIC-L@AMERICAN.EDU Ok, I'm losing all hope. But I will appeal to all of you before I give up. I purchased, some years ago, a Siel kybrd (DK 700 ?). I got a real good deal on it and it featured some unusual stuff; I really liked it. The company has gone out of business and, of course, *the kybrd quit working*. I understand they were absorbed by Roland somehow. I need: 1) A schematic 2) Any diagnostic material 3) Any reference of any kind that might enable me to get it working again. Well, there you are... BTW, Does Roland have an EMail address? Thnx very much, -- Steve Jones stevejones@ansys.com ========================================================================= Date: Tue, 7 Mar 1995 19:29:41 GMT Reply-To: g.jalass@proaudio.de Sender: Electronic Music Discussion List From: Gert Jalass Organization: ProAudio Net Subject: Tangerine Dream, Kraftwerk Hi all, is anybody aware of a mailing list ( or discussion group ) focussing upon the two electronic music groups mentioned above ? Any hint will be appreciated, Gert --- OffRoad 0.99n ========================================================================= Date: Wed, 8 Mar 1995 09:18:05 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Pre-hispanic sounds Hi Aztec fans, is it possible - the ethnomusicologists out there might be able to answer this - that the traditional music of the indigenous people of the region where the Aztecs lived still contains some elements which might sound Aztec-like? Just guessing. Time to search those Lyrichord/Asch/Folkways/Ocora back catalogues. Regards, David musdr@lure.latrobe.edu.au P.S. Of course, the word 'Aztecs' has a certain resonance for our Australian correspondents over the age of 24; as in, Billy Thorpe and the...! ========================================================================= Date: Tue, 7 Mar 1995 17:34:32 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Robert Romero Subject: samples can anyone tell me where on the internet i can find a good collection of sample/wav files? ========================================================================= Date: Tue, 7 Mar 1995 16:09:45 -0800 Reply-To: bc492@scn.org Sender: Electronic Music Discussion List From: SCN User Subject: MAC? Hello, fellow EMUSIC-L subscribers! I'm building a MIDI studio, from the ground up, and after a long, tiring, drawn-out debate--with myself--I **think** I've come to settle on the platform appropriate to meet my needs: Macintosh. (I've heard it argued that, for digital audio, it IS the way to go.) Now, supposing I *do* go with the Mac, I would REALLY appreciate hearing from one or more of you knowlegeable men out there (this is not a sexist slip, for I've noticed the conspicious absence of female subscribers from this list) about what minimal hardware I'll need to get up-and-running. I intend to start off with one of the better sequencers (Visions, Cubace, Performer, or the like), and, should things go well, expand and upgrade to digital audio recording. I believe the Mac should be upgradeable to a Power Mac. Or, perhaps I should rethink my initial vision of going for a maximum polyphony synth (I'd considered replacing the Alesis QuadraSynth that I'd left behind in Amsterdam), and start off with a synth with less polyphony and a greater library, some sort of sampler, and manage to affect polyphony/multi-timbrality by means of digital audio multi-tracking. I *do* appreciate your coaching/guidance/comments! Lookin' foward to hearing from you (all)! Sincerely, Eric Sluyter ========================================================================= Date: Tue, 7 Mar 1995 19:53:30 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "L Mccoy (GD 1999)" Subject: On Laurie Anderson Comments: To: emusic-list My first experience with Laurie Anderson was as a Freshman undergrad back in '84-85. I remember the first lyric I heard, something about pink flamingos arranged in star patterns all over the lawn. Very intriguing artist. In addition to the discography provided by all on this list (excellent!) I can mention one book in which she is featured as one in a group of artists. There, she discusses some of her aesthetics. "The Guests Go In To Supper" (I don't have publisher info. here). Also featured is John Cage [during the period of neverending Cagefests], Robert Ashley [does someone have a videotape of his Perfect Lives?] and, yes, Yoko Ono. Now before we bring out the dead beatles jokes, we should remember that Ms. Ono was an artist before she met Mr. Lennon. Her vocal experiments are on the kitschy side, to be sure, but in the book, she seems to know what she's saying. Lucidity, however, is not verifiable through print. I find myself laughing quite a bit at her poems. But occasionally, there's something which causes a double-take. In any event, an interesting document. There is much of the self-conscious arteeest tone, but it doesn't really get in the way. Happy Reading, Sc. McCoy mcco5@minerva.cis.yale.edu ========================================================================= Date: Tue, 7 Mar 1995 22:58:58 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Earl Engleman User. New user need information on what to" Subject: Korg O1Wfd Any users of this equipment out there? Looking for people who would like to exchange information and possible sequences on midi files. PS looking for someone who might have notation music to the piano solo by Keith Emerson on the Black Moon CD. New guy on the block! Ewe1@AOL ========================================================================= Date: Tue, 7 Mar 1995 17:25:06 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Randy Budnikas Organization: Biola University Subject: frequency of scale.. unequal temperaments Comments: To: EMUSIC-L@AMERICAN.EDU >>In the classical music world, different keys were used because of the >>different characteristics of their tunings. D was typically sunny, while >>C-minor was dramatic. Although those reasons no longer hold because of >>equal temperament, it is quite instructive to dial up an earlier tuning >>and play with the keys. > >Hmm. So does the panel think that, under equal temperament, keys no longer >have different characters? In an orchestra, the keys still have character. D is still sunny, and C-minor is still dramatic. This is because of the amount of open strings played in those keys. The more open strings in a key, the brighter the sound. I don't know how D would sound "sunny" on an unequal tempered keyboard. I think it would sound out of tune, at least to my "equal tempered" ears. But at least keys still have character in orchestral pieces. Has anyone incorporated that idea into a set of string samples? Including open strings, I mean. Randy_Budnikas@bubbs.biola.edu ========================================================================= Date: Tue, 7 Mar 1995 16:19:14 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: Wavestation SR users & Re: Pseudomoduli Comments: To: emusic-l@american.edu > Date: Mon, 6 Mar 1995 17:59:44 +0100 > From: LISTSERV.AMERICAN.EDU!owner-emusic-l@ig2.att.att.com > Subject: Re: Wavestation SR users > > >Hi fellows Wavestation SR users, I'd like to exchange or trade sounds,tips or > >whatever you want,for this great machine.. > > I got an A/D. What sort of sounds have u got ? Self made, card dumps, > commercial disks ? I bought an SR yesterday (and an S-760) but I've resisted the temptation to join this conversation which I think would be better served on synth-l or a wavestation list (if one exists). I'm enjoying the Pseudomoduli discussion a bit more. I know that Nick wipes out the RAM when he gets a synth and gleefully begins designing new sounds. (Nick, do I correctly recall that you have or did have an SR?) I'm not the expert sound designer that Team Metlay people seem to be. I found that as I auditioned the SR's factory sounds, my compositional juices began stirring just a little. (Unfortunately, that's way more than they've flowed for far too long!) Is this a true surge of creativity or is it new toy syndrome? Time may tell. I'm imagining a multi on the SR that consists of all the neat wave sequences (excluding the drum loop-style sequences) where the sounds cross fade or jingle about in a sea of reverb. Play them all at once and then wipe out the RAM! Actually, I think that I'd like to try to recreate the feel of the Wavestation using combinations of my other machines. Imagine the Matrix-12/TX81Z/S-550/ Juno-106/DW8000/EX800/Mirage/D-110/MKS-20 swirly/dark/mysterious layer from hell. There ought to be an arpeggiator in there somewhere! Wish me luck. (Sorry for ranting on and on.) Bill Fox wbf@aloft.att.com P. S. WMUH (Muhlenberg college) in Allentown has an emusic show 2am to 6am every Saturday. The second Saturday back I heard Nick's piece from Bandwidth being played. I've heard that one and "March of the Plastic Ants" being announced, though I didn't wake soon enough to actually hear them. Way to go, guys!