========================================================================= Date: Tue, 21 Mar 1995 11:09:44 CET Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacek Latanowicz Subject: Re: M1 sticky keys Comments: To: Electronic Music Discussion List In-Reply-To: Message of Mon, 20 Mar 1995 17:19:25 +0000 from On Mon, 20 Mar 1995 17:19:25 +0000 Paul Bunn said: >On Mon, 20 Mar 1995, Jacek Latanowicz wrote: > >> Date: Mon, 20 Mar 1995 07:41:20 CET >> From: Jacek Latanowicz >> Subject: Re: M1 sticky keys >> >>"......it is to ammortisize the strokes. >> When it gets sticky, keys just glue to the sponge and don't come >> back. I used an wet very wet sponge to clean it and somehow minimized >> the effect of 'sticky keys'." > > `AMMORTISIZE' is a great word. > What does it mean?. >(A man not afraid to display his ignorance to the whole world). >I think I`ve spelt ignorance wrong-not sure-it`s been a long day. > The Chilli`s a-calling. >P.Bunn-id2h1644@lmu.ac.uk Hi, Yes, You are right. I used a word which probably doesn't exist in English. I'm sorry, I learned the language over 10 years ago, I rarely use it, and I was writing the message past my bedtime after a day full of work. You may display Your ignorance, You have a right to do so. I can just assure You that I wouldn't display my ignorance if You were making mistakes in Polish. I know that my input in this list is very small, if it offends anyone I can shut-up so no mistakes will be made. By ammortisizing I ment easing the strokes. If there wouldn't be this spongy tissue keys would make loud noises of plastic hitting metal. It is the main cause of sticky keys which do not come back to their position. Any average intelligent person would understand it from the context. I hope this time I didn't use out-of-tis-world words. Greetings, Jacek L. ------------------------------------------------------------------------- Jacek Latanowicz emails : jack@vm.amu.edu.pl Ul.Porzeczkowa 27 jlat@phys.amu.edu.pl 61-306 Poznan, Poland jlat@uci1.ae.poz.edu.pl Tel/Fax (+48-61) 798202 jlat@plearn.edu.pl ------------------------------------------------------------------------- ========================================================================= Date: Tue, 21 Mar 1995 08:52:01 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: Re: M1 sticky keys In-Reply-To: <199503211019.FAA140934@atlanta.american.edu> > > `AMMORTISIZE' is a great word. > > What does it mean?. > >(A man not afraid to display his ignorance to the whole world). Jacek, I believe the writer of this last sentence was refering to himself, not to you. So relax, no criticism of you was intended. And if it was, you can still take pride in the fact that your English is so good that we've all forgotten it's not your native language. Mark Simon mgs2@cornell.edu ========================================================================= Date: Tue, 21 Mar 1995 08:48:46 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Steinkamp Subject: Re: Middle C >I did my doctoral thesis on Middle C at Julliard. If anyone is interested, I >would be happy to email them a copy of my 87 page thesis. Here is a summary >of my findings: > >Middle C was discovered by primitive cave dwellers in Central Africa about >40,000 years ago. The legend is that the human skull (with no contents, of >course), when hit with a medium sized stick, would generate a very pleasant >tone. This tone was not too high, and not too low. Word spread around about >this pleasant sound (which took a few thousand years, since human language >hadn't quite been invented yet), and eventually this pitch was named >"Meddasee", which was the ancient word for "skull". Over time, the word >"meddasee" has transformed into what we now know as "middle C". I hope this >has enlightened you all. Are you being serious?...... 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: Tue, 21 Mar 1995 10:13:45 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Zeo Zigzags Subject: DAT MULTITRACKS COMPATIBLE WITH MAC Hi. I am a music composer very much involved in contemporary/actual/ electro-acoustic music. Since I work a lot with voices, I need to know what system would be the most efficient for me. I need something that is professional and can be printed on a CD or reworked on a MAC computer, using Performer, before being recopied. I thought about a D.A.T. multi-tracks that would be compatible with MAC, MIDI compatible and auto synchronizable with midi processers and a sequencer (SMPTE?). I am not a technician, so please, talk slowly... I was also wandering which is the best : the D.A.T., the VHS multi-tracks recorder or the last samplers on the market. I need to mix voices in perfect synchronicity with midi material. I hope this is not too confuse : my English is not bad for regular conversations but when it comes to technical explanations...Ouf! If you know any articles that could help me, please, tell me, or if you have any opinion, I would be very grateful for your help. Thank you again for your time. Please tell me what your back ground is, so I can situate better your point of view. Paul Lajoie ========================================================================= Date: Tue, 21 Mar 1995 10:55:08 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Phillip Djwa Subject: Women and Tech (fwd) Since there was that thread a while ago about women in e-music I thought this might be of some interest to those women composers of the group. >>Final Call for Information! >> >>Elizabeth Hinkle-Turner is currently completing the compilation of >>information and music for her text, Crossing the Line: Women Composers >>and Music Technology in the United States (tentatively Indiana University >>Press). Dr. Hinkle-Turner would appreciate any women who compose in the >>electro-acoustic medium (including computer music, electronic music, live >>electronics, instruments and tape, and videos with electro-acoustic >>soundtracks) to send her the following materials: 1. a curriculum >>vitae/bio 2. a list of all electro-acoustic works 3. a bibliography of >>any articles/books by or about the composer 4. a tape of some >>representative works. Women who have already submitted materials may send >>"updates" as needed. >> Composers need not be U.S. citizens to be included; they must >>simply be currently working in U.S. studios or received degrees from U.S. >>academic institutions. The text will include chapters on pioneers in the >>field, early electro-acoustic music educators and studio founders, >>multimedia artists, women in academia, some popular artists, and freelance >>composers. It is hoped that the work (scheduled for completion in fall >>1995) will be the first in a series featuring women's accomplishments in >>music technology all over the world. >> All materials should be sent to: Dr. Elizabeth Hinkle-Turner, >>603 W. Barbara Drive, Tolono IL 61880 or email: >>t-turner@ux1.cso.uiuc.edu. If composers have >>questions please call 217-485-5863. >> >>******************************************************* >> >>Thanks for everything! Elizabeth Hinkle-Turner >> University of Illinois at Urbana-Champaign ******************************************************* "Past the rocky road of association,through the gulf of misunderstanding, and into the sea of confusion." Phillip Djwa (djwap@rpi.edu) http://www.rpi.edu/~djwap ***************(((((((( 0 ))))))))))******************* ========================================================================= Date: Tue, 21 Mar 1995 17:42:39 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michel Fingerhut Subject: IRCAM Open Doors April 8-9, 1995, 2pm-9pm Comments: To: audio-l@itesmvf1.bitnet, csound@noether.ex.ac.uk, emusic-l@american.edu, max@mcgill1.bitnet, nextmusic@eecs.umich.edu, sound@acm.org, synth-l@american.edu For the 4th consecutive year, IRCAM (the French research and education center in acoustics and music) will hold its open-door weekend, offering free lectures, concerts and demos. Full information (in French) is available on WWW, at: If you're in Paris, please drop in. You'll be welcome. Michael ========================================================================= Date: Tue, 21 Mar 1995 10:59:00 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Craig Marks Subject: music copyist Comments: To: emusic-l Does anybody out there know about the standard charges for a music copyist? How much do they charge? How do they charge -- is so much per page? per measure? per measure per part (i.e. # of measures x # of parts)? I'm trying to figure out what I should be expecting to pay. Thank you for sharing all of your infinite knowledge. --Craig ========================================================================= Date: Tue, 21 Mar 1995 14:32:05 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bill Threlkeld Subject: Freelance writer needs info/input I'm currently compiling information for an article I'm writing for a music industry trade publication called Music, Inc. My assignment is to research and interview various musicians who have had experiences buying products via mail order (such as Musicians Friend, Sam Ash, etc.) Anyone interested in helping out and possibly being quoted in the article, please contact me via email at BillTh@AOL.COM. Thanks for your help. ========================================================================= Date: Tue, 21 Mar 1995 16:30:43 U Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Hall, Troy" Subject: Re: music copyist >Does anybody out there know about the standard charges for a music copyist? >How much do they charge? How do they charge -- is so much per page? per >measure? per measure per part (i.e. # of measures x # of parts)? I believe a music copyist is typically paid by the page. The experience I have had has been with jazz musicians, and the going rate was $5-10 per 8-staff handwritten page. The range of prices accounts for the varying quality. -Troy Hall ========================================================================= Date: Tue, 21 Mar 1995 21:12:56 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Re: Middle C In <9503200950.aa06382@ergo.sco.com> Andrew Sharpe wrote: > Table 2: Summary of MIDI Note Numbers for Different Octaves > (adapted from "MIDI by the Numbers" by D. Valenti - Electronic Musician 2/88) Er, that wouldn't be DINO Valenti would it? ### ### ## # # # # It's just that a good friend of mine is really ### # # ## on Quicksilver, and any related URLs/addresses would be # # # # # greatly appreciated. Thanks in advance! ### ### ## __ ____ ________________________________________________________/ _\(___ \_______ // / / / / ( / \ \ / - thomasjeromenewton - // / / / / \L __ \_) / // / KLAUSTROPHONIA //.\/\/. \-'\ / newty@newty.demon.co.uk // / / / / / \_/| \__/ _/ / // / / / / / ( |_ / / zu ----------------------------------------------------------\ __ /-------- \___/ ========================================================================= Date: Tue, 21 Mar 1995 20:55:28 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Re: Sample Users Database In Paul Bunn wrote: > I`m afraid I don`t know of any database-could be a > dangerous thing to have hanging around though.I think I`d be tempted into > laziness and would take my samples from their instead of taking the time > to route out my own. You're absolutely right, of course. My innocent little anorakronism would be a copyright lawyer's dream(/nightmare)! I must confess to hardly ever using samples of other peoples music in my stuff, preferring to go completely DIY or just hack stuff off TV. Dreadful snob see ;-) > I used to be quite into the PRODIGY style of sampling,taking Our good mate Mr Howlett eh, NOW we're talking! Incidentally, any idea where that Vincent Price sample on 'Experience' was actually used? [Newton brushes aside old issues of 'Stockhausen Ripper's Weekly' and reaches for his tea-stained notebook] > into Frank Zappa these days-bit more mad,actually doing your own live > samples,bit like some kind of radio play-still nick my break-beats from My place was completely gutted for renovation work last year, builders all over the place. Made sure I had a 2-hour DAT miked up while I was away at work. Quite honestly, best drums I've EVER had! Move over Neubatuten. > record though,and a few nice jazz bits and pieces.Haven`t sampled any > scratchers from record,always find it too recognisable-get a friend into > the studio instead. > Anyway,I`m babbling,got to go home and eat chilli, Scratchers? [shoulders twitch] Don't you mean 'widgee-widgees'? I do these on an open reel tape deck myself (a la Russian DJs). Let that be an end to it! Oh, er, any chance of sampling that chilli? __ ____ ________________________________________________________/ _\(___ \_______ // / / / / ( / \ \ / - thomasjeromenewton - // / / / / \L __ \_) / // / KLAUSTROPHONIA //.\/\/. \-'\ / newty@newty.demon.co.uk // / / / / / \_/| \__/ _/ / // / / / / / ( |_ / / zu ----------------------------------------------------------\ __ /-------- \___/ ========================================================================= Date: Tue, 21 Mar 1995 17:10:55 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jim McElhiney Subject: Re: Freelance writer needs in... I purchase products viva mail order for my midi studio. I am currently beta testing Quad V1.1 from Turtle Beach and have reviewed product for the computer industry over the years. I have some spare time in which I could help you. Sincerely, Jim McElhiney ========================================================================= Date: Tue, 21 Mar 1995 19:00:08 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Jim Martinez." Subject: Re: music copyist Contact A# Music Company...they have all knids of fixed rates. They are a national company and are located here in Sacramento, CA. Look it up in directory or call 916*555-1212. I'm sorry, I don't have it handy. Good Luck, Jim Martinez ========================================================================= Date: Tue, 21 Mar 1995 18:23:21 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Eugene Subject: Re: music copyist In-Reply-To: Message of Tue, 21 Mar 1995 16:30:43 U from On Tue, 21 Mar 1995 16:30:43 U Hall, Troy said: >>Does anybody out there know about the standard charges for a music copyist? >>How much do they charge? How do they charge -- is so much per page? per >>measure? per measure per part (i.e. # of measures x # of parts)? > >I believe a music copyist is typically paid by the page. The experience I >have had has been with jazz musicians, and the going rate was $5-10 per >8-staff handwritten page. The range of prices accounts for the varying >quality. > Along this same line of inquiry...how much is the going rate for transcriptions of previously recorded music? >-Troy Hall Eugene ========================================================================= Date: Tue, 21 Mar 1995 17:19:17 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Richard Jordan Subject: midi to soundcard diagram Once I had a schematic to make a midi adapater for soundcards having a d15 gameport midi in/out - I remember it as fairly straight forward, but lost the schematic on a HD crash some time ago - now its time to hook a synth up to a pc soundcard and I'm wondering if someone still has the pinouts or a schematic. Yes I know you can buy one for $40, but I've already got the parts. thanks richard ========================================================================= Date: Wed, 22 Mar 1995 14:07:25 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: DAT MULTITRACKS COMPATIBLE WITH MAC Hi Paul, I'll try not to make this too technical. > I thought about a D.A.T. multi-tracks Do you mean units like the Alesis ADAT or the Tascam DA88? I hope so, because to use a normall stereo DAT woulld require that you use a time code capable DAT machine, and they are VERY expensive. > MIDI compatible and auto synchronizable with midi > processers and a sequencer (SMPTE?) Yes, SMPTE time code would be the way to do this. The ADAT's BRC unit takes the internal ADAT time code and makes it available as SMPTE (and maybe even as MIDI song position pointers and clock - I'm not sure about this). However, if you are using only one ADAT (8 tracks only), a BRC (Big REmote Control which serves as a synchroniser for multiple ADATs) is a bit of overkill. It really is useful when you have more than one. Arne Claassen just wrote to the list (or was it synth-l?) about a JL Cooper unit which does the MIDI/SMPTE synchro- nising without the other BRC capabilities. Perrhaps you saw his message; perhaps this or a similar device would serve you. I'm not sure about the DA88. It might have a SMPTE output, in which case you can connect that to your SMPTE-to-MIDI time code converter which will then connect to your computer. A general schematic would be... DIGITAL SMPTE SMPTE->MTC COMPUTER WITH MULTI- ---> EXTRACTION ----------> CONVERTER --> MIDI INTERFACE TRACK DEVICE AND SEQUENCER > multi-tracks recorder You must mean the ADAT and similar units. An alternative would be a hard disk recorder like the Digidesign gear or SADIE (or any number of others for PC/ Mac). But whether this suits you might depend on whether you have to synch MIDI to pre-recroded voices or record both at the same time or synch voices to prerecorded MIDI. If you could explain your intended use regarding acoustic recording and MIDI data, this might help us find a solution. I'm sure others on the list could help, too, so I'm writing this to the list rather than privately. Hope this helps, David Rodger ========================================================================= Date: Tue, 21 Mar 1995 22:53:44 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Black Subject: Re: music copyist =Does anybody out there know about the standard charges =for a music copyist? =How much do they charge? How do they charge -- is so =much per page? per =measure? per measure per part (i.e. # of measures x # =of parts)? I'm =trying to figure out what I should be expecting to pay. =Thank you for sharing =all of your infinite knowledge. --Craig I have done copying for Network TV as well as TV promotionals, etc. I would be glad to help anyone out with info. Info me directly about specifics. Michael Black MBProds@aol.com ========================================================================= Date: Wed, 22 Mar 1995 08:50:36 +1900 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Carnes Subject: Re: music copyist In-Reply-To: <199503220600.BAA125239@atlanta.american.edu> ---------- X-Sun-Data-Type: text X-Sun-Data-Description: text X-Sun-Data-Name: text X-Sun-Content-Lines: 12 X-Sun-Content-Length: 788 I don't know the 'standard' charges now, but back in the days of pen and ink, you might expect to pay a couple of bucks a page. With the advent of inexpensive computers and programs like Finale, Mosaic, etc, the bottom pretty much fell out of that market. A lot of people buy computers in the hopes that they can make a small business out of music copying, but few succeed. Given that copy charges for an average orchestral piece could run you several hundred dollars, you might consider buying a computer (if you don't already have one), a nice inkjet printer and a music layout program. If you're a serious musician, it will pay for itself very quickly. An added benefit is that you can revise your music without having to worry about how much it will cost you to recopy. Good luck. ========================================================================= Date: Wed, 22 Mar 1995 09:54:10 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: The genesis of a CD: the _Shatterday_ project Comments: To: emusic-l I'm following my own advice from earlier this month here: I've recently (with the help of Metlay) finished getting a CD produced and pressed, and I wanted to share some of the lessons learned and the decision-making process that I went through in getting to a final product. My goal in choosing electronic music as a means of expression has always been to produce a saleable musical product. All of my decisions, from my initial forays into the musical instrument market to the production of the CD, have been based on the following criteria: - Professional-quality product on a small budget - Simplify as much as possible without compromising quality Settling on these two rules helped greatly to focus the decisions I had to Make to get started and to complete the CD. My first decision was how I would choose to create my music. I wanted a platform which would yield me as much flexibility as possible with a minimum amount of investment, as I had enough to buy one keyboard and no more. . I also decided that the more self-contained I could make my studio, the better. (I was working in a very small space and sharing one 512K Macintosh.) After several months of research, I settled on the Ensoniq VFXsd. It is a very programmable instrument; it has an onboard sequencer and disk drive, thus allowing me to avoid using a computer at all and removing MIDI problems as a consideration; and I found the machine simple to operate and pleasant to use. It was easy for me to get high-quality results with the capabilities of this single instrument alone, and I decided to focus on just this synth for my first album. My working technique during the basic writing phase consisted of many short bursts of work spread over approximately a two-year period. The VFXsd supports this working paradigm nicely with its battery-backed-up sequencer memory. It is possible to work for an hour or so, turn off the machine, and come back later and resume work in a few seconds. This made the compositional process much simpler, because I knew I could grab some time whenever I had it without having to spend a lot of time in setup and shutdown. Also having the entire studio in a single box allowed me to pack it up and take it with me easily. This allowed me to write whenever the inspiration struck, in locations as diverse as a beach house in North Carolina and an RV parked at a construction site. This greatly simplified the writing process. It became obvious to me during the course of this work that the music I was making was not well-suited for reproduction on cassette. Some preliminary versions of pieces were submitted to compilation tapes, and I had done an extremely small release of Christmas music for family and friends on cassette. These efforts showed me that this medium was inadequate for the wide dynamic ranges I was using. I decided that the music would have to be released on CD for it to sound right. Better to wait and get a higher-quality product than go faster and cheaper. Metlay had heard a scratch master tape of most of _Shatterday_ in 1992 at the Saturnalia sessions, and encouraged me to release the CD (sometime) through Atomic City records, his record company. I had, at the time, financial committments too large to allow me to contemplate doing this, but kept it in mind. Over the next two years, I refined some of the tracks and wrote a few new ones. Mike and I continued to consult over this period; I kept a sharp eye on what he'd spent to finance his _Bandwidth_ release, and made notes on where the money went. I decided that if I could ever come up with about $3000, and I did everything possible to keep art costs down, I would have enough to get the CD pressed. At the end of 1994, I finally acquired sufficient cash to go ahead with the project. The album was mastered to DAT at the Team Metlay sessions in Tallahassee FL in January of this year (see Mike's post on SYNTH-L for details on that), and the process began. We used Lyons Digital Media in Tallahassee to do the booklet and tray card; Jon Lyons was well-acquainted with the making of CD inserts and tray cards, and certainly saved a lot of time. High quality does not come cheap, however. The art and layout bill totalled nearly half of the production costs. I was prepared for this, but most first-timers might be surprised. To save as much as possible here, try to have camera-ready artwork or files at a minimum of 300 dpi so that the digital artwork time can be cut. My digital originals were 72 dpi, so a lot of time was spent cleaning them up to print quality. Also, having a basic concept for how the album should look (and sticking to it!) will save you money. Mike arranged most of the pressing details; it was done at Cyberdisk, a division of Europadisk in New York. Suffice it to say that the basic technical detail is providing a good, clean DAT copy with the index points set properly (Mike had to fix one by hand on the DAT master before sending it). Once that's done, the technical details of pressing are minor.Cyberdisk got the tape, sent me a CD-R master, which I listened to and approved, and the CD was then pressed and shipped to me. One item of interest: Cyberdisk (and other pressing houses, I'm sure) reserve the right to run as much as 10% under or over on your order. This can mean that (as happened in my case) you might receive part of a run without inserts ot tray cards, simply because the pressing run was larger than the print run. I'm probably going to use the cardless ones as promo copies, but I'm still going to have to come up with some inserts so the receiving parties can contact me. Final breakdown, including art costs, pressing costs, and shipping was about $2500. This doesn't include travel costs from the Tallahassee trip, nor does it include the savings from doing my own artwork, being able to leverage a photo from the Team Metlay photo shoot, and having the slack session time to record the DAT master in. Being able to record the master in a professional-level studio for (essentially) free probably saved me more money than anything else (thanks again, Mike). Had I had to do it at home, I would have had to spend around another $2500 or so on equipment - a few external processors and the DAT - and I wouldn't have had the services of DAC Crowell, our brilliant engineer.) All in all, the total time from when the DAT master was completed to when CDs arrived, ready to go, was 3 months. The turnaround time could have been shortened considerably by my moving a little faster on my end, but I think this is still pretty quick. Cyberdisk did a good job - the package looks marvelous, and it sounds excellent. I would definitely recommend going with a CD release if you can afford it - given production prices in the $3000 range for 1000 CDs, this really is a viable alternative. I hope I'll hear that more people will try it. It's really easier than yuou think. The hard part, of course, is going to be getting these guys marketed. More on what works and what doesn't as I learn it. :) If you want more info about _Shatterday_ specifically, write to me directly. If you want to ask Mike about Atomic City Records or other releases, write to atomic-city@netcom.com. --- Joe M. ========================================================================= Date: Wed, 22 Mar 1995 10:16:02 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Macalester College Music Department Subject: FreeStyle Can anyone (or three) give me some reaction to the new program FreeStyle by MotU? Is it good for beginning students, as opposed to going right into Performer? Can you tell me of your experiences teaching with this package? Reply direct unless others indicate a general interest. Thanks to the collective wisdom +-----------------------------------------------------------------------+ + Ed Forner Macalester College Music Department + + forner@macalstr.edu voice (612) 696-6189 + +-----------------------------------------------------------------------+ ========================================================================= Date: Wed, 22 Mar 1995 10:27:22 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arne Claassen ISE Subject: Re: DAT MULTITRACKS COMPATIBLE WITH MAC In-Reply-To: <01HOFT6PEN2W8ZGUY5@LURE.LATROBE.EDU.AU> from "David Rodger" at Mar 22, 95 02:07:25 pm > Yes, SMPTE time code would be the way to do this. The ADAT's BRC unit takes > the internal ADAT time code and makes it available as SMPTE (and maybe even as > MIDI song position pointers and clock - I'm not sure about this). I'm not surte of the terminology, but i'm pretty sure that the BRC does the song position pointer in addition to the clock, since when we had my Mac synced to the BRC, the sequencer would start up in the right places on punch-ins, which was really great. > However, if > you are using only one ADAT (8 tracks only), a BRC (Big REmote Control which > serves as a synchroniser for multiple ADATs) is a bit of overkill. It really > is useful when you have more than one. Arne Claassen just wrote to the list > (or was it synth-l?) about a JL Cooper unit which does the MIDI/SMPTE synchro- > nising without the other BRC capabilities. Perrhaps you saw his message; That was my main concern with the JLCooper. Does it just do midi clock, or the whole MIDI time code, to allow flawless piunch-ins... Arne -- Arne F. Claassen On the Web: ----------------------------------------------------------------------------- "The usual issues of societally-induced female technophobia are always raised [in discussions about the lack of female emusicians], but I have to admit that the possibility of trapping to extinction never came up" (mike metlay) ========================================================================= Date: Wed, 22 Mar 1995 13:14:43 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: FNELSON@OCVAXA.CC.OBERLIN.EDU Subject: Oberlin Summer Workshops Comments: To: emusic-l@AMERICAN.EDU Two Workshops in Electronic and Computer Music TIMARA Department Conservatory of Music Oberlin College July 16-22 & July 23-29 Gary Lee Nelson, Director The Conservatory of Music at Oberlin College invites you to participate in the 1995 workshops in electronic and computer music. We started these workshops in 1986 so this will be our tenth year. Our students have ranged from high school age to retirees. We welcome people from other colleges. We also invite professionals, teachers, and hobbyists . These workshops are for anyone who wants to enrich their understanding of new music media. Daily lectures and demonstrations will introduce you to each topic. Supervised laboratories will guide you through hands-on experience with new technology. Listening and discussion sessions will expand your familiarity with the literature of electronic music. We will give special attention to the esthetic issues raised by this new way of making music. The workshops are progressive and focused on original composition. The program provides continuity with minimal overlap or repetition in the two weeks. Former students have benefited most by attending both weeks. If you enroll for only one week it must be the first week. In the second workshop we build on the skills you acquire in the first. The workshops are Macintosh based and the topics we cover include: sequencing (Vision, MusicShop, Performer) music printing (Finale) synthesizer programming (Galaxy) sampling (Sound Designer, Alchemy, TurboSynth) alternate MIDI controllers algorithmic composition (M, MAX) If you want a more detailed description via email, send a message to: fnelson@ocvaxa.cc.oberlin.edu or have a look at the TIMARA WWW page under "Summer Workshop http://www.oberlin.edu/~timara/timara.html If you want a brochure and registration forms, include your snail mail address or write directly to the address below. Office of Outreach Programs Conservatory of Music Oberlin College Oberlin, OH 44074 (216) 775-8044 ========================================================================= Date: Wed, 22 Mar 1995 19:09:10 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Middle C >>Middle C was discovered by primitive cave dwellers in Central Africa about >>40,000 years ago. >Are you being serious?...... Oh, he is; I've read his thesis. It also notes that Japanese skulls are slightly smaller, which is why concert A on modern Japanese equipment is 442Hz, not 440Hz. 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: Wed, 22 Mar 1995 19:08:56 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: middle c >These are often marked with >the options as 'Standard' or 'Yamaha', which suggests that many people >think that the C4 = 60 version is the correct one. I think MAX has "Note Names" and "Note Names C4"; my recollection from years ago was that Roland were the odd ones out with C4. I'm pretty sure Performer uses C3 (ie. note 0 is C-2). The Peavey fader-box is the same; I don't remember offhand what's used by the R-8 in its programming, or the numerous other synthy boxes sitting here. Someone buy me a beer and I'll draw up a list. 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: Thu, 23 Mar 1995 03:44:58 +1900 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List Comments: Due to equipment limitation - the note contents is in UPPER CASE. From: YOAV ALMOG Subject: ENSONIC E-MAIL ADDRESS HI THERE ! CAN ANY BODY SEND ME THE ADDRESS OF ENSONIC THE MANUF. OF TS-10 SYNTHESIZER. THANKS IN ADVANCE. YOAV. ========================================================================= Date: Thu, 23 Mar 1995 13:05:22 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul Bunn Subject: Re: M1 sticky keys In-Reply-To: On Tue, 21 Mar 1995, Mark G Simon wrote: > > > `AMMORTISIZE' is a great word. > > > What does it mean?. > > Jacek, I believe the writer of this last sentence was refering to > himself, not to you. So relax, no criticism of you was intended. > Mark Simon > mgs2@cornell.edu > Sorry,didn`t mean to offend you Jacek.I`d never actually heard of the word and was seriously requesting a definition.I`ll try to word my mail a little better in future. P.Bunn-id2h1644@lmu.ac.uk ========================================================================= Date: Thu, 23 Mar 1995 09:20:05 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Carnes Subject: Re: middle c In-Reply-To: <199503230600.BAA85559@atlanta.american.edu> ---------- X-Sun-Data-Type: text X-Sun-Data-Description: text X-Sun-Data-Name: text X-Sun-Content-Lines: 2 X-Sun-Content-Length: 206 Please, please, let's not get started up on the great historic battle between the followers of middle 'C' and the proponents of 'A'. That was far too nasty and vitriolic to bring up in this civilized forum. ========================================================================= Date: Thu, 23 Mar 1995 11:51:33 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Kimo Huynh Subject: ##Looking for a Roland JV880## Hello my friends out there, I'm Looking For a JV880 or similar module. I Run a Computer Store and I'm Willing to Trade for Any Computer Parts W/ Warranty. EMAIL me AT KIMO HUYNH@AOL.COM Thanks for Listening. ========================================================================= Date: Thu, 23 Mar 1995 17:37:21 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Re: Middle C Andrew Sharpe recently wrote: > Table 2: Summary of MIDI Note Numbers for Different Octaves > (adapted from "MIDI by the Numbers" by D. Valenti - Electronic Musician 2/88) Er, that wouldn't be DINO Valenti would it? ### ### ## # # # # It's just that a good friend of mine is really ### # # ## on Quicksilver, and any related URLs/addresses would be # # # # # greatly appreciated. Thanks in advance! ### ### ## __ ____ ________________________________________________________/ _\(___ \_______ // / / / / ( / \ \ / - thomasjeromenewton - // / / / / \L __ \_) / // / KLAUSTROPHONIA //.\/\/. \-'\ / newty@newty.demon.co.uk // / / / / / \_/| \__/ _/ / // / / / / / ( |_ / / zu ----------------------------------------------------------\ __ /-------- \___/ ========================================================================= Date: Thu, 23 Mar 1995 10:55:15 U Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Hall, Troy" Subject: M. Subotnick: "The Return" I had the opportunity in the spring of 1987 to attend a "performance" of a piece by Morton Subotnick (sic?) of a piece I believe was called "The Return", commemorating the return of Halley's Comet. For the record (in case anyone really cares), it was sponsored by the electronic music lab at RPI, and occurred in some on-campus chapel. The piece was executed on those old rack-mount DX7 things with a Yamaha Q1 (?) sequencer controlling the whole thing. I believe the same set-up was used in the recording. Although I heard the whole thing only twice, once on vinyl, and once on disk (5 1/4" - five of them, at the above performance), the composition still influences my approach to listening and creating music on electr(on)ic devices. I would like to hear it again. Has anyone heard of Morton Subotnick? (I was told back when that he is/was somewhat of a pioneer in e-music.) Does anyone know of where or how I can locate his recordings, either via the record company, music publisher, or record store (pref. in NYC/NJ area)? I would much appreciate any help, and would also encourage all to investigate on their own the music of this composer. -Troy Hall BTW - is there much actual *music* discussed on this list? I have seen mention of Laurie Anderson, Kraftwerk, and Tangerine Dream in a few articles. It's great to see these names and to expound their virtues to the uninitiated, but talking about them here is a little like talking about the novelty of the internal combustion engine in a discussion list on cars. ( %-{ ) I'd love to hear from people out there about innovators, unknowns, artists that are doing things that sound great and/or mean a lot. If you suggest an artist or recording, say something about it, hopefully beyond "duuude, wow". Again (and I'm going for major flame risk): does a discussion of paintings necessitate the discussion of paint brushes, paints, easels, and canvas? does a discussion of music necessitate the ... ========================================================================= Date: Thu, 23 Mar 1995 15:51:44 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "L Mccoy (GD 1999)" Subject: Subot. whereabouts Comments: To: emusic-list Troy I don't know where he is at now. But he might be a faculty member somewhere, so I'll check for you. Your question about 'technique' isn't flamebait at all, it's simply a provocative issue. One of the many tragedies in this post---- world is that the anxiety to name something discourages reflection. Some of the best minds, the most passionate people, are lost in various overworked jargon factories. To extend your analogy, (a very good one, I might add): I would hope that discussions of internal combustion engines, as well as the style of floormats, are open territory. Now, there are some people who believe that if you begin discussing carbeurators, then you are unqualified to discuss fuzzy dice. But I'd like to think that this list's scope is a bit larger. like, okay, see you later, Scott McCoy mcco5@minerva.cis.yale.edu ========================================================================= Date: Thu, 23 Mar 1995 16:05:46 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jon Crystal Subject: Re: M. Subotnick: "The Return" >I had the opportunity in the spring of 1987 to attend a "performance" of a >piece by Morton Subotnick (sic?) of a piece I believe was called "The >Return", commemorating the return of Halley's Comet. > It is available on CD - I own it and enjoy it. Check with any major distributor. Jon ========================================================================= Date: Thu, 23 Mar 1995 17:25:27 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pete Schoenhoff Subject: Masters in Music Technology (fwd) Friends, On another discussion board, this posting came up. It is from a music educator's board. I offered to pass it on here, to see if y'all knew of some answers. Can anybody help here? ->A friend of mine, who has completed her masters in choral conducting, is ->looking for a masters or doctoral program in music technology. I know of one ->at New York University, but I haven't heard about any others. Do any of you ->have any information on programs that are out there? Please feel free to just send answers to me: no use cluttering the board space if nobody else is interested. Thanks in advance! -Pete Schoenhoff pschoenh@pen.k12.va.us ========================================================================= Date: Thu, 23 Mar 1995 18:16:16 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: M. Subotnick: "The Return" In-Reply-To: from "Hall, Troy" at Mar 23, 95 10:55:15 am > I had the opportunity in the spring of 1987 to attend a "performance" of a > piece by Morton Subotnick (sic?) of a piece I believe was called "The > Return", commemorating the return of Halley's Comet. > Yes, this is available on CD from Nonesuch, I believe. His "Silver Apples of the Moon" has been rereleased on CD, as has "The Wild Bull". > Has anyone heard of Morton Subotnick? (I was told back when that he is/was > somewhat of a pioneer in e-music.) Does anyone know of where or how I can > locate his recordings, either via the record company, music publisher, or > record store (pref. in NYC/NJ area)? Nonesuch was and Is the label which was releasing his works. I have seen "The Wild Bull" and "Silver Apples" at Tower records, filed under Subotnick. CHeck the "electronic music" area as well. > I would much appreciate any help, and would also encourage all to investigate > on their own the music of this composer. Yes, he handles timbres extremely well. I *wish* Nonesuch would rerelease "Sidewinder"; that, I think, is probably my favorite of his works. Very threatening, creepy music. > BTW - is there much actual *music* discussed on this list? I have seen > mention of Laurie Anderson, Kraftwerk, and Tangerine Dream in a few articles. > It's great to see these names and to expound their virtues to the > uninitiated, but talking about them here is a little like talking about the > novelty of the internal combustion engine in a discussion list on cars. ( %-{ > ) At times. We tend to discuss artists who are influential on our personal approaches more often, I think. The floor is open for any discussion you care to get going. Most conversations tend to be (mostly) the same people, and we of course have our own personal little hot lists of things we like. I'd like to recommend the works of Charles Dodge, especially "Speech Songs". Great, great and funny stuff. "Earth's magnetic Field" didn't do much for me. If you can find it (and it's hard to find), get hold of Richard Trythall's "Omaggio a Jerry Lee Lewis". This is a completely-off-the-wall musique concrete remix of "Whole Lotta Shakin' Goin' On" that reduced me to completely helpless laughter the first time I heard it. Just incredible. I'm not sure it's still in print, though. Along the same lines, Mark Gunderson (also known as the Evolution Control Committee) has done some of the most inspired resampling and collage I have ever heard. His "Gunderphonics" tape, which Metlay mentioned sometime back, is a masterpiece of seamless editing. A children's "ethics training" record is edited down into a fascistic chant of "Make the right choice! Do the right thing!". Bush's speech on the eve of the Gulf war is lightly edited and made to stand completely on its head. The entire Led Zepplin opus is patched together into a single song that comes frighteningly close to making sense. FInd these. (Mike, post Gunderson's address, hmm?) --- Joe M. ========================================================================= Date: Thu, 23 Mar 1995 18:18:31 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: ##Looking for a Roland JV880## In-Reply-To: <950323114723_58627008@aol.com> from "Kimo Huynh" at Mar 23, 95 11:51:33 am > > Hello my friends out there, > I'm Looking For a JV880 or similar module. > Kimo, you're more likely to find someone to help you on SYNTH-L@american.edu. I suggest you try there. We try not to post ads on this list just to keep the quality of conversation high. --- Joe M. ========================================================================= Date: Thu, 23 Mar 1995 23:30:43 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Re: M. Subotnick: "The Return" Troy Hall spake thus: >Has anyone heard of Morton Subotnick? (I was told back when that he is/was >somewhat of a pioneer in e-music.) Does anyone know of where or how I can >locate his recordings, either via the record company, music publisher, or >record store (pref. in NYC/NJ area)? I don't think I've heard "The Return", but I am familiar and positively barking over his early stuff. I'd sell my body parts to have "The Wild Bull" on CD! Is there such a release? And does anyone in the UK know any record stores that are strong on early electroacoustic stuff? (Apart from Harold Moores) __ ____ ________________________________________________________/ _\(___ \_______ // / / / / ( / \ \ / - thomasjeromenewton - // / / / / \L __ \_) / // / KLAUSTROPHONIA //.\/\/. \-'\ / newty@newty.demon.co.uk // / / / / / \_/| \__/ _/ / // / / / / / ( |_ / / zu ----------------------------------------------------------\ __ /-------- \___/ ========================================================================= Date: Fri, 24 Mar 1995 13:16:22 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Masters in Music Technology (fwd) Hi Pete, your friend (looking for the program in music technology) should have a look at the March edition of Mix magazine. Although it is not about music tech programs per se, it mentions a number of schools where recording courses are available. Many of them offer music tech, too. Also, I'm sure Mix puts out a directory of these sorts of schools, or that a directory appears in a yearbook of directories, also by them (not part of the normal monthly magazine). Hope this helps, David musdr@lure.latrobe.edu.au ========================================================================= Date: Thu, 23 Mar 1995 21:20:16 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Shelton Leigh Palmer Subject: Re: Masters in Music Technolo... Yes, its called "Get A Job!" ========================================================================= Date: Thu, 23 Mar 1995 22:08:00 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter_Mueller@UCSDLIBRARY.UCSD.EDU Subject: Re[2]: M. Subotnick: "The Return" Troy Hall spake thus: >Has anyone heard of Morton Subotnick? (I was told back when that he is/was >somewhat of a pioneer in e-music.) Does anyone know of where or how I can >locate his recordings, either via the record company, music publisher, or >record store (pref. in NYC/NJ area)? I don't think I've heard "The Return", but I am familiar and positively barking over his early stuff. I'd sell my body parts to have "The Wild Bull" on CD! Is there such a release? Yes, it is on Wergo (WER 2035-2) at least that's what the new Scwann says. And does anyone in the UK know any record stores that are strong on early electroacoustic stuff? (Apart from Harold Moores) __ ____ ________________________________________________________/ _\(___ \_______ // / / / / ( / \ \ / - thomasjeromenewton - // / / / / \L __ \_) / // / KLAUSTROPHONIA //.\/\/. \-'\ / newty@newty.demon.co.uk // / / / / / \_/| \__/ _/ / // / / / / / ( |_ / / zu ----------------------------------------------------------\ __ /-------- \___/ >-- Saved internet headers (useful for debugging) >Received: from atlanta.american.edu by mail.ucsd.edu; id SAA15468 sendmail 8.6. >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 post.demon.co.uk (post.demon.co.uk [158.152.1.72]) by a >Received: from newty.demon.co.uk by post.demon.co.uk id ab04660; 23 Mar 95 >Received: by newty.demon.co.uk (V1.16/Amiga) id AA0007z; Thu, 23 Mar 95 >X-MailViewer: Mail 1.12 >Message-ID: <9503232330.AA0007y@newty.demon.co.uk> >Date: Thu, 23 Mar 1995 23:30:43 GMT >Reply-To: Electronic Music Discussion List >Sender: Electronic Music Discussion List >From: Thomas Jerome Newton >Organization: Klaustrophonia >Subject: Re: M. Subotnick: "The Return" >To: Multiple recipients of list EMUSIC-L Sender: Electronic Music Discussion List From: "Robert G. Simpson" Subject: Re: DAT MULTITRACKS COMPATIBL... Let's not rule out samplers. Roland has that new phrase sampler,. the MS-1, listing at about $600. Or...hard disk recorders. SMPTE compatible, the AKAI DR4D is only 4 tracks, but for 6Gs, Roland will sell you an 8 track (the DM-800). Oh, heavens! There's a million ways to do this, and each more expensive than the last! ========================================================================= Date: Fri, 24 Mar 1995 07:05:07 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Aaron Soule' Subject: kawai xd-50 Comments: To: emusic-l@american.edu Hello, Is anyone familiar with the Kawai xd-50? Also, what's is General Midi, or how is it different that Plain old MIDI? any help would be appreciated. Thanks Aaron Soule' ========================================================================= Date: Fri, 24 Mar 1995 13:24:12 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Music tech schools Comments: To: emusic-l@american.edu Hi emusicers, Pete recently asked about music tech programs. I was looking back through some of my old mail and I found this... Regards David Rodger ============================================================================ From: IN%"algo-comp@heinous.isca.uiowa.edu" 17-NOV-1994 04:39:52.65 To: IN%"algo-comp@heinous.isca.uiowa.edu" CC: Subj: Schools From: FNELSON@OCVAXA.CC.OBERLIN.EDU Subject: Schools I'm not sure that this is a subject for this list but I recently found a directory of schools that teach electronic and computer music on WWW. The url is: http://datura.cerl.uiuc.edu/schools/courses.html Gary ========================================================================= Date: Fri, 24 Mar 1995 09:22:22 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Stephen David Beck Subject: Re: M. Subotnick: "The Return" Morton Subotnick is on the faculty of the California Institute of the Arts in Valencia, CA (just north of Los Angeles). I STRONGLY suggest you READ any historical writings on electronic, electro-acoustic, or computer music and you will find a wealth of info on him. Some books that might help are: Cope, D. New Directions in Music Appleton/Perera The development and practice of electronic music Schrader, B. Introduction to Electro-Acoustic Music and the source book of source books The New Grove's Dictionary of Music and Musicians Stephen David Beck Electro-Acoustic Music Studios School of Music Louisiana State University Baton Rouge, LA 70803 ========================================================================= Date: Fri, 24 Mar 1995 11:07:21 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bill Threlkeld Subject: Freelance Writer Needs Comments I'm currently on assignment for a music trade magazine called Music, Inc. The article I'm compiling views the trend towards mail order buying of musicial instrument products. I'm looking for as much input as possible from persons with experience or feelings about this trend. I would appreciate anyone out there who would like to answer any or all of the questions listed. Other comments are welcome also. Thanks is advance for any help you can offer. Also, thanks to those who have responded so far. I'll post findings after the article is written if anyone is interested. Music, Inc. is read primarily by owners and managers of music retail stores. The magazine's readers want to keep up with what's going on in the industry, but more importantly, they're looking for practical "better business" ideas they can use to make money or promote their wares and services to the public. TOPICS-please answer with as much detail as you'd like What are the advantages of purchasing musical merchandise via mail order? What are the disadvantages? Summarize your best and/or worst experience regarding buying musical products via mail order. How does buying via mail order compare to shopping at a local retailer in terms of: Price-- Selection-- Service-- Convenience/expedience-- Any experience with breakage/shipping problems via mail order? Have you ever used a store to get information/demonstration on a product then purchased that product via mail order? Any other comments/opinions you'd like to make regarding current retail stores' standards/price/service with regards to the mail order option? What is your primary music activity (ie player, pro audio, educator, etc.) What instrument do you play? What area of the country do you live in? Thanks very much for your input END ========================================================================= Date: Fri, 24 Mar 1995 11:19:50 U Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Hall, Troy" Subject: Re: kawai xd-50 Dunno about ("aboot" for our northern neighbors) the xd-50. You might want to try the SYNTH-L list on this same list server. I think it is a running discussion of gear for gear's sake. As far as "General MIDI", I think it's a spec that (possibly among other things) maps certain instruments to certain program/patch numbers. This allows different programs that use sound cards, or other Gen. MIDI outboard gear to play back the same music with the same instruments regardless of platform. Imagine a player piano that has its choice of 128 sounds. I.E. your sequences will play with the same types of instruments on someone else's machine. A piano will be a piano, a helicopter will be a helicopter, etc. Someone else would be better on the technical side of this issue. This is a propitious time to talk about ("aboot") what General MIDI means to the world of music; I suppose it has its pros and its cons. Pros(?): If your music can be expressed within G.M.'s limitations, it can reach a wide audience. It can facilitate sharing of ideas, open up communication. The same sort of thing copyrights are supposed to do. *A*N*D* It has really done a lot for computer games, although a lot of what I've heard is beyond annoying. Cons(?): Well, for starters, your G.M. gear may be of the Bosendorfer quality, but may be played back by someone with Wurlitzer level gear. What sounded good to you may really bite on another platform. Also, you are limited to the sounds present, which is unacceptable to an artist who expresses through timbral variations, etc. This could lead into a discussion of whether musicians have exploited enough of certain instruments to justify moving on to newer instruments ... Danger! Danger!... I may be totally wrong about everything, and please correct me. -TH ========================================================================= Date: Fri, 24 Mar 1995 12:00:38 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael C Quiring Subject: Mixing Boards I was looking for a mixing board to add to my home project studio, I will be doing mainly Hard Disk recording, and sequencing here are the two boards I'm considering: Yamaha Pro Mix 01 Makie CR-1604 If anyone can tell me which of these would be better suited for a project studio, or any problems encountered while using either of these boards in a similar situation let me know, Thanks in advance, MIKEY C Q ========================================================================= Date: Fri, 24 Mar 1995 11:38:33 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Macalester College Music Department Subject: Re: Subot. whereabouts In-Reply-To: Your message dated "Thu, 23 Mar 1995 15:51:44 -0500" Subotnick is well (I saw him at a conference last Feb. 17th) and is still on the faculty of CalArts (California Institute of the Arts), very interested these days in interactive software, and producing pieces specifically for the CD-ROM environment, much as Sliver Apples and the Wild Bull were produced for vinyl. He is working at present on an interactive software concept for children (I think, his own, for starters). This concept could lead to an interesting discussion, if carried out in a productive manner. There are parallels, I think, between Mort's concept of the recorded medium, be it CD, CD-ROM or vinyl, acting like an artists canvas needing to be filled, and Spiegel's concept of software acting the same way, as in her Music Mouse program. It does expand the artistic boundaries...and is that not what we are all about? +-----------------------------------------------------------------------+ + Ed Forner Macalester College Music Department + + forner@macalstr.edu voice (612) 696-6189 + +-----------------------------------------------------------------------+ ========================================================================= Date: Fri, 24 Mar 1995 13:06:45 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: M. Subotnick: "The Return" Comments: To: emusic-l@american.edu Troy Hall said: > Again (and I'm going for major flame risk): does a discussion of > paintings necessitate the discussion of paint brushes, paints, > easels, and canvas? does a discussion of music necessitate the ... Very interesting analogy! I suppose that those more interested in art appreciation might prefer discussing artists and their works over the tools of the trade. The artists themselves, however, would be more inclined to include the tools. I feel that the emusic membership consists of doers as well as appreciators. Could explain our breadth of topics. Bill Fox wbf@aloft.att.com ========================================================================= Date: Fri, 24 Mar 1995 13:10:50 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: Mixing Boards Comments: To: emusic-l@american.edu Mickey C Q asked about mixers. Mickey: This is more of a synth-l topic. Since I've currently stopped mail from there, please send me your address if you'd like my response to your question. (Joe or Mike: Please correct me if my logic is in error.) Bill Fox wbf@aloft.att.com ========================================================================= Date: Fri, 24 Mar 1995 14:11:24 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: crosswired Comments: To: eml@physics.american.edu again, the "doesn't anyone here talk about *music*?" problem. i have a couple of thoughts on the topic, disconnected and inconsistent, so bear with me if you will, or hit the kill key. a couple of times someone here has brought up the "talking about music is like dancing about architecture" line. i disagree. it's harder. personally, i see nothing fallacious or silly in dancing about architecture. architecture is a very high-order symbolic system, in which a single object (a building) has an extraordinary weight of meaning in multiple domains (social, cognitive, economic, spatial, historical, ...), and in which semiosis is unclear, and therefore rich. is the building a concretized manifestation of its designer's intent, or is it an instance of an idea? the same goes for dance... a non-verbal language which, i think, loses a lot in any kind of translation. ah... but in a transformation? why not transpose the creative impetus from stasis to motion? why not dance about architecture? but talk about music? no. i don't think so. it doesn't keep me from trying, but i really have to suggest that one give some thought to what one is attempting before you criticize it. let's consider, for a moment, a taxonomy of discourse on painting, since it was, quite properly, put forth as an analogy. straight critique: seems to me to amount to intelligent, well-considered, and perhaps even informative variations on "i liked it", "i didn't like it", and "hmmm... interesting." historical critique: by which i mean any discussion of style that refers to any other style. history does include the present, after all. strikes me as more context-based than straight critique, and more able to avoid foolish value judgements due to its essentially pedagogical bent. manifesto: political or psychosocial polemics on what the role of art is. more or less coherent, more or less agenda-laden, more or less actually about art depending on the movement in question. theory: the toned-down version of the former, attempting to take seriously the question, "what is art, anyway?" sometimes makes reference to the actual sensorium, sometimes makes an effort actually to *describe*, not just *define* esthetics. tres difficile... i really think the only effective one i've read is dewey's "Art as Experience". technics: the paintbrush. the paint. chiaroscuro. material, light, and line. how-to... not only for the hand, but the eye. example. experiment. process. so. what exactly might you mean by "talk about music"? musical discourse, for some reason, seems to have a variant on the straight critique area, more substantially so than does art-talk, heavily skewed toward the style of a laundry list. dig this? dig this. must dig these, too? yeah, well, some... how about those? and so on. i'm not sure that replacing the obvious with the obscure, tdream with kraus, really changes the essential nature of this kind of talking about music. personally, i prefer the 'theory' approach. but i also think it's the hardest. i mean... try it. i think it's an important exercise. i really do believe that the more you can articulate on a variety of cognitive levels, the more grasp you have of what you mean, even across different means of expression. but there's a sort of built-in contradiction, that gets more clear the closer you get. there's a point where all you can do is shut up and play yer (synthesizer). also, i think there's a certain resistance in this community to formalisms. i suspect that many of us play synths precisely because we reject the notion that everything has a theory or a niche, and relish the kind of anarchy suggested by the instrument's approach to sound generation. in my own case, i know that one of the main attractions to the field is the entire idea of corrupting the intent of a technology. "hey, i've got an idea... let's take this (radio/computer/trash can) and (beat on/rewire/hack) it till it makes a noise!" and i try to take some of that approach in my attitude toward synth programming... although i'm not by any means the best at it. my friend jeff is absolutely incredible at finding odd bugs in a digital synth's algorithms and exploiting them to make screechy-doingys. and that's how we wind up back at technics. we're always going to, i'm afraid. this isn't the violin, after all, which frankly just isn't evolving anymore, now is it? no... this is the synthesizer, which makes sounds so odd the only ones you can textually refer to are total cliches; which denies its own idiom; which not only allows but demands that any 'theory' be concretized or discarded, because it is an *implement*. see what i mean? so... what do you want to talk about? or, more to the point, since that questiion seems to translate to too many people as "what do you want *us* to talk about", what do you want to *say*? <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 ========================================================================= Date: Sat, 25 Mar 1995 07:20:02 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Mixing Boards Hi Mikey C Q... >Makie CR-1604 Look OK, sounds great, feels wrong. But if you can put up with the funny faders and llike it otherwise... > Yamaha Pro1 I played around with one of these recently. The moving faders worked, but could be dodgy (it don't exactly match up to Flying Faders!) over time. The EQ sounds OK except on extreme settings. I thought it was OK, but a couple of months ago some of the luminaries on the Broadcast Pro forum of Compuserve were flaming it (and these guys _really_ know what they're talking about). OTOH, Mix gave it a good review, along the lines of: For the money and accepting its limitations, it's great... Hope this helps, DAvid musdr@lure.latrobe.edu.au ========================================================================= Date: Fri, 24 Mar 1995 16:35:10 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jim McElhiney Subject: Re: Mixing Boards >I was looking for a mixing board to add to my home project studio, I will be doing mainly Hard Disk recording Wow! these are two very different boards! The Pro Mix is a digital board with built in effects/ gates/ compressor. The 1604 has no effects and is not digital! Also if the Pro is about twice the money. If you have them extra money by the digital board with all the built in gear. -Jim ========================================================================= Date: Fri, 24 Mar 1995 23:19:00 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Davvid Brooks Subject: ESI-32 Comments: To: Service@emu.com, rickk@emu.com I AM HAVING A GREAT TIME WITH THIS SAMPLER, BUT... WHEN I TELL IT TO LOAD PRESETS OVER MIDI +MAGIC PRESET+ IT APPEARS TO BE LOADING THEN THERE IS NOTHING THERE! NOW I INSTRUCTED AN PARTNER OVER THE PHONE ON HOW TO DO THIS AND HIS WORKED FINE, AND MY BANKS LOAD FINE FROM MY H/D FROM THE PANEL. ANY TIPS ? ========================================================================= Date: Sat, 25 Mar 1995 01:20:00 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tony Cappellini Subject: Subotnickon CD Comments: To: synth-l@american.edu, emusic-l@american.edu ate: Thu, 23 Mar 1995 22:08:00 -0800 From: Peter_Mueller@UCSDLIBRARY.UCSD.EDU Subject: Re[2]: M. Subotnick: "The Return" Troy Hall spake thus: >Ha >>over his early stuff. I'd sell my body parts to have "The Wild Bull" on CD! >>Is there such a release? >> Yes, it is on Wergo (WER 2035-2) Well, chop off your arm... I just ordered Silver Apples/Wild Bull on CD from the CD COnnection. Telnet to cdconnection.com, and follow the prompts. Search by artists for Subotnick. It cost about $22 including shipping, and I had it in less than 2 weeks. Tony ========================================================================= Date: Fri, 24 Mar 1995 23:51:04 GMT Reply-To: j.deitmers@proaudio.de Sender: Electronic Music Discussion List From: Jurgen Deitmers Organization: ProAudio Net Subject: Re: FreeStyle No real experience, and: I don*t know Performer, but I think Freestyle has a simple, intuitive approach (e.g. musicians and ensembles). There is a Demo Version available. You can work with it, without saving anything. I just played around with it a bit an found that You get quicker results than You do with Cubase. Currently, I am "working" with Cubase lite and looking for the "next step". As professional functions (synchronization, sophisticated score editing functions) are not really important to me (only hobby musician), I am now thinking of buying FreeStyle for me and my kids (13 and 16). They didn*t get warm with Cubase lite. Jurgen Deitmers ========================================================================= Date: Sat, 25 Mar 1995 23:20:12 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Frazier Subject: Re: DAT MULTITRACKS COMPATIBL... Don't forget the Fostex RD-8. I just bought one and it's great...has the equivalent of a slightly stripped down BRC built right into it - what it lacks are the features you'd need if you were doing a lot of bouncing between several machines (although it can do this), and the "central command" setup, like record-enable on all 128 tracks of a maxed out system. In case you haven't heard of it, the RD-8 is Fostex's entry into the Modular Digital Multitrack market. It uses the S-VHS format like the Alesis ADAT, but, as I said, has more sync features built in. ========================================================================= Date: Sun, 26 Mar 1995 18:10:59 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: crosswired HI Eric, just a quick reply to your last paragraph. I'm saving the rest of the message to make a more considered reply later. >this isn't the violin, after all, which frankly just isn't evolving >anymore, now is it? no... What about Laurie Anderson, L Shankar or Jon Rose? These artists have continued development of the violin beyond the usual orchestral or ensemble version of the instrument. Okay, so their instruments are proprietary and have not won widespread acceptance among players. But since so much of musical effort today is devoted to replicating the past (if incompletely), is it surprising? Perhaps it is one of the effects of recording and playback technologies; we no longer have to make our own music. So proportionately, fewer people play violins and rely more recorded music. Has this slowed development? Because of the widespread distribution of music in this form and of technical information about performance and performance criticism, development might just have become slowed (or even frozen, if we accept your assertion). A parallel might be the effects of the printing press: spelling and grammar became more standardised; ideas and information became more widely available, standardised and the means of their presentation became standardised. Anyone want to counter this? Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Sun, 26 Mar 1995 18:28:21 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: crosswired Hello to Paul > What was that? Taylor. Yes, Paul, we get like that sometimes. If it's too much, just ignore it until it goes away. There's only so much postmodern psychobabble _I_ can handle. (That's not a flame; Eric's message was not psychobabble but it's possible that some of the replies will be.) Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Sun, 26 Mar 1995 02:37:53 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Crain Subject: Re: dat's the way u-huh u-huh Yes my M1 did that quite a few years ago, but it also happened with the white keys. It costs about $50 to repair. It was something to do with the thin metal coating under the keys. The tech I spoke to said that it just had some holes punched through it causing the keys to stick. Now it works great. Michael PS I heard that DAT Machine is a great machine. I have the SONY DAT Portable TCD-7. These machine are great for backing up huge audio files as well as putting music and sounds onto hard disk for further editing. Send me some E-mail if you want to talk at Crain4@aol.com ========================================================================= Date: Sun, 26 Mar 1995 04:27:29 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Robert Lee Subject: Re: ##Looking for a Roland JV... can someone please tell me how to get off of this list? I have tried everything. please help me...thanks ========================================================================= Date: Sun, 26 Mar 1995 16:03:28 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: crosswired > but talk about music? no. i don't think so. it doesn't keep me from trying, >but i really have to suggest that one give some thought to what one is >attempting before you criticize it. "Music is a language too precise for words." -- Mendelsson. 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: Sun, 26 Mar 1995 10:28:59 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Stephen P. Lee" Subject: Re: midi to soundcard diagram Hello, Where can one purchase a midi kit for connecting a midi keyboard to the Soundblaster card? Also, what are the best software packages for writting E-Music with an IBM com- patible system? Thanks, Steve ( In Music City USA. Hank didn't do it this way!) ========================================================================= Date: Sun, 26 Mar 1995 19:55:42 BST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Martin & Rebecca Subject: EMU Samples > >To:SYNTH-L >From:hazelbec@atlas.co.uk (Martin & Rebecca) >Subject:EMU Samples > >Hi, Has anyone found any ftp sites for EMU samples (EMAX) or Librarys for >the Protius/Classic Keys. > ========================================================================= Date: Sun, 26 Mar 1995 13:27:26 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: ddg@DEVLAC.EMS.COM Subject: Ears on : Team Metlay's _Ballistic_ Comments: To: synth-l@american.edu, emusic-l@american.edu Well, I had a very interesting weekend in Atlanta and surroundings. I did have an opportunity to meet a few music folks (thanks Stewart, Andrea and Mike), thereby keeping an important promise to myself - no week goes by without an important musical experience. One of my sub-trips (thanks to flexible air tickets, no mileage limit on the rental car, and the balls to do it) was a five-hour trip to the Metlay's, home of the infamous Team. As part of the visit, I got to hear the test master of _Ballistic_, Team Metlay's upcoming release. The Experience -------------- Phenominal, to say the least. After the long ride, I was treated to a wonderful meal (jerk chicken and ginger beer at a local food haus), intelligent conversation with Suzanne and Mike, a harried car ride and a pot of coffee. Just what the doctor ordered after a horrible work week (except for the car ride - did that thing even _have_ headlights?). At this point, Mike could contain himself no longer, and slapped the CD's into his player. Before discussing the music, I should note the surroundings: I faced the stereo - either sitting on a cushion chair or on the floor. Mike was to my right; either virtually conducting the songs, or acting as my djinni tour guide through the music. It was literally like having "Living Liner Notes", with the (justifiably) proud Mike imparting experiences and anecdotes in sync with the music or sounds that resulted. Very unique and enjoyable. The Music --------- I came to the party innocent. Not only had I not heard any of the _Ballistic_ compositions; I had not yet heard any of Atomic City's releases. My background is a wierd combination of jazz guitar training, eno-esque composition, a love for Kraftwerk-isms and that embarrassing stint with a country band. I found _Ballistic_ to be an exceptional piece of work. There are several examples of compositional and performance works that have been discussed on the net - "Zap Jams", Rothwellian chess pieces, multi-movement grand plays and "we captured it on DAT, and had to release it" miscellany. As a double CD, there is plenty of room for expanded interaction, and long form composition. However, there are also whimsical sounds, musical psuedo-quotes and quirky subsequences - the inclusion of which prevents the whole from collapsing of its own weight. And (to me) surprisingly, the CD set works as a singular musical statement - despite the number of different composers, players and even recording dates. Mike had earlier classified the sound as "the dark side", but it doesn't strike me so much that way. There is definately a darkness to it, but there is also a warmth and humor that should exist anytime a group of friends interact. The Sound --------- _Ballistic_ was brilliently recorded and mixed. One thing I often notice (in e-music recordings) is how a badly eq'd patch, a mis-mixed sound or a poorly mastered recording will draw my conciousness from the music into the technology. The recording and mixing was uniformly flawless, even when complex, dominating sounds were fighting it out for "the front of the mix". Having done some of this in the past, I know exactly how difficult it is. Given the sonic platform (just under one bazillion synths and effects processors, plus a shortwave radio), the potential for mush was very high. It just never happened. The pre-master that I heard was what (I believe) works - I didn't think about the mastering. No better compliment... The Equipment ------------- Quite frankly, I didn't find the equipment of overriding interest. I've grown tired of the "what's this, what's that" game, and only occasionly was drawn to inquire about the gear. Whenever I did, I was quite surprised. I'll leave it to Mike to post details, but several of the most notible sounds turned out to be exactly what I thought they wouldn't be. Hmmh... My Conclusion ------------- I don't want to sound like a lapping dog about this, but I really enjoyed what I heard. I've purchased several of Atomic City's releases, and on first listen am equally impressed. There were things I didn't care for, places I'd have explored differently (were it my gig). But my overall impression of _Ballistic_ was (obviously) very positive, and I'd suggest that you try it on for yourself. I'm looking forward to more extended time with the release. Finally, why did I write this? Because Mike asked me to. Before anyone gets fur up - he asked me to post a simple note on my impressions regardless of what they were. I don't think he quite expected this. (Sorry, Mike, for the djinni thing...) All in exchange for an explanation of "Greens, no ADAT". :-> [ddg] .............................................................................. Darwin Grosse . (414) 628-3045(h)/359-9800(w) . ddg@devlac.ems.com .............................................................................. No longer temporarily located in Atlanta... ========================================================================= Date: Sun, 26 Mar 1995 15:28:44 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: NEC_CEELY@FLO.ORG Subject: Re: crosswired I assume you mean Felix Mendelssohn? BYE RPC ========================================================================= Date: Sun, 26 Mar 1995 21:32:23 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Email Email! So good they.. Er, excuse me, but is anyone else on this list receiving TWO of everything? __ ____ ________________________________________________________/ _\(___ \_______ // / / / / ( / \ \ / - thomasjeromenewton - // / / / / \L __ \_) / // / KLAUSTROPHONIA //.\/\/. \-'\ / newty@newty.demon.co.uk // / / / / / \_/| \__/ _/ / // / / / / / ( |_ / / zu ----------------------------------------------------------\ __ /-------- \___/ ========================================================================= Date: Sun, 26 Mar 1995 17:11:33 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: VERNBASS@AOL.COM Subject: Re: EMU Samples Hi, I don't have the answer to your questions bet would like to know if you have any luck. I'm using EMAX and Proteus 2. Thanks, Vern Miller VERNBASS@AOL.com ========================================================================= Date: Sun, 26 Mar 1995 15:13:52 -0800 Reply-To: bc492@scn.org Sender: Electronic Music Discussion List From: SCN User Subject: Re: Email Email! So good they.. > >Er, excuse me, but is anyone else on this list receiving TWO of everything? > __ ____ >________________________________________________________/ _\(___ \_______ > // / / / / ( / \ \ / > - thomasjeromenewton - // / / / / \L __ \_) / > // / KLAUSTROPHONIA //.\/\/. \-'\ / > newty@newty.demon.co.uk // / / / / / \_/| \__/ _/ / > // / / / / / ( |_ / / zu >----------------------------------------------------------\ __ /-------- > \___/ > > To: EMUSIC-L@LISTSERV.AMERICAN.EDU Subject: Re: Email Email! So good they.. Cc: Reply-To: bc492@scn.org > >Er, excuse me, but is anyone else on this list receiving TWO of everything? > __ ____ >________________________________________________________/ _\(___ \_______ > // / / / / ( / \ \ / > - thomasjeromenewton - // / / / / \L __ \_) / > // / KLAUSTROPHONIA //.\/\/. \-'\ / > newty@newty.demon.co.uk // / / / / / \_/| \__/ _/ / > // / / / / / ( |_ / / zu >----------------------------------------------------------\ __ /-------- > \___/ > If you should mean from you, yes, I _think_ so.> -- --=[ E r i c I a n S l u y t e r ]=-- Snail mail: 715 2nd Ave. North, Seattle, WA 98109 Email: bc492@scn.org Voice mail: (206)233-7986 ========================================================================= Date: Sun, 26 Mar 1995 18:26:40 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul Taylor Subject: mac-rec-edit-soft Just acquired a Quadra 660 AV. I'll be using it for HD recording and editing. I'm looking for software with a reasonable amount of features at a reasonable price. I'm not talking Pro-tools just yet. Infact at this stage it doesn't necessarily have to be multi track. Can anyone offer recommendations? Thank's, PT ========================================================================= Date: Sun, 26 Mar 1995 18:47:23 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Frazier Subject: Re: Freelance Writer Needs Comments I've bought a few things thru the mail, and I'd have to say it boils down to 2 main ingredients: Major advantages: price & availability; They usually have what they advertise in stock and can get it to you in a few days, and in most cases for a better price than you can get at a music store. The big disadvantage is that you can't hear the stuff before you buy it, which is sort of a problem for musical equipment, if you know what I mean! They offset this with a money back guarantee, but sometimes it's just not worth the hassle of repackaging something and footing the bill to send it back, unless you're talking about a major purchase. The obvious (but highly unethical) solution is to try something at a store, then buy it thru the mail...but some of us like to sleep at night. ========================================================================= Date: Sun, 26 Mar 1995 18:54:48 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Frazier Subject: Re: mac-rec-edit-soft Two ways to go, as far as I know. Opcode's StudioVision AV, a stand alone HD Rec/MIDI application that will work with your Mac, or OSC's Deck II with or without Metro. Deck is the HD recording program and Metro is its companion sequencer. ========================================================================= Date: Sun, 26 Mar 1995 20:20:27 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Earl Engleman User. New user need information on what to" Subject: Re: midi to soundcard diagram Your local instrument music store or a good computer software store which sells a program called MIDI SOFT it comes with a sequencer program and a general midi program and the cord to hook up to your keyboard, about 49.99. Ewe1@AOL.COM ========================================================================= Date: Sun, 26 Mar 1995 21:39:03 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Tylene D. Macklin" Subject: New Member. Hello All, Hi my name is Tylene and I am a new member to this interest list and I am also a novice with computers, etc. I have an interest in music because I have played piano for 16 years and would like to expand my knowledge of music electronically speaking. I hope to get a better understanding of MIDI and matters of that sort as well. :) Talk to you later. Sincerely, Tylene ========================================================================= Date: Sun, 26 Mar 1995 20:46:00 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Craig Marks Subject: Roland U-110 -- HELP!!!!! [Anguished Cry] Comments: To: emusic-l Comments: cc: synth-l Hi -- Please pardon the double post, but I'm really in a bind and wanted to tap the knowledge resources of both lists. I'm working on a new demo tape (Yeah!!!), I borrowed a great 8-track from a friend (Yeah!!!), and a Roland U-110 (to expand my midi voices). Unfortunately, the only thing I can make the U-110 do is play its demos. I know thats a start, but I need to figure out how to set the multi-patches, the midi channels, etc. Unfortunately, I can't seem to do anything. With only nine buttons on its face, everything is nested and I can't find many of the menus - nor can I achieve my desired ends. Can I combine various pcm-card sounds with internal sounds in one multi-patch?? How can I set the unit so I can control it with my M-1 (i.e. to step through all the possible patches to audition them.) Thank you for all your help. I need all I can get!!!! I appreciate it all. Thanks in advance -- Craig ========================================================================= Date: Mon, 27 Mar 1995 15:01:36 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: dat's the way u-huh u-huh Hi DAT users, my DAT's heads just crapped out after 4.1/2 years' use. At leaist, ========================================================================= Date: Mon, 27 Mar 1995 15:16:49 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: crosswired Comments: To: emusic-l@american.edu From: Nick Rothwell ... > "Music is a language too precise for words." > -- Mendelsson. I disagree, Mr Mendelssohn (or however it's spelled). Music is not precise enough. It does not and can not encode meaning in the same way as words. No structural unit in music (note, motive, phrase, movement, work) means anything. To misquote Mick Jagger: I'm just waiting for a flame... Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Mon, 27 Mar 1995 15:36:32 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: dat's the way u-huh u-huh HI DAT users, I apologise for an unfinished message some of you might have got on this subject. My terminal froze and I had to escape mail, which might have caused it to be sent. Anyway, on the subject... My little Aiwa DAT's heads just crapped out after 4.1/2 years' use. I suppose I shouldn't complain; it's served me well. As I understand it, if you have a machine which is serving studio time (consistent frequent use) you can expect to have the heads replaced about every 2 years. It may be that the small-diameter heads found in semi-pro or domestic portables (like mine) go sooner. (As you might guess, mine has not had as much use as a studio machine.) What you'll find is that the drop-out and error burst rates go up dramatically and your tapes might even be damaged. Be careful out there. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Mon, 27 Mar 1995 01:38:55 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "William R. Shannon" Subject: HyperMidi-some news Many thanks to intrepid netsurfer Sjoerd Bijleveld. From a telephone chat with Nigel Redmond, developer of HyperMidi, I've discovered that version 3.0 is now shipping via Earlevel Engineering at (US)(310) 316-2939. If you use HyperCard, this will allow you use MIDI inside your HyperCard apps. May be useful. William R. Shannon wk02418@worldlink.com ========================================================================= Date: Mon, 27 Mar 1995 09:31:37 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: crosswired In-Reply-To: <01HOMVDQKRF28ZH76D@LURE.LATROBE.EDU.AU> from "David Rodger" at Mar 27, 95 03:16:49 pm > I disagree, Mr Mendelssohn (or however it's spelled). Music is not precise > enough. It does not and can not encode meaning in the same way as words. > No structural unit in music (note, motive, phrase, movement, work) means > anything. It seems to me that music is very much an evocative medium, in that by itself a given sound or chord "means" nothing; however, the *associations* that it triggers can be very strong indeed. I have personally noticed that musical associations tend nearly always to be emotional ones rather than verbal ones. Coupled with well-written lyrics, music can communicate on verbal and non-verbal levels simultaneously; in fact, whether or not the words and music "match up" can be exploited as well (cf. Weird Al Yankovic's "Good Old Days", in which the music is nostalgic and sentimental, while the lyrics are completely sociopathic. The contrast is what makes this so funny.) --- Joe M. ========================================================================= Date: Mon, 27 Mar 1995 09:51:58 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: Too precise for words? In-Reply-To: <01HOMVDQKRF28ZH76D@LURE.LATROBE.EDU.AU> > > > "Music is a language too precise for words." > > -- Mendelsson. > > I disagree, Mr Mendelssohn (or however it's spelled). Music is not precise > enough. For the record, I agree with Felix. I hope you won't take the argument that follows as a flame, though. The nature of meaning in music is one of the most fascinating subjects for discussion despite the fact (I would say because of the fact) that we can never quite put our finger on what it is that music expresses. And yet music does express something. We wouldn't all be wrapped up in it if it didn't. The fact that our attempts to describe in words what music expresses are only bumbling approximations at best demonstrates the ineptness of language at expressing things which notes can handle with ease. As an illustration I offer the famous maxim of Duke Ellington "It don't mean a thing if it ain't got that swing". Jazz musicians set quite a bit of stock by the quality of "swing". Swing in jazz is considered one of the prime agents of musical meaning. Here's a famous musician, in fact, who claims that musical meaning is impossible without it. So what is swing? Is there anybody out there who can tell me in any number of words precisely what swing is? Louis Armstrong, when asked this question could only say "if you have to ask there ain't no way you're ever going to find out". Now I have a sequencer that pretends to be able to quantify swing. I can set it to give me 70% swing, 80% swing etc. Of course all it does is drag notes to the first and third triplet of a beat. For a lark, I took one of my sequences, decidedly non-jazzy, and used the swing quantization feature on it. The result was amusing, but it definitely did *not* swing. How precisely can you define swing, anyway? This could be an interesting thread in itself. Can you pinpoint it in words more definitely than Duke Ellington did in his works? I think, probably not. But it's still worth the effort. In a way writing about music is like dancing about architecture, but it's no less valuable despite its lack of precision. Mark Simon mgs2@cornell.edu ========================================================================= Date: Mon, 27 Mar 1995 09:49:44 U Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Hall, Troy" Subject: Re: crosswired ...a thousand pardons for asking if there is much discussion on music here. Apparently there are at least many *thoughts* about it, some intelligent, well thought-out, enlightening, others pious, pompous, boorish, self-righteous and particularly borrowed. What is the Latin term for argument by assaulting the counterparty to a disagreement? "Yer so vain. You prob'ly think this song is about you. Yer so vain (so vain)..." Is everything pointless but personal experience? Cannot the sharing of thoughts be meaningful? Do digital synths suck because there's only a finite number of values the sound related parameters can have? It seems that finding value in technology alone rejects the value of context and relative meaning. -Troy Hall ========================================================================= Date: Mon, 27 Mar 1995 10:24:08 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: language Comments: To: eml@physics.american.edu thanks for the pointer on violins. i knew when i was writing that something like that had to be true, but was more involved with my conclusion than with my premises. although the point that these developments have not grown beyond their own innovators is worth re-emphasizing. off the top of my head, the only instrument i can think of that has really undergone significant re-engineering toward the development of new, widespread paradigms is the guitar... most notably in its latest actually useful incarnation, the stick (oddities such as the synthaxe notwithstanding). i completely agree with your thoughts on the effects of recording technology on the cultural usages of music, and would add/emphasize: now all performers must stand in comparison, not only to the fond memories of certain artists, but to the source material itself. this creates, i suspect, more inertia than inspiration. actually, i think i'm on mendelssohn's side, although would point out that the quote is more metaphorical than literal. but haven't you had the experience of realizing that your language was inadequate for communication? and not just because of limited vocabulary or syntax... but because the act of putting what you mean into the framework required for verbal transmission (lineal, coded, redundant, action-based, sense-poor) somehow does the communicative motive an injustice? are you married? consider how difficult it can be for people who have spent years together and who presumably have each other pretty well calibrated to actually understand one another. on another tack, if you must consider the language of music in terms of the language of speech, you'll have to keep your logical levels straight. never having been much of a chomsky-head, i don't really think that the components of speech (phonemes) have much meaning, either. a note doesn't stand on its own. as in any language, it is the relations between symbols, not the symbols themselves, that impart meaning. ========================================================================= Date: Mon, 27 Mar 1995 11:42:53 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: language redux Comments: To: eml@physics.american.edu woops! just reread that... i had forgotten that david had included higher-order structures in his contention. boy, now i *really* disagree. the statement would seem to suggest that meaning is only accessible through speech. this is a pretty limiting view of meaning. the meaning of a communicative act is in the intent and the understanding (the referent and the interpretant), not alone in the structure of the act itself. if i produce a piece of music that has emotive intent, and it produces emotion, then i have communicated more clearly than if i spoke about intended emotive content. mendelssohn's phrase seems to me exactly on target, in the same sense as: "myths are stories that are always true." (campbell? it sounds like him, but i can't really remember for sure.) ========================================================================= Date: Mon, 27 Mar 1995 13:42:05 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: Ears on : Team Metlay's _Ballistic_ Comments: To: emusic-l@american.edu Concerning "Ballistic," Darwin Grosse said: > Before discussing the music, I should note the surroundings: I faced the > stereo - either sitting on a cushion chair or on the floor. Mike was to > my right; either virtually conducting the songs, or acting as my djinni tour > guide through the music. It was literally like having "Living Liner Notes", > with the (justifiably) proud Mike imparting experiences and anecdotes in sync > with the music or sounds that resulted. Very unique and enjoyable. When I visited Mike back in Pittsburgh, I received the same treatment. A very enjoyable experience I wish all could receive. (I'm not volunteering Mike's time.) Back then, "Bandwidth" was not yet released. I also heard some of Team part deux (Saturnalia?). As soon as "Bandwidth" was available, I sent in my check. On the strength of "Bandwidth" I just sent Mike a check for the rest of the Atomic City catalog. Mike, if you announced the availability of these other CDs on synth-l, please know that I'm not currently listening in over there. Please put my email address into your distribution list for such announcements. > intelligent conversation with Suzanne and Mike, Two PhDs, what do you expect? :-) Actually, I found them both to be quite dear. And they have good taste in Chinese food, too! > a harried car ride and a pot of coffee. > Just what the doctor ordered after a horrible work week (except for the car > ride - did that thing even _have_ headlights?). Mike's car and driving have been discussed on previous occaisions. Is this another? I was also privileged to experience Mike's mom's hospitality and holiday baking. Although I'm out of the way in eastern Pennsylvania and the Metlay's time is becoming more precious with a micro-Metlay on the way, I still look forward to someday returning the hospitality. Bill "Give me Emusic or give me death" Fox wbf@aloft.att.com Heisenberg may have slept here... or here... or here... or here... or here... or here... CONSUMER NOTICE: Because of the "Uncertainty Principle," it is impossible for the consumer to find out at the same time both precisely where this product is and how fast it is moving. ========================================================================= Date: Mon, 27 Mar 1995 14:03:14 U Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Hall, Troy" Subject: Re: Swing The word "swing" is an adjective that describes NOT the modified relative time-position of notes on certain beats, but rather a quality of the music that invokes a collective response among certain people that have come to associate the word "swing" with the quality that evokes such a response. A circular definition, hmmm. A car is a word car people use to describe cars... IOW, if you can't recognize it, find a bunch of people who _can_, hang out with them, listen to jazz (n.b. not the only music that swings -- Bach can swing, too), and *experience* the music together. It's not exactly a transcendental, transformational, LCD-induced thing you go through, but you'll get it over time. Swing isn't eighth-note triplets. It's not dotted-eight/sixteenth pairs. Latin music (straight-eighths) can swing hard. "Free" jazz can swing hard. Forget all the attempts at defining swing in terms of concepts and notations that stem from the Viennese tradition. That will be as successful as trying to notate Indian Classical music. ( -- I would bet most gentle readers of this list have absolutely no idea of how complex a music Indian music is. Its phenomenally difficult for Westerners to comprehend beyond the theoretical concepts of raga and tala.) Since swing is a "human" quality, music that swings is possible ONLY through real people playing it. You can't quantify it. Think of an orchestra. Think of your favorite orchestral composition. It may not swing, but what would it be without a conductor and musicians breathing life into it. Listen to Art Blakey! Listen to the jazz tradition from King Oliver to Oliver Lake! Listen to Tito Puente. Check out Joe Lovano. Great jazz players are not judged solely by their technique, but by how hard they swing. IMHO, what relevance does this have here? 1) someone asked about it. 2) it's nice to try to describe something in words that can't possibly be expressed in words. 3) I think music devoid of human qualities is worth only the monetary value someone would pay for it. -Troy Hall ========================================================================= Date: Mon, 27 Mar 1995 15:55:01 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: RonG225zt@AOL.COM Subject: Re: mac-rec-edit-soft I've been using Studio Vision AV on my 840AV and love it. It should give 660AV and 840AV users 4 tracks of audio in addition to its awesome midi capabilities. Ron rong225zt@aol.com ========================================================================= Date: Mon, 27 Mar 1995 16:02:37 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: RonG225zt@AOL.COM Subject: Re: Freelance Writer Needs Comments I've bought several things via the mail and had no complaints until my Syquest drive became defective. The hassle of returning it to the mail order company wasn't worth the few dollars I saved. In fact after I spent $35.00 shipping it, and my downtime (a little more than a week), it cost me more than buying it at a store where I could have walked in and traded it for a good one on the spot. I'll never make the mistake of buying any important gear through the mail again. Ron rong225zt@aol.com ========================================================================= Date: Mon, 27 Mar 1995 17:19:34 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jeff Adkins Subject: Re: crosswired >From: Nick Rothwell ... > >> "Music is a language too precise for words." >> -- Mendelsson. > >I disagree, Mr Mendelssohn (or however it's spelled). Music is not precise >enough. It does not and can not encode meaning in the same way as words. >No structural unit in music (note, motive, phrase, movement, work) means >anything. Don't deconstructionists claim meanings of words can't be pinned down either (since their meanings are endlessly deferred or something like that)? Maybe language is too precise for words . . . . I agree music is less precise yet still more deeply meaningful. Jeff Adkins ================ jadkins@infi.net ========================================================================= Date: Tue, 28 Mar 1995 09:37:46 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: crosswired Hi Joe, kudos to you. I should have qualified my >music does not mean...anything statement. For those interested in this sort of thing, try reading David Best's "Expression in Movement and the Arts", 1974 Lepus Books. He also wrote another philosophical work later (c.1978). I haven't caught up with that yet. A very interesting argument reliant on Wittgenstein's notion of criteria. (Whoops, I shouldn't have used the word 'notion'; I'm threatening to go postmodern on y'all!) Regards, David musdr@lure.latrobe.edu.au P.S. OK I know the title has the word 'movement' in it, but it serves as an interesting treatise on art generally. Check it out. ========================================================================= Date: Tue, 28 Mar 1995 09:51:32 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: compiled crosswired Comments: To: emusic-l@american.edu Well, well, well... Boy, did I start something. I'm not ignoring you all but I've got stuff to do right now. I'm saving all your messages to reply to in one almighty wallop (or perhaps a whimper if I can't get my head around the various arguments!). Thanks Eric, Joe, Troy and Mark. Stay tuned... REgards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Tue, 28 Mar 1995 09:59:02 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: crosswired Hi Jeff, despite my last message (RE: compiled crosswired), I couldn't let this pass... >Don't deconstructionists claim meanings of words can't be pinned down >either (since their meanings are endlessly deferred or something like >that)? Maybe language is too precise for words . . . . I agree msuic is >less precise yet still more deeply meaningful. Yes, deconstructionists have said this. The whole thing was started by Paul de Man, a man who went to the U.S., conned his way into the academy and hid his shameful past. In short, it appears that deconstruction is a way of twisting meanings so that they appear as something else. This is entirely analogous to what de Man did with his own history and it suited him well. While deconstruction might have been developed by Derrida and others anmd might sometimes serve as a useful tool, let's not take it too far. Anyone here who wonders what this is all about, read Lehman, David (1991) Sign of the Times:Deconstruction and the Fall of Paul de Man. (or similar title - can't remember the publisher). This book is a great remedy to deconstruction. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Mon, 27 Mar 1995 19:45:46 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Eugene Subject: Re: Swing In-Reply-To: Message of Mon, 27 Mar 1995 14:03:14 U from On Mon, 27 Mar 1995 14:03:14 U Hall, Troy said: > >IOW, if you can't recognize it, find a bunch of people who _can_, hang out >with them, listen to jazz (n.b. not the only music that swings -- Bach can >swing, too), and *experience* the music together. It's not exactly a >transcendental, transformational, LCD-induced thing you go through, but >you'll get it over time. > I don't doubt your assertion about Bach, but I would like for you to point out specific examples of compositions by him that "swing," in the manner in which most people commonly associate with that word. >-Troy Hall Eugene