========================================================================= Date: Sat, 1 Apr 1995 11:00:24 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: midi to soundcard diagram >You paid $50 for a MIDI cable? What, was it 200 feet long? >Surely this isn't correct. Maybe he bought it in the UK... 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: Sat, 1 Apr 1995 11:00:40 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Ears on : Team Metlay's _Ballistic_ >At least in my life, it sometimes takes serious effort to wedge >in any serious music time Well, I *two* significant musical experiences this week. One was hearing a recording of the train announcers with their BBC accents at York station (I must tape the repeat to make use of it), and the other was a Harmonic Bus, a double-decker which obviously had something sufficiently out-of-kilter with its transmission that, as it changed speed and gear, it resonated through a set of harmonics, and it was just like the Tibetan harmonic choirs... except for being big, metallic, and bombing along at 30mph. 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: Sat, 1 Apr 1995 11:01:07 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: WS-SR, S-760, and WMUH, et al Delayed follow-up time: William, can you *confirm* that the S-760 does not allow any kind of waveform load, even via MIDI SDS? (Sorry this is in EMUSIC-L; William, if you read SYNTH-L as well, let's take it there.) 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: Sat, 1 Apr 1995 13:21:33 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Ears on? Nick Rothwell certainly has HIS ears on: > Well, I *two* significant musical experiences this week. One was hearing a > recording of the train announcers with their BBC accents at York station (I > must tape the repeat to make use of it), and the other was a Harmonic Bus, > a double-decker which obviously had something sufficiently out-of-kilter > with its transmission that, as it changed speed and gear, it resonated > through a set of harmonics, and it was just like the Tibetan harmonic > choirs... except for being big, metallic, and bombing along at 30mph. I too have had similar experiences, and consider the awareness of these serendipitous 'performances' to be of great importance in my musical life. I have, until recently :-(, had the use of a portable DAT machine allowing me to take the essence of these experiences home for further study and/or manipulation. The most notable of these was a couple of years ago, while working with a local survey company. I had the priviledge of assisting in the survey of an underground pipeline, apparently the longest in the UK. It was being laid in sections that often extended 300m or more. While a section was being lowered into the ground, cascades of zappy pings would resonate along it, and if capped at the ends (for temporary corrosion protection) you would get marvellous echo and reverberation effects. Certainly the biggest instrument I have ever sampled! One of my colleages once told me that I could get similar pings by skimming stones across a frozen lake, but I havent got that to work yet. Seems to depend on the extent it's thawed. Beauty can also be found at the other end of the physical scale, of course. I have often been surprised at the results when recording very small or quiet objects, using an old phono pickup. Favourites of mine are springs, rubber bands, the tines of musical boxes, and egg slicers. Another trick is to play with the electromagnetic fields produced by certain devices. I can remember my astonishment when I used an electronic flash against a phono pickup. Those plasma orbs have a similar effect, though not quite as dynamic. Try it! I could go on, but enough of my amateurish ramblings. I'd be fascinated to hear from people who have had revelatory experiences of their own. Whether sampling, miking up unusual objects, or simply observing... Thank you! -- __ ____ ________________________________________________________/ _\(___ \_______ // / / / / ( / \ \ / - thomasjeromenewton - // / / / / \L __ \_) / // / KLAUSTROPHONIA //.\/\/. \-'\ / newty@newty.demon.co.uk // / / / / / \_/| \__/ _/ / // / / / / / ( |_ / / zu ----------------------------------------------------------\ __ /-------- \___/ ========================================================================= Date: Sat, 1 Apr 1995 10:48:22 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andrew Sharpe Subject: Re: midi to soundcard diagram On Apr 1, 11:00am, nick@CASSIEL.COM (Nick Rothwell) wrote: : >You paid $50 for a MIDI cable? What, was it 200 feet long? : >Surely this isn't correct. : : Maybe he bought it in the UK... The SoundBlaster MIDI cable (joystick port to MIDI In/Out and joystick) lists for about $40 US (made by MIDIMan). I managed to talk them down to $25, but I was still rather upset that I had to pay even that much... A# ========================================================================= Date: Sun, 2 Apr 1995 02:32:38 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Just a TAD Greetings! During my travels through CD land today (in Realspace - not Cyber) I came across an album with a most appealing cover depicting a startled-looking tabby and the tuning head of a guitar. It was called something like 'Live Alien Broadcasts' by Tad. I've given the net a thorough scouring but can't find anything about it. Anyone out there seen, heard, or heard _of_ this album? Newtz -- __ ____ ________________________________________________________/ _\(___ \_______ // / / / / ( / \ \ / - thomasjeromenewton - // / / / / \L __ \_) / // / KLAUSTROPHONIA //.\/\/. \-'\ / newty@newty.demon.co.uk // / / / / / \_/| \__/ _/ / // / / / / / ( |_ / / zu ----------------------------------------------------------\ __ /-------- \___/ ========================================================================= Date: Sat, 1 Apr 1995 23:01:42 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Steve M Laws Subject: Re: Roland U-110 -- HELP!!!!! [Anguished Cry] To set multis,press EDIT. Use arrow buttons to select patch. Press ENTER. Use arrow keys to select Part. Press ENTER. Use arrows to select BAS. Press ENTER. Use arrows to scroll through the options. Use DEC and INC to change. I believe you can use internal and rom cards simultaneously. The I on the bottom left stands for internal. When a card is installed ,it gives you the option of both. Use the PART button and the arrows to set the different voices. Each part has its own midi channel,output assign,program change, etc... Be sure to press PART again before editing individual parts. That should get you going. ========================================================================= Date: Sat, 1 Apr 1995 23:24:29 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Stephen P. Lee" Subject: Re: midi to soundcard diagram Cable and software for $50. Cya, Info1one ========================================================================= Date: Sat, 1 Apr 1995 23:51:08 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Steve M Laws Subject: Re: Roland U-110 -- HELP!!!!! [Anguished Cry] Had to tell you to make sure you save any changes before you select a new a new preset. EDIT-PATCH-WRT-WRITE(change preset location here if neccesary using the arrow keys)-ENTER As far as output assign (EDIT-PATCH-COMMON-OUT). Use arrows to select the different voice allocation schemes.Use #21 for all 32 voices to come out output 1 and 2 if you use the built in chorus or tremolo,which BTW is really noisy. Use #22 for all voices to come out output 1 and 2 in mono. I hope this has helped. Once you get used to programming it,it's not so bad. E-mail if you have any other questions. ========================================================================= Date: Sat, 1 Apr 1995 22:11:22 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: Ears on? In-Reply-To: <9504011321.AA000bk@newty.demon.co.uk> from "Thomas Jerome Newton" at Apr 1, 95 01:21:33 pm Thomas Jerome Newton writes-- > >I could go on, but enough of my amateurish ramblings. I'd be fascinated to >hear from people who have had revelatory experiences of their own. Whether >sampling, miking up unusual objects, or simply observing... When a nuclear accelerator is run at too high a terminal potential to maintain a continuous charge on the rotating belt, the corona points that deliver the charge can arc to the inside of the accelerator enclosure, an event known as a "tank spark". This event, which is in effect the same as trying to contain a large lightning bolt inside a steel can, is abrupt, startling, potentially damaging to the accelerator if not dangerous, and very, very, VERY loud. The University of Pittsburgh Nuclear Physics laboratory, in its heyday in the 1970's and early 1980s, had two accelerators that could go up to about 7 million volts if pushed really hard. They were pretty impressive when they sparked, and a friend and I, both of us working there (he was a technician and I was a staff scientist) when the accelerators were officially scrapped, came in late one night and ran up the machine one more time, deliberately sparking it several times with a set of stereo microphones and a tape deck set up in the hot vault. Since then I have gone on to work with other accelerators and hear other sparks. Florida State University and Notre Dame University both have larger accelerators than Pitt's, which produce deeper, louder, less resonant sparks at 8 to 9 million volts, and the Oak Ridge National Lab's tandem tower goes up to 25 million volts without breathing hard; when it sparks, which ain't often, the whole building shakes to its foundations, and it sometimes takes two or three days of down time to fix the damage done inside the building-sized tank. But none of them are as clangorous or musical as the Pitt E-22 sparks, alas. BTW, this message is written one hour plus after midnight April 2nd where I'm sitting, regardless of the April 1st timestamp Netcom will tag it with from the West Coast. I'm not kidding about this. I'll leave the April Fools jokes to the experts, although my personal hero in that area didn't do as convincing a job this year as previously. (The message about the combined TB-303/TR-808/TR-909 box called the "Ruopav" was inspired, over on Analogue Heaven, though....) mike -- mike metlay * atomic city | atomic-city@netcom.com | "I could go on at length about software bloat, http://pd.net/atomic-city | "upgrades" and marketing, but it's late and snailmail p. o. box 81175 | I'm far too drunk." pittsburgh, pa 15217-0675 | (n. rothwell) ========================================================================= Date: Sun, 2 Apr 1995 07:20:28 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Yostie@AOL.COM Subject: NAMUTO Comments: To: Emusic-L@AMERICAN.EDU An Open Letter From Jeff Yost, CEO, Howard A. Yost Ventures After the tremendous response to our postings for "Radio Exposure" and "Tour Forms, and our conversations with those of you who have responded with questions concerning NAMUTO, The National Musicians Touring Network, We, at Howard A. Yost Ventures, believing there is a real and just need for such an organization, have decided to put our company and ourselves completely behind this venture. The purpose of NAMUTO (net), as we see it, is to: #1.) to support and promote the creations and creative spirit of independent musicians everywhere without prejudice to genre. #2.) To encourage experimentation, self expression, and artistic freedom through music. #3.) To build a network,not limited to but including, musicians, artists, composers, writers, promoters, venues/clubs, agents, studios, motels/hotels, lawyers, manufactures, distributors, restaurants, publishers, 'zines, broadcasters, printers, and all peoples involved in the creation, marketing, and promotion of independent musicians everywhere. #4.) To encourage the free flow of ideas and interaction of such between these peoples. #5.) To understand that all musicians are and should be independent. WHAT WE CAN DO: We can act as a collection and distribution point for all information compiled by those of you who become involved enough to collect and compile information within your realm of activities to be shared with all. We can itemize and categorize, building databases and open communications between all divisions of the business through any and all avenues available. WHAT YOU CAN DO: Compile lists of AND INFORM those in your realm of this activity, encourage interaction, submit information for databases, build on the idea and promote it! O.K., HOLD ON , HERE WE GO!!!!!!!!!!!!!!!!!!!!!!!! We encourage you to pass this information, intact,in total, and without injection, along to any and all peoples you believe could, or would, help, interact, and support these ideals. Jeffrey A. Yost Howard A. Yost Ventures 1910 Riverbend Pkwy Fremont, Ohio 43420 USA Yostie@aol.com Voice:419.332.5667 Fax:419.332.9959 NAMUTO UPDATE 4/1/95 ( The National Musicians Touring Network ) We have several new announcements and some reminders. Reminders: Don't forget our new radio project! If you have recordings in any genre, you may submit them for consideration. radio FAQ's: Q: What are you doing? What kind of show is this? A: The purpose of our radio show is to present new music, your music, to a new wider audience.The show's style will be along the lines of an open mic night, but using recordings instead of live performance, and having a radio audience. Q:What kind of music are you looking for? A: ALL KINDS OF ORIGINAL MUSIC!!! YES all kinds!!! ALL KINDS!!!! Q:How do I submit? A:All musics should be on either a cassette, CD, or DAT (44.1kH).Submissions should Include any press/promo material you have, Contact name and address, and a self addressed stamped envelope (PLEASE PUT CONTACT INFORMATION ON YOUR TAPE OR CD!!!) Q:Where can I hear the show, What stations will carry it? A: If you have a station that you feel may be interested in carrying such a show, contact the station manager or program director and have them contact Jeff at Howard A. Yost Ventures, 1910 Riverbend Pkwy. Fremont, Ohio, 43420 USA (Fax:419-332-9959 or phone:419-332-5667 or email Yostie@aol.com).A complete list of stations will be available prior to First show in your area. Station list unavailable at this time. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ANY QUESTIONS NOT COVERED HERE SHOULD BE DIRECTED TO: 101010101010101010101010101010101010101010101010101010101010101010101001010101 HOWARD A. YOST VENTURES 1910 Riverbend Pkwy. Fremont, Ohio 43420 USA Vox:419.332.5667 Fax:419.332.9959 email:Yostie@aol.com 010101010101010101010101010101010101010101010101010101010101010101010110101010 Any of you that have acts road ready or nearly road ready and would like to be a part of the sixpack tours ( six acts touring together ), Please email for a TOUR FORM ( Yostie@aol.com....or....NAMUTO@aol.com) with Tour Form in the subject. NEW STUFF: We will be putting together a hard copy magazine of band promotional materials for national distribution on a periodic basis. Roc Standish will be heading the project You should send your press/promo kits to his attention. As we stand now there will be no fee for inclusion....It is possible that a small fee will be required in the future, but this fee will be minuscule when compared to advertising on the national level. This is open to all Independent acts. DON't forget!!! include a self addressed stamped envelope with any correspondence. I believe I have covered everything for now. All post correspondence should be sent to: Howard A. Yost Ventures NAMUTO 1910 Riverbend Pkwy. Fremont, Ohio 43420 We're looking forward to helping you get your ball rolling! If you have an organization that is involved in helping the independent musician in any way, or if you as an individual are a helper of the independent musician, please contact us...Our network needs YOU to be! Yostie@aol.com NAMUTO@aol.com Yostie @ pan.com Dryostj@eworld.com Until next time, Jeff ========================================================================= Date: Sun, 2 Apr 1995 22:39:16 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: ICMC Comments: To: emusic-l@american.edu Hello emusicers, just curious... Any bods going to ICMC? It'd be great to meet some of you in person. Also, thanks to Pete for saying that he e-mailed ISEA and got a reply. Unfortunately, I have had NO reply. So I put my call out again. If anyone has received details about the International Symposium of Electronic art in Montreal, Sept 17-24, I would appreciate it if you could forward them to me (if received by e-mail; I don't want you to sit up typing it in or anything). The address is but, as I said, I've had no reply. Thanks, David "I'm snowed under and might not get around to replying to crosswired thread, but I did really enjoy it while it lasted" Rodger musdr@lure.latrobe.edu.au ========================================================================= Date: Sun, 2 Apr 1995 14:14:50 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ken Buechler Subject: iso art sx 2000 Hello everyone, Been looking to buy a ART SX 2000 gutiar effects processor.So far the cheapest I've been able to find one is $650. If you have one or know somebody who has one for sale I would greatly appreciate a response. Thanks. ========================================================================= Date: Sun, 2 Apr 1995 21:35:35 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Re: Ears on? Mike Metlay recently astounded us all with: > >I could go on, but enough of my amateurish ramblings. I'd be fascinated to > >hear from people who have had revelatory experiences of their own. Whether > >sampling, miking up unusual objects, or simply observing... > > When a nuclear accelerator is run at too high a terminal potential to > maintain a continuous charge on the rotating belt, the corona points > that deliver the charge can arc to the inside of the accelerator > enclosure, an event known as a "tank spark". This event, which is in > effect the same as trying to contain a large lightning bolt inside a > steel can, is abrupt, startling, potentially damaging to the > accelerator if not dangerous, and very, very, VERY loud. > > [specifics removed] Phwoarr! This is what we want! I have only one question. Where can I, as a citizen of the UK get my mic on such a device? (what is a nuclear accelerator anyway!) Keep 'em coming, Newtz -- __ ____ ________________________________________________________/ _\(___ \_______ // / / / / ( / \ \ / - thomasjeromenewton - // / / / / \L __ \_) / // / KLAUSTROPHONIA //.\/\/. \-'\ / newty@newty.demon.co.uk // / / / / / \_/| \__/ _/ / // / / / / / ( |_ / / zu ----------------------------------------------------------\ __ /-------- \___/ ========================================================================= Date: Sun, 2 Apr 1995 05:48:15 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: rg8@UMAILSRV0.UMD.EDU Subject: Computer Music Concert Comments: To: EMUSIC-L@american.edu For those in the Washington/Baltimore area on Thursday (April 6), you are cordially invited to a concert of 20th century music at the University of Maryland, College Park featuring duo runedako and the music of Cort Lippe. Mr. Lippe will be performing with the Ircam Signal Processing Workstation (ISPW), which is a real-time signal processor. The concert will be held at 8:00 PM on Thursday, April 6, 1995 in the Ulrich Recital Hall of the Tawes Fine Arts Building at the College Park campus. Parking is free in lots 1 and Z, and the concert is free and open to the public. If you have further questions, please contact me by private mail. The program is as follows: En Blanc et Noir (1915) Claude Debussy (1862-1918) duo runedako: Daniel Koppelman and Ruth Neville, pianos Somethin' Like That (1995) Daniel Koppelman (b. 1957) for piano and synthesizer duo runedako: Daniel Koppelman and Ruth Neville, keyboards Free Shadows (1994) William Kleinsasser (b. 1961) four refluent variations for two pianos and computer music duo runedako: Daniel Koppelman, piano (Yamaha Disklavier) Ruth Neville, piano Music for Clarinet and ISPW (1993) Cort Lippe Alex Sidorowicz, clarinet Cort Lippe, ISPW Setting for Two Pianos (1988) Mel Powell (b. 1923) duo runedako: Daniel Koppelman and Ruth Neville, pianos Music for Sextet and ISPW (1994) Cort Lippe Nancy Stagnitta, flute Arno Drucker, piano (Yamaha Disklavier) Daniel Silver, bass clarinet Celeste Blaise, violin Wayne Wells, trombone Anna Zabrzenska, cello Cort Lippe*, ISPW ---------------------------------------------------------------------------- --Robert Gibson Department of Music Associate Professor University of Maryland Theory and Composition College Park, MD 20742 (301) 405-5611 rg8@umail.umd.edu ========================================================================= Date: Sun, 2 Apr 1995 19:40:11 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Greg Verdino Subject: Re: Korg O1Wfd Right now, I use some patches from Pro-Rec's Filmscape, Heaven Synth and 01 Natural cards. These cards have some good sounds, some sounds that can be improved with some tweaking and some garbage. ========================================================================= Date: Sun, 2 Apr 1995 20:23:27 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: RonG225zt@AOL.COM Subject: Re: Just a TAD >During my travels through CD land today (in Realspace - not Cyber) I >came across an album with a most appealing cover depicting a >startled-looking tabby and the tuning head of a guitar. >It was called something like 'Live Alien Broadcasts' by Tad. >I've given the net a thorough scouring but can't find anything about it. >Anyone out there seen, heard, or heard _of_ this album? I don't know that album, but Tad is one of Seattle's pioneer "grunge" acts that never made the big time. I think most of his material was on Sub Pop records. Someone in alt.music.alternative should be able to help you out. Ron rong225zt@aol.com ========================================================================= Date: Mon, 3 Apr 1995 00:14:14 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Swing, Groove, Time, Etc... In-Reply-To: from "Jody Whitesides" at Mar 31, 95 06:40:21 pm Those Who Don't Have Swing: that godawful group that is doing the current Pepsi commercial. The "trumpet" solo is being played by someone who I swear has never seen a keyboard before. And it tries to be "jazzy" and is so square it's a tesseract. Waugh. --- Joe M. ========================================================================= Date: Mon, 3 Apr 1995 00:27:57 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Ears on? In-Reply-To: <9504011321.AA000bk@newty.demon.co.uk> from "Thomas Jerome Newton" at Apr 1, 95 01:21:33 pm The noise of this horrendous old hard drive of mine and my dishwasher were playing a very interesting 22/8 or so rhythm the other night. I ran in the other room and slapped it down on the VFXsd; heaven knows what I'll do with it, though... --- Joe M. ========================================================================= Date: Mon, 3 Apr 1995 00:44:31 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: NAMUTO In-Reply-To: <950402072025_68970123@aol.com> from "Yostie@AOL.COM" at Apr 2, 95 07:20:28 am Would persons interested in this please a) retain this for future reference; it's marginally appropriate for the list, as we do not accept ads on emusic-l b) please direct responses to the poster and not the list. This is potentially interesting information, but by our canons of conduct, not quite allowable. As co-listowner, I'm formally requesting that you not post further on this topic because it redounds specifically to your own benefit. If any of our readership does participate, we would appreciate a report as to whether the service lives up to its claims. Otherwise, we don't wish to see anything further. Thanks. Be cautious before signing anything, and find an entertainment lawyer to look over it before you do. --- Joe M. ========================================================================= Date: Mon, 3 Apr 1995 02:52:55 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: RonG225zt@AOL.COM Subject: PowerBook520c and MIDI I am getting ready to buy a Mac PowerBook 520c, with an internal modem and was wondering if anybody out there has had any midi problems with this configuration. One of my friends has a 520, with no modem and can't get the midi thru in Trax and Encore to work. I took a look and couldn't get it working either. I suspect that there might be a problem since there is only one port that is shared by both the printer and the modem and a slot for the internal modem. The data could be getting lost somewhere. I haven't seen any info about midi problems and the 520c, but that doesn't mean that they don't exist. If I'm going to have a problem I'd like to know before I spend my money. For the record, I'll be running Studio Vision AV, Encore 3.0.7 and Finale 3.1. Thanks in advance Ron RonG225zt@aol.com ========================================================================= Date: Mon, 3 Apr 1995 08:17:05 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Re: Just a TAD Ron saved me buying another 'dud' album wirh: > >It was called something like 'Live Alien Broadcasts' by Tad. > > I don't know that album, but Tad is one of Seattle's pioneer "grunge" acts > that never made the big time. I think most of his material was on Sub Pop > records. Phew, that was close, had that thing on my 'must have' list! Grunge eh? I've often found that I can pick up an album on the strength of its cover and get away with it, but this must be one of those _rare_ exceptions. My last mistake was with 'There was a elk' by Uncle Wiggly. Great name, encouraging cover. "Nice bit o' hardcore", I thought. Ooops! Newtz -- __ ____ ________________________________________________________/ _\(___ \_______ // / / / / ( / \ \ / - thomasjeromenewton - // / / / / \L __ \_) / // / KLAUSTROPHONIA //.\/\/. \-'\ / newty@newty.demon.co.uk // / / / / / \_/| \__/ _/ / // / / / / / ( |_ / / zu ----------------------------------------------------------\ __ /-------- \___/ ========================================================================= Date: Mon, 3 Apr 1995 06:43:45 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Steve M Laws Subject: Re: Roland U-110 -- HELP!!!!! [Anguished Cry] Try EDIT-PATCH-COMMON-OUT. Use INC & DEC keys to scroll thru the different output assighnments. The six squares represent outputs 1-6. The U110 allocates the voices in preset configurations. Ex. #1 places all 31 voices on output 1. #2 places 27 voices on 1,4 voices on 2. You just have to experiment a little to come up with the right one. Hope this helps you out. ========================================================================= Date: Mon, 3 Apr 1995 07:17:28 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Steve M Laws Subject: Re: Roland U-110 -- HELP!!!!! [Anguished Cry] I forgot to tell you to set the individual parts to seperate outputs use EDIT-PATCH-PART-BAS. Use arrows to select output assign then use INC&DEC to select which output you want that part to be on. 1-6 or off. ========================================================================= Date: Mon, 3 Apr 1995 14:00:18 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michel Fingerhut Subject: New issue of Arts Deadline on WWW Comments: To: audio-l@itesmvf1.bitnet, csound@noether.ex.ac.uk, daw-mac@netcom.com, emusic-l@american.edu, icma@umich.edu, max@mcgill1.bitnet, mla-l@iubvm.ucs.indiana.edu, mto-list@husc.harvard.edu, music-research@comlab.ox.ac.uk, musprf-l@cmsuvmb.bitnet, nextmusic@eecs.umich.edu, notmus-l@ubvm.cc.buffalo.edu, semla-l@uga.cc.uga.edu, sound@acm.org, synth-l@american.edu, ubmut-l@ubvm.cc.buffalo.edu The latest issue is available at http://www.ircam.fr/divers/arts-deadlines.html Michael -- WWW: http://www.ircam.fr tel: +33 1 44 78 48 53 http://www.cnac-gp.fr http://www.videomuseum.fr ftp: ftp.ircam.fr fax: +33 1 42 77 29 47 ========================================================================= Date: Mon, 3 Apr 1995 14:20:52 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "john.." Subject: Mixing desk.... my final choice! Comments: To: diy music mailing list , emusic-l mailing list , synth-l mailing list Well, I finally bought a mixing desk. After all the hassle of trying to find the 'best desk' I have made a completely different choice. Thanks for all of those who replied to my E-mails but, in the end, spending all of my savings on one piece of equipment was more than I could bear. What did I choose? The Soundcraft Spirit Folio 12:2 (at 369 UKP). Ok, I know that I won't be able to connect up all of my gear at once, but then after careful consideration, I don't want to do that anyway. Why did I buy this? 1) It's my first desk, I'd been borrowing a friends four track tape recorder for use as a mixer. 2) I haven't got *any* effects at the moment (I'm borrowing an R100 from a friend) so the money left over can go toward a multi-effect unit. 3) The sound quality on this desk is brilliant, plus it has a good 3 band EQ with sweepable mid, Anyway, I feel happier buying this than I would have done had I spent all of my money on a bigger desk. When the time comes to upgrade, I'll have more money and I'll be able to afford something like a Spirit Studio desk.... john.. |\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|p | mail: jat5@unix.york.ac.uk |||Flex music, York, UK. |h | jat@ohm.york.ac.uk ||| "home of the hits" |a | web: http://www.york.ac.uk/~jat5/ ||| (01904) 610745 |k |/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|e ========================================================================= Date: Mon, 3 Apr 1995 09:28:24 U Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Hall, Troy" Subject: How to Sign Off This List To quote the message everyone got when they subscribed... "You may leave the list at any time by sending a 'SIGNOFF EMUSIC-L' = command to LISTSERV@LISTSERV.AMERICAN.EDU." I.E. Body of message: SIGNOFF EMUSIC-L Send to: LISTSERV@LISTSERV.AMERICAN.EDU Sayonara, TH ========================================================================= Date: Mon, 3 Apr 1995 16:56:37 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: REES@UB.RUG.NL Subject: Re: Swing, Groove, Time, Etc... on monday April 3rd, Jody wrote > > lines I'll let loose with some current artists whom I feel have a > genius-sense of time. > > Frank Zappa, Robert Fripp, King's X, Dream Theater, Rush, Yes, The > Johansson Bros., Stevie Ray Vaughn, Steve Vai, Shawn Lane, Steve Moorse, > Queensryche, Kate Bush, Tori Amos, T-ride, Van Halen, Mark Knopfler, Pat > Metheny, Greg and Matt Bissonette, Trent Reznor, Queen, Dan Gilbert, Norman > Brown, (the list just keeps on going, and I would love to include myself, > but I haven't had any material that's been released). > > Excuse me, i don't mean to question the time-feel of all these people, but don't you think it's a very 'white' list? Sense of rhythm is something universally human of course (at least IMO), but black music always seems to have 'groove', 'swing' or whatever, whether it's jazz, rock, dance, etc. Any thoughts on this? Peter van Rees e-mail adress: rees@ub.rug.nl ========================================================================= Date: Mon, 3 Apr 1995 12:03:40 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Swing, Groove, Time, Etc... Please, let's not get into a discussion as to whether a list of people is exclusionist or not. If you have a musical objection to anyone listed, that's fine; follow up. If you have additional people you'd like to list, regardless of who they are or what their background is, that's fine. I think most of us don't care who made the music as long as it's good and we know their name. --- Joe M. ========================================================================= Date: Mon, 3 Apr 1995 12:00:44 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arne Claassen ISE Subject: Re: Ears on? In-Reply-To: <199504030427.AAA11829@clark.net> from "Joe McMahon" at Apr 3, 95 00:27:57 am > The noise of this horrendous old hard drive of mine and my dishwasher were > playing a very interesting 22/8 or so rhythm the other night. I ran in the > other room and slapped it down on the VFXsd; heaven knows what I'll do with > it, though... I was playing around with my Q2 and a microphone last night trying to get some good, thick voice samples (not words, just "ah"s). For those familiar with Coil, i was trying to create something similar to the voices on "windowpaine" and failed. Anyway, i used a patch called suspensions, which is a pitchshift-delay sort of thing and sampled my Syquest drive booting up. Great boot-up noise plus that clicking noise of magnetic heads reading the boot sectors. And that through a bunch of pitchshifted delays into my K2k. fun. -- Arne F. Claassen On the Web: ----------------------------------------------------------------------------- "The usual issues of societally-induced female technophobia are always raised [in discussions about the lack of female emusicians], but I have to admit that the possibility of trapping to extinction never came up" (mike metlay) ========================================================================= Date: Mon, 3 Apr 1995 11:47:31 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Rocky Mullin Subject: Re: Mixing desk.... my final choice! all my research and checking points to the mackie 1202 being superior to this soundcraft unit... and i would advise trading in if you can still get full return credit. my bandmate has been thru two of the soundcraft mxrs. the mackie 1202 has far superior sound and is built much more durably... the *only* flaw in the 1202, though, is no goddam pfl's! i bugged the people at the mackie booth at aes, and they said there isn't even a mod for this *major* problem. then they sent me on their way with a mouse pad. anyway, mackie's are the way to go. i had that same choice you did once... never regretted it. /\ c /\ a /\ l /\ i /\ b /\ a /\ n /\ rocky mullin /__\____/__\____/__\____/__\____/__\____/__\____/__\____/__\ organic online \ / \ / \ / \ / \ / \ / \ / san francisco \/ \/ \/ \/ \/ \/ \/ http://wbl.com/~caliban splitting lanes on the information superhighway =-=-=-=-=-=-=-=-=-= What did I choose? The Soundcraft Spirit Folio 12:2 (at 369 UKP). john. ========================================================================= Date: Mon, 3 Apr 1995 13:56:42 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jayson Benjamin <9504@EF.GC.MARICOPA.EDU> Subject: jon secada/gloria estefan Comments: To: EMUSIC-L@AMERICAN.EDU hi, everyone i just wanted to know if there any jon secada and gloria estefan fans out there looking to get together and talk music and share info?also i am looking to get some imported music recorded by either artist yet i havent been able to come across and places who carry it.let me know,my e-mail address is leslieseligson@pvc.maricopa.edu ========================================================================= Date: Mon, 3 Apr 1995 17:17:24 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Zorn Comments: To: emusic-l Greg Taylor is right. Again. As always. I finally gave in and bought a copy of John Zorn's "Spillane" last night. This is *great* stuff. I need more. Christian Marclay plus the Kronos Quartet - yum yum yum. This music could hurt people. As Zorn says in the liner notes, it's music for the impatient. If you don't like what's going on, wait a few seconds and it'll change. He cites Carl Stalling as one of his major influences. I can definitely believe it. Free jazz into country-and-western into Webern into "Route 66" into sound effects... Yow. Interesting note on the structuring of the pieces - he says he steeps himself in the subject, and then writes down ideas and images on filecards; sorting them and choosing the ones to use them becomes the means of structuring the composition. The actual writing may be tightly composed, or improvised. "Spillane" made me think of the kind of music Carl Stalling would have written if he had been drafted into writing the soundtrack for "Pulp Fiction". --- Joe M. ========================================================================= Date: Mon, 3 Apr 1995 15:10:04 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Amalgam@AOL.COM Subject: Re: Swing, Groove, Time, Etc... O.k. I admit that I had left a few artists off the list (but I wasn't trying to exclude any particular race). But here are some in the 'black' area: Prince, Sam Cooke, James Brown, Terence Trent Darby, Janet & Michael Jackson, Jackie Wilson, Living Colour, DJ Jazzy Jeff and the Fresh Prince, Etc... I could go on, but there isn't much I can do to appease my earlier posting, and I'll probably be slagged for the commercial appeal of these artists as well. You just can't win them all. Jody Whitesides ========================================================================= Date: Tue, 4 Apr 1995 09:30:11 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: swing, groove, etc. Comments: To: emusic-l@american.edu Hi emusicers, I saw this today... Date: Mon, 03 Apr 1995 16:56:37 +0100 From: REES@UB.RUG.NL Subject: Re: Swing, Groove, Time, Etc... >on monday April 3rd, Jody wrote > > > lines I'll let loose with some current artists whom I feel have a > > genius-sense of time. > > > > [long list of white artists] > >Excuse me, i don't mean to question the time-feel of all these >people, but don't you think it's a very 'white' list? Sense of >rhythm is something universally human of course (at least IMO), but >black music always seems to have 'groove', 'swing' or whatever, >whether it's jazz, rock, dance, etc. Any thoughts on this? > >Peter van Rees >e-mail adress: rees@ub.rug.nl By all means, Peter, question it. But remember that the list is mainly artists who are working in Western pop or jazz, which draw heavily on black music (indigenous and colonial or post-colonial). Nelson George, noted African-American writer, has suggested (in The Death of Rhythm and Blues) that the likes of Peter Gabriel and Phil Collins write and perform this sort of music (albeit watered down compared with that of black artists) because they have a great love and respect for black music. My, how well we have learned. Regards, David Rodger musdr@lure.latrobe.edu.au ========================================================================= Date: Mon, 3 Apr 1995 23:36:52 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Kham Inthasomsack Subject: Re: midi to soundcard diagram >Midi cables for $50.00? WOW!! You folks should contact me for >better deals on your gear. I have access to everything. Well ok, I need a midi cable that goes with the Gravis Ultrasnd sound card please. Here's my # (617)593-9436 or give me yours. You can make the call on how are we going to arrange this. I really need one. ========================================================================= Date: Mon, 3 Apr 1995 23:36:51 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Kham Inthasomsack Subject: Re: midi to soundcard diagram I think the 50$ midi cable was for the Gravis sound card. You can only get from the Gravis Ultrasnd. If you know where I can half that price please let me know. Thank you. ========================================================================= Date: Tue, 4 Apr 1995 03:14:20 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: RonG225zt@AOL.COM Subject: Re: Ears on? > and sampled my Syquest drive booting up. Great boot-up noise >plus thatclicking noise of magnetic heads reading the boot sectors. Umm, I think that was the sound of the Syquest drive scraping chunks of your disk off, or at least thats what both of mine have done... :) Ron ========================================================================= Date: Tue, 4 Apr 1995 14:17:36 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Giuseppe Voglino Subject: File Format at american.edu Hello. How to make readable the files located at AMERICAN.EDU ? I tried to download one but the command 'file' on unix tells me that it is type 'data'. Ciao. Giuseppe ========================================================================= Date: Tue, 4 Apr 1995 13:53:48 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "john.." Subject: Re: Mixing desk.... my final choice! In-Reply-To: <199504031847.LAA06302@eat.organic.com> On Mon, 3 Apr 1995, Rocky Mullin wrote: > all my research and checking points to the mackie > 1202 being superior to this soundcraft unit... and > i would advise trading in if you can still get full > return credit. my bandmate has been thru two > of the soundcraft mxrs. the mackie 1202 has far > superior sound and is built much more durably... > > the *only* flaw in the 1202, though, is no goddam > pfl's! i bugged the people at the mackie booth > at aes, and they said there isn't even a mod for > this *major* problem. then they sent me on their > way with a mouse pad. > > anyway, mackie's are the way to go. i had that > same choice you did once... never regretted it. Well, I'm using this as a fixed unit in my studio so being able to kick it around in a live situation doesn't come into it, and: 1) the Spirit has faders (as opposed to rotary level controls) 2) The Spirit has 8 mono inputs (a definite consideration since nearly all of my equipment is mono) 3) The Spirit has 3 band EQ on mono input channels (with sweepable mid) 4) The Spirit *has* PFLs... Ok, so it lacks insert points, but since all of my equipment outputs are at line level, I can spend 30-40 quid on a patchbay with much the same effect. (The Spirit Folio Lite is more on a par with the Mackie 1202 imho.) Anyway, I like it, the specs are amazing, and it's a vast improvement over using the mixer on a portastudio. john.. |\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|\-/|p | mail: jat5@unix.york.ac.uk |||Flex music, York, UK. |h | jat@ohm.york.ac.uk ||| "home of the hits" |a | web: http://www.york.ac.uk/~jat5/ ||| (01904) 610745 |k |/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|/-\|e ========================================================================= Date: Tue, 4 Apr 1995 10:47:25 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: File Format at american.edu In-Reply-To: <01HOXZQMRZ1K000DBV@agr04.st.it> from "Giuseppe Voglino" at Apr 4, 95 02:17:36 pm > How to make readable the files located at AMERICAN.EDU ? > > I tried to download one but the command 'file' on unix tells me > that it is type 'data'. > Which file in particular was it? Write me direct and we'll see if we can fix this. I know most of the files haven't been looked at in a while; I hope they weren't damaged in the move to Unix from VM. --- Joe M. ========================================================================= Date: Tue, 4 Apr 1995 11:33:31 -0400 Reply-To: Greg Dorter Sender: Electronic Music Discussion List From: Greg Dorter Subject: Windows Toolkit Comments: To: emusic-L Can anyone give me any info on Toolkit for Windows? Will it let me access the Windows MIDI driver? I'd like to do some real simple Windows programming with MIDI and I'm wondering what the easiet way to do this might be. How difficult is it to learn to program MIDI in Windows in C, C++? How would I go about learning how to do this? Thanks for any help, Greg Dorter University of Western Ontario 63 Dean Ave. gdorter@julian.uwo.ca Guelph, ON N1G 1L3 519-836-2071 CANADA ========================================================================= Date: Tue, 4 Apr 1995 16:55:41 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dave Rees Subject: FAQ : MIDI Wind Controllers v1.2 Part2 (LONG) Comments: To: emusic-l mailing list , synth-l mailing list ********************************************************************** * MIDI Wind Controllers FAQ - Version 1.2 - 24/3/95 * * Part 2. * ********************************************************************** * * * Compiled by: David Rees * * djxr@star.ucl.ac.uk * * * * NO WARRANTY: THIS WORK IS PROVIDED ON AN "AS IS" BASIS. THE * * AUTHOR PROVIDES NO WARRANTY WHATSOEVER, EITHER * * EXPRESS OR IMPLIED, REGARDING THE WORK, INCLUDING * * WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR * * FITNESS FOR ANY PARTICULAR PURPOSE. * * * * Availability: This is available via anonymous ftp from * * ftp.star.ucl.ac.uk in pub/djxr/ * * * * See also: Periodic postings on wind-l, emusic-l, synth-l * * rec.music.makers.synth, rec.music.info and * * alt.music.makers.woodwind * * ********************************************************************** ********************************************************************** * Table of Contents. * ********************************************************************** Part 1. ------- Section 1: Introduction. 1.1 What is a MIDI wind controller? 1.2 What is wind-l? 1.3 What wind controllers are available? Section 2: Yamaha wind controllers. 2.1 What is the WX series? 2.2 What is the WX7? 2.3 What is the WX11? 2.4 What is the WT11? 2.5 What is the EW30 / WindJammer? 2.6 What is the WindTamer? 2.7 How do I remove a WX7 mouthpiece? 2.8 What should I look for when buying a second hand WX7? 2.9 How do I contact Yamaha? Section 3: Akai wind controllers. 3.1 What is the EWI series? 3.2 What are the EWI1000 / EVI1000? 3.3 What is the EWV2000? 3.4 What are the EWI3000 / EWI3000m? 3.5 What are the EWI3020 / EWI3020m / EWI3030m? 3.6 What optional extras are available from Akai? 3.7 How can I get my EWI converted to an EVI? 3.8 How do I contact Akai? Section 4: Others 4.1 What is the Synthophone? 4.2 What is the Lyricon? 4.3 What is the Casio DH series? 4.4 What are the Sting controllers? 4.5 Are there any others? Part 2. ------- Section 5: Synths. 5.1 What should I look for in a synth module? 5.2 Is my synth suitable for using with a wind controller? 5.3 Where can I buy synth patches optimized for wind controllers? 5.4 How do I set up patches for wind control? Section 6: Pricing Info. 6.1 How much do new controllers cost? 6.2 How much do second hand controllers cost? Section 7: Suggested reading. Section 8: Discography. Section 9: Acknowledgments. **************************************************************************** * Section 5: Synths. * **************************************************************************** 5.1 What should I look for in a synth module? You have to worry about synths and programming with wind controllers. Most Synths and synth modules are designed with keyboard players in mind, and some absolutely essential features, from a wind player's viewpoint, are missing on a variety of popular synths. Conversely, hyped features such as number of voices and flexible envelopes aren't of compelling interest. Even velocity sensitivity isn't all that useful except for programming attacks. The most prevalent lapse is the lack of a legato, single-trigger, mono mode. On a lot of wind controller voices, you want to be able to play a new note without have the synth envelopes re-trigger. Many of the Roland synths, for example, lack this feature, and you should have suspicions of sample-based instruments in general. The synth must offer musically useful control of volume and tone parameters from the Continuous Controller 2 or After-touch. Older and -- alas -- less expensive synths are suspect. You want direct linear control of the appropriate parameters (e.g. filter cutoff, FM modulator output, vector mix.) ............................................................................ 5.2 Is my synth suitable for using with a wind controller? The following list is not a complete list of synths that are suitable for using with wind controllers, but have all been reported as usable on wind-l Akai EWV2000 (only suitable for Akai EWI/EVI - no MIDI IN) Akai EWI3000m Akai EWI3020m Akai EWI3030m EMu Proteus 1/2/3 Ensoniq ESQ-1, ESQ-m, SQ-80 Korg M1/M1R/T1/T2/T3 Korg Wavestation/Wavestation AD/Wavestation SR Kurzweil K2000/K2000R MicroWave Oberheim Matrix 1000/12/6/6R Oberheim Xpander Yamaha DX7/TX7 & Compatibles Yamaha SY/TG77 Yamaha SY99 Yamaha TG55 Yamaha TX802 Yamaha TX81Z Yamaha VL1/VL1M/VL7 Yamaha WT11 The following list *may* be suitable for wind controllers, but are to be confirmed. Sound Canvas Yamaha VL1/VL1M/VL7 ------------------- The VL series are brilliant for wind controllers! The VL1m (module version of VL1 keyboard) uses Physical Modeling Synthesis - it simulates actual acoustic interactions between a sound generator (reed, bow, trumpet-type mouthpiece) and a resonator (pipe, string). It does the computations for this in what I think is about 10 megs of RAM. It is *not* a sample player. It has 2-voice polyphony, 5-band parametric eq, several amplifier simulators, distortion settings, reverbs, delays, and flanger. The virtual controllers (assignable to physical controllers like breath pressure, foot pedal, pitch bend) include growl, scream, distortion, and a whole bunch of others. It holds 128 voices (patches) in 8 banks, saveable to DOS-compatible 3.5" floppy. A VL7 is similar to the VL1 except that it can't do layers, it stores only 64 patches, and costs less... ............................................................................ 5.3 Where can I buy synth patches optimized for wind controllers? 5.3.1 Patchman Music 2043 Mars Avenue Lakewood, OH 44107 U.S.A. Telephone: 216-221-8887 Large selection of patches available for nearly all synths listed above. Cost: All wind controller volumes are $39.95 each plus $2 shipping & handling within the U.S. Foreign orders add $10 for shipping & handling. Contact MatteBlack@aol.com for more information. 5.3.2 Sound Source Interactive 2985 E. Hillcrest Dr., Suite A Westlake Village, CA 91362 1-800-877-4778 (805)494-9996 FAX: (805)495-0016, 496-4917 BBS: (805)373-8589 Patches for TX802 and TX81Z only. 5.3.3 West Broadway Productions PO Box 12218 Beaumont TX 77726 wbroadway@aol.com Patches for TX81Z only. ............................................................................ 5.4 How do I set up patches for wind control? 5.4.1 General Principles. ------------------- [Excerpt from a post to wind-l from Ken Beesley.] "The MIDI spec is fairly heavily keyboard oriented, and Velocity is very much a keyboard/percussion kind of notion. It's completely appropriate for controlling the volume (loudness) of patches where you bonk something right at the beginning and the overall loudness is dependent on the strength of that bonk. When you control the volume of your patches by envelope generators, and when you in turn make those envelope generators sensitive to velocity, then you have a classic piano/percussion-like patch. Straightforward wind control (emulating wind instruments) is quite different and requires a whole different patch programming paradigm. The overall loudness of a wind note is NOT determined by some bonk or other event right at the beginning; it's determined continuously by your changing breath control through the whole duration of the note. You might start a note very softly, crescendo, waver up and down, and cut off the note at full volume. The volume envelope of each note can be different--the player becomes the real-time, flexible envelope generator. When programming for straightforward wind control, the basics are 1. Ignore velocity values. They have to be there, to make valid Note-ON messages. In the WX and EWI, these velocity values are basically fillers (although somewhat less so in the case of the WX, see below) 2. Set the envelope generators that control the final amplifier(s) to the "square" or neutral shape. Such envelope generators are usually wired in, but setting them to the neutral square shape causes them to tell the amplifier "as far as I'm concerned, play at full volume all the time." If you're converting a piano like patch to wind control, these envelope generators are where you usually have to turn OFF Velocity sensitivity (this causes the patch to ignore velocity values). 3. Set the amplifiers to be modulated (controlled) by Breath Control values. Sometimes this can be done directly. Other times, such modulation effectively acts as a valve between the envelope generator and the amplifier, letting anywhere from all or none of the value from the envelope generator get through to the amplifiers. The result is that the output of the amplifiers will now be completely controlled, in real-time, by how hard you blow. It is possible to keep using the Velocity value in wind patches to control the strength of the initial "chiff" of tonguing (rather than the overall loudness of a note). There is some merit to this; a tonguing chiff occurs only at the beginning of a note. However, this plan works fine for WXs, but not for anything driven by an EWI module. (The Velocity values from a WX seem to be just a snapshot of the current breath control value, and the EWI modules send the same non-zero value every time. You can set what that value will be (64-127), but then it's set until you reprogram the value.) To handle them both, program the chiff part of the sound so that its volume is controlled by an envelope that is typically percussive (jumps quickly to maximum, then drops almost immediately to zero--this will cause the chiff (of whatever final strength) to be heard only at the beginning of a note); then make that envelope generator (or its output) sensitive to Breath Control. On the WXs, the Velocity value is just a copy of the current BC value, so the result should be indistinguishable from making the envelope generator sensitive to Velocity." 5.4.2 For use with the WX11 --------------------- In the WX11 documentation, there are basic instructions for programming FM synths for wind control, at least the settings for EG-Bias (via cc#2) and setting AmpModSens on FM operators. 5.4.3 DXs --- The Sal Gallina book ("Expressive FM Applications") has alleged DX7II (TX802) and TX81z patches. 5.4.4 An example ---------- [This gives an example of how to go about programming a synth. It is for a uWave.] Use breath control (BC) to control the filter frequency and volume of the sound. So, the sound gets louder and brighter as you blow harder. Use the *inversion* of BC to control the Q of the uWave's filter. Thus the filter is resonant at low BC values (when it is also almost closed, so the knee is at a lower frequency.) This effect is hard to describe, but it basically makes it timbrally richer at a low BC while still keeping the effect of getting "brighter" at higher BC values. This is not to be overdone! Also use BC to control the sweep through the uWave's wave table. So as you blow harder I move through the different waves... this parameter is smoothed inside the uWave. Finally, you can assign an LFO to pan the sound a little and then used the BC to modulate the amplitude of the LFO. So as you blow harder the sound shimmers in stereo. Just a little of this one... it can be annoying! The result is an expressive sound which is warm and full at low BC values and gets "exciting" at higher BC values. *************************************************************************** * Section 6: Pricing * **************************************************************************** [Please mail me at the address at the top of the FAQ if you buy/sell a new or second hand wind controller, so I can update the pricings below.] 6.1 How much do new controllers cost? The following table gives approximate prices in both the USA and the UK. USA UK (inc VAT) Yamaha: WX11/WT11 $750-800 GBP 529 WX11/BT7 $400 GBP 275 Akai: EWI3020 ? GBP 349 EWI3020m ? GBP 599 EWI3030m ? GBP 759 Casio: DH-100 $100 N/A Synthophone: $3450.00 N/A ............................................................................ 6.2 How much do second hand controllers cost? The following table gives the approximate price you could expect to pay for a second hand controller in "good condition". USA UK Yamaha: WX7/BT7 $300-400 GBP 200 WX11/WT11 ? ? WT11/BT7 ? ? Akai: EVI1000 ? N/A EWI1000 ? N/A EWV2000 ? N/A EWI3000 ? N/A EWI3000m ? N/A EWI3020 ? ? EWI3020m ? ? EWI3030m ? ? Casio: Any DH $50-60 GBP 50 **************************************************************************** * Section 7: Suggested reading. * **************************************************************************** [If you are interested in reading further about wind controllers, then you could worse than consult some of the articles in the following list. Please send an email to the address at the top of the FAQ if you come across any further references.] ----------------------- Aftertouch Magazine June 1987 "WX7 Sound Sheet" This article discusses the production of the included sound sheet demo recording of Sal Gallina playing the WX7. 1 page September 1987 "WX7" An introduction to the WX7. 2 pages Also includes a small a note about using a breath controller with the FB-01. July 1988 Includes a TX81Z Patch called "Lyricon" designed to be played with a wind synth. October 1988 "Breath Controller" Discusses using the Yamaha BC1 or BC2 breath controller with a keyboard. 2 pages January 1989 New product release notes on the WX11/WT11. March 1989 "WX7 Wind Controller"-Getting aquainted with your WX7. Tips on using the WX7. 2 pages April/May 1989 "WX7 and TX81Z" Discusses programming the TX81Z for breath control. 3 pages ----------------- Downbeat Magazine November 1989 "Michael Brecker: Re-Charged Sax". Excellent article. Brecker discussing the EWI1000. 1.5 pages January 1991 - "Now You See Him..." Article about Michael Brecker's new album and talks about the EWI1000. 3 pages October 1992 - "Brecker Brothers Are BACK!" (cover story) "The Brecker Brothers: Boogie Out Of Africa", pp. 16-20. Talks about the EWI, among others things. June 1992- "Groove Ganster", pp. 21-23. Jow Zawinul interview. Shows two photos of Mr. Zawinul with the Korg PePe, a breath controller with wireless MIDI. ------------------ Electronic Musician Magazine April 1986 Review of the JL Cooper MIDI Wind Driver. 2 pages February 1987 Contains a soundsheet recording of Sal Gallina playing a WX7. February 1988 Akai EVI1000 and EWI1000 review 5 pages May 1988 Yamaha WX7 review 5 pages Includes a small article on Sal Gallina. October 1988 Article "The Akai EVI1000 and EWI1000: A Personal Approach". Some great tips and tricks! 5 pages December 1988 Synthophone review 5 pages January 1989 One Chip Project: "Breath Controlled Expressor project." Pages 82-85 Also a review of the Casio DH-100. June 1991 Press release of the Akai X335i breath controller. December 1991 In depth review of the EWI3000 Wind Controller 6 pages Feburary 1994 "Model Music" By: Scott Wilkinson Article about Sound Modeling 8 pages (p.42-54) June 1994 Yamaha VL1 review. By: Scott Wilkinson 6 pages. (p.99-104) ------------- EQ Magazine February 1995 "A Breath Of Fresh Air" How you can spice up your sequences by adding an electronic woodwind. Interview with Hollywood session player Fred Seldon. Discusses his use of the EWI. 4 pages Review of the Yamaha VL1 synthesizer. By Howard Massey 4 pages ---------------- Expressive FM Applications By Sal Gallina c1987 Hal Leonard Publishing Corporation ISBN 0-88188-762-5 $19.95 U.S. 104 pages Published by Yamaha Music Foundation and Hal Leonard Publications. Available through the Mix Bookshelf catalog for $19.95. Yamaha bundled this book with the WX7. It includes an audio cassette of Sal playing the WX7 and TX81Z. --------------- Keyboard Magazine December 1986 "MIDI Interfacing for the Rest of the Universe". Article discusses MIDI-ing various acoustic instruments. Talks about the Perkiphone design. 2 pages Also EVI1000/EWI1000 ad on page 13 July 1987 "Programming and Technique With or Without the Keyboard" Article on Wind Synthesis. Also has article on Fred Selden, a prominent L.A. studio wind synthesist who uses the Akai EWI. 7 pages October 1987 Akai EVI1000/EWI1000 full page ad March 1988 Yamaha WX7 review 3 pages October 1988 Article "Keyboards are for Wimps". About some of the limitations of keyboard-controlled synthesis and advantages of wind controlled synthesis. 1 page This issue also contains an article and picture of Mark Isham holding a Perkiphone MIDI acoustic trumpet. March 1989 6 pages A full Akai EWI1000 review December 1989 Article "Programming Synths for Wind Control" 2 pages January 1990 Article "Exploring Dynamic Harmony with the Synthophone". 2 pages August 1991 New EWI3000 ad on page 120 September 1991 Breath controller interface project for the Korg M1. Page 16 Also EWI3000 ad on page 49 December 1991 Ad for the "Windbox"- a hardware box giving keyboardists breath control over their Patches. Page 187 Febuary 1994 "The Next Big Thing" An article about Sound Modeling. By: Michael Marans 16 pages. (p.99-118) June 1994 Yamaha VL1 review. By: Ernie Rideout 8 pages. (p.104-118) -------------- Insight Magazine February 5, 1990 "Musicians Plug Into a New Sound (A New Crop of Electronic Instruments)". 2 pages ------------ MIDI Magazine March/April 1994 Yamaha WX11 and WT11 review. By Paul Butler 3 pages ----------- MIT Journal article on VL1 ? ------------- Business Week 11/15/93 Science/Tech section Julius Smith Inventor Article on VL1 ---------------- American Recorder (published by The American Recorder Society) June 1991 "Wired for Sound" By Matt and Tony Marvuglio A review of the Suzuki MIDI Recorder SRW-100 and the Yamaha WindJamm'r-EW20. ------------------ Music Technology Magazine October 1987 Akai EWI1000 and EVI1000 preview 1 page December 1987 Akai EVI1000 and EWI1000 review 4 pages Also an excellent interview with Sal Gallina and Nyle Steiner- the designers of the WX7, EVI1000, and EWI1000 (4 pages). Music Technology (British Version) April 1988 Akai EVI1000 and EWI1000 review 3 pages March 1988 Yamaha WX7 review 4 pages This issue also has a photo of the hardshell case available from Akai for the EVI1000 or EWI1000. July 1989 Yamaha WX11/WT11 review 3 pages November 1988 Tom Scott interview, an avid WX7 user. Also a review of the Synthophone- a MIDI saxophone. 5 pages Premier Issue (Peter Gabriel on cover) Half page article and picture on Perkiphone Trumpet to MIDI synthesizer. April 1988 Review of the Sting EW2 MIDI Wind Controller. 3 pages February 1988 Review of the Artisyn SX01 MIDI Sax 2 pages May 1989 "Rehumanize Your Sequences, Part 4: Wind Instruments. Discusses how to emulate various acoustic wind instruments using a breath controller. 4 pages December 1986 "Stepping Out". Discusses Steps Ahead and Micheal Breckers' use of the Steinerphone in this group. Includes a picture of Brecker playing the Steinerphone with his 1986 set-up. 4 pages April 1987 News release of the Artsyn MIDI Sax. Page 7 Review of the Frankfurt Musikmesse. Discusses the release of the EVI1000 and EWI1000. Includes picture of Nyle Steiner playing the Steinerphone. Pages 50, 51, and 54 February 1988 Akai EVI1000/EWI1000 video tape ad. --------------- Recording Magazine January 1995 Yamaha VL1 review. By Nick Batzdorf 4 pages "The Controllers- Keyboards and Unkeyboards" By Nick Batzdorf and Trevor Gilchrist Discusses the currently available wind controllers and percussion controllers. Also reviews the Akai EWI3020. 5 pages "Airto Moreira" By Lorenz Rychner Interview with Airto. He mention his horn player, Gary Meeks, who plays an Akai EWI. -------------- Saxophone Journal March/April 1991 "Creative Jazz Improvisation" An article about the Yamaha WindJammer. 2 pages (p.52-53) May/June 1991 "The Future Is Now" About the Prism saxophone quartet which uses wind controllers and the first California Saxophone and MIDI wind controller festival. 6 pages (p.51-56) --------------- Recording Magazine January 1995 This features a VL1 and an Akai EWI-3020 on the cover. This issue is sort of a wind controller issue. It includes a 4 page review of the VL1 and VL1-m. There is also an article called "The Controllers" jthat talks about the currently available alternate controllers such as the Akai EWI3020. ----------------- The Mix (available in UK only) A 4 page review of the Akai 3020/3020m/3030m. It has ex Tangerine Dream player Steve Jolliffe doing the reviewing, and also playing a demo track on the cover CD. *************************************************************************** * Section 8: Discography * *************************************************************************** [If you are interested in listening to some professionals playing wind controllers, check out the following list.] WITNESS (film soundtrack). Maurice Jarre, composer. Lots of EVI solos by Nyle Steiner. 1985. Varese Sarabande STV 81237 (record), CTV 81237 (cassette),and VCD 47227 (CD). KALEIDOSCOPE. Mike Metheny. EVI solo on one or two cuts. 1988. MCA Impulse MCA 42023 (record, CD and cassette). ONE VOICE. Barbra Streisand. Live concert. Eight piece band recreated many Streisand mega hits. EVI solos by Nyle Steiner. 1987. Columbia OC 40788. Also available on video from CBS/Fox Home Video. Nyle demonstrated the EVI to Streisand and the audience at the end. ON THE CORNER. John Patitucci. Judd Miller plays EVI on three cuts. 1989. GRP GRD-9583 THE STILL POINT. Susan Mazer (Electro-acoustic harp) & Dallas Smith (woodwinds and EWI). 1990. (CD insert lists Mazer & Smith, PO Box 6391, Stateline, NV 89449.) ProJazz CDJ 728. MAGNETIC. Steps Ahead. Michael Brecker plays "Steiner EWI" on 6 cuts. Oberheim Xpander listed with EWI on 4 cuts. (From the way it is listed, perhaps two cuts use the Steiner module as the sound source and four cuts use the Xpander controlled by the EWI). 1986. Elektra Asylum 60441-1. MICHAEL BRECKER. Michael Brecker. Brecker plays EWI on several cuts. Judd Miller and Nyle Steiner are included in the "thank yous". 1987 MCA/Impulse. MCA-5980. DON'T TRY THIS AT HOME. Michael Brecker. Brecker plays "Akai EWI" on 3 cuts. Judd Miller is credited as synth programmer in the liner notes. Jack Sugino and Koh Suzuki from Akai are in the "thank yous" 1988. MCA Records MCA 42229. NOW YOU SEE IT...(NOW YOU DON'T). Michael Brecker. Brecker plays "Akai EWI" on 5 cuts. Judd Miller and Sam Zambito are in the "thank yous". I remember Sam assisting Brecker with programming and system design around this time. 1990. GRP GRD-9622. STEPS AHEAD-LIVE IN TOKYO 1986. Michael Brecker. In my opinion, its some of the best stuff Brecker has ever recorded on the EWI, as well as killer performances from all members of the group RETURN OF THE BRECKER BROTHERS - LIVE IN BARCELONA. Brecker Brothers. Michael Brecker playing the EWI on tracks 5 and 6. GRP-96843. OUT OF THE LOOP. Brecker Brothers. Michael Brecker playing "Akai EWI" on tracks 4,5,7, and 8. 1994. GRP 97842. KENNY G. Kenny G. Kenny G playing "Lyricon Mini-Moog wind synthesizer solo on 'Stop and Go'". (track 3) 1982. Arista 259337. DUOTONES. Kenny G. Sal Gallina credited for playing "Digital wind controller". Also, "Violins, French horns and string sounds on 'Don't Make me Wait' played by Sal Gallina and violins on 'Esther' played by Kenny G on the Digital Wind Controller." 1986. Arista 257792. A CHANGE OF HEART. David Sanborn. Track 6, A Change of Heart: "Michael Brecker: Steinerphone EWI." 1987. Warner Bros. 925479-2. THE RHYTHM OF THE SAINTS. Paul Simon. "Akai EWI SYNTHESIZER Michael Brecker" on tracks 1,3,5,8,9. 1990. Warner Bros. 7599-26098-2. RUN FOR YOUR LIFE. Yellowjackets. Bob Mintzer playing "EWI" on a few tracks. 1994. GRP 97542. SKETCHBOOK. John Patitucci. Judd Miller credited for "EVI & Synthesizer Programming" on track 12. 1990. GRP 96172. REED MY LIPS. Tom Scott. CD insert lists Scott playing "horn synth" on one cut, "synth horn, strings and vibes" on another. 1994 GRP GRD 9752. RETURN OF THE BRECKER BROTHERS - Brecker Brothers (1992) GRP #GRD-9684 Michael makes good use of his EWI throughout the album BLACK MARKET - Weather Report (1976) Columbia Records #PC 34099 The only WP album I know of that Wayne Shorter uses the Lyricon. AJA - Steely Dan (1977) ABC Records #AA-1006 Tom Scott overdubs several Lyricons at the beginning of "Peg". MILE ONE - Random Walk (1991) #RW-521-CD (Posting from Dave Matsen ) "Produced by Daryl Stuermer (guitarist and writer with Phil Collins and Genesis). On this fusion album I play my trusty WX7 driving a Korg M1, Korg M3R, ESQ-1 and a Kurzweil (1000 series?) that was at the studio; as well as my analog Selmer saxes. The CD is currently out of print but we do have a few copies left. If anyone is interested, please E-mail me and I see if I could ship some out. I may be jumping the gun on this since I don't know how many copies the group leader has." LIKE A RIVER - Yellowjackets. Bob Mintzer playing "EWI". "Guest musicians: ... Judd Miller - EWI programming". 1993. GRP-96892 DON'T SAY IT'S OVER. Randy Crawford, vocals. Steve Tavaglioni plays and EWI "harmonica" solo on the title cut. Warner Bros. 45381-2 WHAT'S INSIDE. New York Voices (five vocalists and a back-up band). On "The Sultan Fainted", one of the vocalists, Darmon Meader, plays an "Akai EWI" solo. John Tendy is credited with "EWI sound programming". GRP GRD-9700 **************************************************************************** * Section 9: Acknowledgments * **************************************************************************** I hope you have found all this interesting and informative. Please send any suggestions, comments, critisism and especially corrections and additions that you may have to the email address at the top. The information in this FAQ came from many sources, most of them from within wind-l. The contributions from the following people in particular are gratefully acknowledged. Mr. Abbott Ken Barry Ken Beesley Matte Black Michael V Briggs Mike W Burger Don Cagen Scott A Dart Kelly J Dean Richard George Brian Good Craig Hara Ian Herman Ewan Macpherson Dominic Latter A Gavin A McLintock Robert Hill Phil Sallee Jan Steinman Tom Ritchford Richard Rogers Matti J Saavalainen Doug Smith George Shernit Paul Tammes Neal Tollisen Henk Van Wulpen ********************************************************************** * End of MIDI Wind Controller FAQ - Part 2 * ********************************************************************** [------------------------------------------------------------------------------] David Rees Tel: (+44) 0171 387-7050 X3513 Optical Science Laboratory Fax: (+44) 0171 380-7153 University College London, U.K. e-mail: djxr@star.ucl.ac.uk [------------------------------------------------------------------------------] ========================================================================= Date: Tue, 4 Apr 1995 16:55:02 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dave Rees Subject: FAQ : MIDI Wind Controllers v1.2 Part1 (LONG) Comments: To: emusic-l mailing list , synth-l mailing list ********************************************************************** * MIDI Wind Controllers FAQ - Version 1.2 - 24/3/95 * * Part 1. * ********************************************************************** * * * Compiled by: David Rees * * djxr@star.ucl.ac.uk * * * * NO WARRANTY: THIS WORK IS PROVIDED ON AN "AS IS" BASIS. THE * * AUTHOR PROVIDES NO WARRANTY WHATSOEVER, EITHER * * EXPRESS OR IMPLIED, REGARDING THE WORK, INCLUDING * * WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR * * FITNESS FOR ANY PARTICULAR PURPOSE. * * * * Availability: This is available via anonymous ftp from * * ftp.star.ucl.ac.uk in pub/djxr/ * * * * See also: Periodic postings on wind-l, emusic-l, synth-l, * * rec.music.makers.synth, rec.music.info and * * alt.music.makers.woodwind * * ********************************************************************** ********************************************************************** * Table of Contents. * ********************************************************************** Part 1. ------- Section 1: Introduction. 1.1 What is a MIDI wind controller? 1.2 What is wind-l? 1.3 What wind controllers are available? Section 2: Yamaha wind controllers. 2.1 What is the WX series? 2.2 What is the WX7? 2.3 What is the WX11? 2.4 What is the WT11? 2.5 What is the EW30 / WindJammer? 2.6 What is the WindTamer? 2.7 How do I remove a WX7 mouthpiece? 2.8 What should I look for when buying a second hand WX7? 2.9 How do I contact Yamaha? Section 3: Akai wind controllers. 3.1 What is the EWI series? 3.2 What are the EWI1000 / EVI1000? 3.3 What is the EWV2000? 3.4 What are the EWI3000 / EWI3000m? 3.5 What are the EWI3020 / EWI3020m / EWI3030m? 3.6 What optional extras are available from Akai? 3.7 How can I get my EWI converted to an EVI? 3.8 How do I contact Akai? Section 4: Others 4.1 What is the Synthophone? 4.2 What is the Lyricon? 4.3 What is the Casio DH series? 4.4 What are the Sting controllers? 4.5 Are there any others? Part 2. ------- Section 5: Synths. 5.1 What should I look for in a synth module? 5.2 Is my synth suitable for using with a wind controller? 5.3 Where can I buy synth patches optimized for wind controllers? 5.4 How do I set up patches for wind control? Section 6: Pricing Info. 6.1 How much do new controllers cost? 6.2 How much do second hand controllers cost? Section 7: Suggested reading. Section 8: Discography. Section 9: Acknowledgments. ********************************************************************** * Section 1: Introduction. * ********************************************************************** 1.1 What is a MIDI wind controller? A MIDI wind controller can loosely be defined as an electronic instrument that simulates a traditional wind instrument. This is usually a saxophone, but others are available. It converts fingering/breath control etc. into MIDI output that is used to control MIDI synths. ..................................................................... 1.2 What is wind-l? wind-l is a mailing list devoted to wind controllers. 1.2.1 To get on it, send a message to: listserver@morgan.ucs.mun.ca with the following as the body of the message subscribe wind where is your real name. 1.2.2 To post to this list, you can send messages to: wind@morgan.ucs.mun.ca 1.2.3 To unsubscribe (why would you want to do this?) send a message to listserv@morgan.ucs.mun.ca with the following as the body of the message unsub wind If this doesn't work, try contacting the list's owner: andrew@bransle.ucs.mun.ca ..................................................................... 1.3 What wind controllers are available? Several different controllers are available, and are detailed in the following sections. The most common are the Yamaha WX series and the Akai EWI series. ********************************************************************** * Section 2: Yamaha wind controllers. * ********************************************************************** 2.1 What is the WX series? The WX series are the "professional" Yamaha instruments. They are based on the saxophone, although look somewhat sleeker and more high tech. The basic sensor inputs on the instrument are a breath pressure sensor, a pitch bend (bite) sensor, and the keys. When you blow into the instrument, at a certain pressure threshold a Note On is sent. The velocity of the Note On is based on how fast you attack the note. The instrument plays legato, in that if you key a different note while maintaining breath pressure, the controller sends a Note On for the new note before sending the Note Off of the first note. While a note is on, the breath pressure sensor produces a stream of continuous controller messages. This is typically used to control overall volume and brightness. There's a set of octave switches on the underside of the instruments, controlled by the left thumb. The octave ranges of the fingerings overlap, so it's possible to thumb the octave shifts at convenient points. The mouthpieces look much like sax or clarinet mouthpieces. There's a reed, which doesn't vibrate, but if you bite into it you can vary the pitch. This is useful for bends and for vibrato. The WX7 also has a pitch bend wheel controllable by the right thumb. The WX7 is no longer made, but can be found second hand. The WX11 is still in production. ...................................................................... 2.2 What is the WX7? The WX7 is the most flexible of the Yamaha instruments. It includes a set of pots to adjust the feel of the instrument, and a set of dip switches for various configurations. These make it highly customizable, but can be difficult to set up. The WX7 has the following features: Adjustable Breath Controller (threshold and pressure), Lip Pitch Bend, Pitch Bend Wheel, Two playing modes (tight lip and loose lip), Selectable wind flow to adjust wind resistance, Standard Boehm fingering system (14 keys) with adjustable key height, Key select (C, Bb, Eb and C one octave up), Key range -2 to +3 octaves, Program Change button, Key Hold facility (if key hold is pressed while playing, that note will sound in addition to all subsequent notes), Dual-Play mode (similar to key hold but the WX7 will transmit the held note and the lead line on two separate MIDI channels (1 + 2 or 3 + 4)), Non-BC compatibility (control MIDI sound sources which cannot receive Breath Control data), Compact MIDI/Power Pack can be belt worn, Weight 13.4 oz. The WX7 always transmits Breath Controller (cc#2) or Channel Pressure (a.k.a Aftertouch) messages in response to how hard you blow. This is an exclusive OR; you select one or the other with the DIP switch closest to the mouthpiece. IN ADDITION TO BC or Aftertouch, the WX7 can also transmit MIDI Volume (cc#7) messages. You turn them OFF or ON via the second DIP switch from the top. If you send MIDI Volume messages, they appear always to be exact copies of the BC (or Aftertouch) messages; in other words, they are technically redundant. The WX7 seems to do the following: a. It samples your breath pressure at some set sampling rate. b. It digitizes that breath pressure to a value between 1 and 127. If a note is in progress, and if this integer value is the same as the previous breath value transmitted, go back to step a. c. If the first DIP switch is set for BC, it puts that value in a cc#2 message and sends it down the line. If the first DIP switch is set for Aftertouch, it puts the value in an Aftertouch message and sends it down the line. Always one or the other. d. If MIDI Volume messages are turned on (via the 2nd DIP switch) then it takes that same integer value, puts it in a cc#7 message, and send it down the line too. e. Go to step a. While technically redundant, the MIDI Volume (cc#7) messages may be useful in practice. Suppose that you have been playing Yamaha FM synths that are programmed to modulate volume and timbre with BC messages. Then you add a Roland synth to your setup, and it CAN'T respond to BC messages. Solution: program the Roland synth to respond to MIDI Volume messages (almost any synth can be programmed to make cc#7 modulate volume), turn on MIDI Volume messages from the WX7, and you're back in business. The WX7 was not sold with a dedicated synth, so there was obviously some pressure to make it compatible with various external synths, many of which, at the time, had severe restrictions on what kinds of MIDI messages they could be programmed to respond to. Because breath messages make up the vast majority of MIDI messages transmitted by the WX7, turning on MIDI Volume messages almost doubles the number of messages going down the line. (The fact that this situation does not seem to lead to MIDI clog suggests that when transmitting ONLY BC (or Aftertouch) messages, the WX7 could sample breath pressure at least twice as fast, which might make fast crescendos and decrescendos a bit smoother.) The WX7 requires a BT7 battery pack which both powers the unit and provides a MIDI out. ............................................................................ 2.3 What is the WX11? The WX11, which was usually sold with the WT11 sound module, is less flexible than the WX7, but is said to be easier to play without glitches. It transmits ONLY cc#2 in response to how hard you blow, with no possibility of Aftertouch or MIDI Volume messages. This is often a problem, but it can fairly easily be overcome by feeding the output of the WX11 through a MIDI mapper. Possibilities include the WindTamer (a rackmount unit designed especially for WX11 users that maps cc#2 to cc#7 AND provides some other nice features, see below), Anatek Pocket Mapper, a trivial MAX program running on a Macintosh, etc. A companion piece to the WX11 is a synth module, the WT11. (See next question.) If you don't use the WT11 you'll need the separate BT7 battery pack. Specifications: Sensors - wind sensor, lip sensor Keys - 14 keys (Boehm fingering) + 5 octave shift keys (-2,-1,+1,+2,+3 oct) Switches - Setup, Hold, Program Change Trim control - Lip zero Connections - Special connector (power and MIDI out) MIDI Transmit channel - 1 Dimensions (L x W x D) - 596.5 x 65 x 69.4 mm ( 23.5" x 2.5" x 2.75" ) Weight - 420g (15oz) Supplied accessories - Soft case, cable, strap, polishing cloth ............................................................................ 2.4 What is the WT11? This is a 4-op FM synth (a la TX-81Z or DX-11) with a few digital effects, and programs specifically designed for wind control. Specifications: Sound source - FM tone generator (4 operators, 8 algorithms) Simultaneous notes output - 8 note polyphony (last note priority) Internal effects - 10 digital effects (Hall, Room, Plate Reverbs, Delay, L/R delay, Stereo echo, Distortion & reverb, Distortion & echo, Gate reverb and Reverse gated reverb) Internal Memories - Preset performances x 96, User performances x 32, Preset voices x 96, User voices x 32, Program change table x 1, System Setup x 1. External Storage - Cassette, MIDI Bulk Dump Display - 16 character backlit LCD Audio Connections - OUT L (MONO), OUT R, PHONES MIDI Connections - IN, OUT, THRU Other Connections - WX In, Cassette, 2 x footswitch (MEMORY INC and DEC), DC 15V IN Power requirements - 15V @ 500mA (from PA-1505 Adaptor) Dimwnsions (W x H x D) - 310 x 43.2 x 221mm (12 3/16" x 1 11/16" x 8 11/16") Weight - 1.2kg (2lb 10oz) Supplied accessories - PA-1505 Power Adaptor, Cassette Cable ............................................................................ 2.5 What is the EW30 / WindJammer? The WindJammer and the EW30 are the same thing. It is a hook-em-while- they're-young version of the WX11/WT11 combination, sold through Yamaha's band instruments division. The most serious limitation seems to be the lack of the "reed" for pitch-bend. Also the keys are buttons which have been said to be perhaps a bit difficult to play. ............................................................................ 2.6 What is the Wind Tamer? [While not strictly a Yamaha product, its specific use with the WX7/WX11 justifies its inclusion here.] The WindTamer is a 1 unit rack mount box, black, maybe six inches deep. The front panel has a three digit, one-inch red LED display, a jack for the supplied WX cable, and a toggle switch used to select PLAY or SETUP. The back panel has a MIDI out port, a jack for the supplied wall-wart power supply, and a fuse holder. There is no On/Off switch. Features: 1) It supplies power to a WX7/WX11 via the custom cable, replacing the WT11 and/or the BT7. 2) It can map controller #2 to one of four options: controller #7 (volume), #7 with velocity set to 127, controller #1 (modulation), or controller #10 (pan), or you can set it to pass #2 unchanged. 3) You can select patch changes 0-124 via the five octave buttons on the WX. Think of the buttons as being numbered 0-4. Pushing 000 transmits patch change 0. 004 = change 4. 010 = change 5. 444 = 124. That's right, all you have to do is convert from base five to decimal (or vice versa) in your head! Fortunately, the manual has a chart showing all the possibilities. The WindTamer costs $225. Contact: Doug Smith Mutech, Inc. 1146 Mopac Ct. Indpls, IN 46217 (317) 885-9475 Posting from Doug Smith to wind-l, 14/2/94. "For those of you who have expressed interest in the Wind Tamer, here is the story. My partner and I (who both have full time jobs) borrowed a very small amount of money to begin building the Wind Tamer. Unfortunately, we did not now how expensive the FCC testing was going to be and that blew away any profits we had planned to use to keep building Wind Tamers and our other products that we have designs for. If you use a Yamaha WX7 or WX11, The Wind Tamer lets you access virtually any synth by remapping controller #2 to #7, eliminates the battery power pack and increases the program changes from 5 to 125. If anyone is interested, please contact me at DOASMITH@INDYVAX.IUPUI.EDU" ............................................................................ 2.7 How do I remove a WX7 mouthpiece? [Ken Beesley posted the following to wind-l. Please be careful, and read the disclaimer at the top of the FAQ before following the instructions.] "First of all, don't try to twist it. The WX7 mouthpiece consists of the external part you see, including the attached reed, and an rounded oblong "stem" about 1.5 centimeters (about 0.6 inches) long that fits inside the body of the instrument. The WX7 mouthpiece is quite snugly fitted, with two rubber-band like seals fitted like piston rings around the oblong stem. I assume the WX11 mouthpiece is the same. I remove the mouthpiece occasionally for inspection and cleaning. Some players find that gunk can get in there, clogging the openings to the breath-pressure sensor and to the breath-exhaust tube that leads down to the bottom of the instrument. Best prevention: wash your mouth out with water before you play, as with any wind instrument. Before removal, be aware that inside the mouthpiece is a thin metal lever, one end of which normally rides on the reed. You can see this end through the mouthpiece tip opening. The lever extends back through a rubber shield to the actual lip-pressure sensor. This metal lever (and perhaps the sensor itself) are all too easily damaged when the mouthpiece is off. I remove the mouthpiece by seizing the body of the instrument firmly with one hand, the mouthpiece with the other, and pulling them straight apart. Slow and firm. Wiggle the mouthpiece from side to side just *slightly* if it's stuck. Do not twist - the inserted stem is oval rather than round. Keep a firm grasp on the mouthpiece and especially on the body so that you don't drop anything when they come apart. Because the lip-pressure lever/sensor is so vulnerable when naked, be sure to replace the mouthpiece (slowly and firmly) as soon as possible. A thin coating of petroleum jelly on the rubber-band rings will help make the next removal a bit smoother." ............................................................................ 2.8 What should I look for when buying a second hand WX7? The WX7 was sold originally with a case, an extra mouthpiece, a couple of small rubber plugs that could fit into the breath tube inside the mouthpiece (to increase the blowing resistance), a BT7 power pack, a MIDI cable, a cable from the controller to the BT7, an extra (5 meter?) extension cable that can be placed between the controller and the BT7, a neckstrap, and some little pads that can be stuck under the WX7 key bumpers to adjust the amount of key travel. There was a small screwdriver attached to the shorter cable. So look to see that everything is there. Make the seller rummage about for missing parts. Try to get the manual. The best way to test the WX7 is (somewhat counterintuitively) away from a synthesizer. Until you have good wind-sensitive patches to work with, you'll have great difficulty telling if a problem should be traced to the controller or the synth or the patch programming itself. What you want to do, if at all possible, is to see if the WX7 is transmitting MIDI messages correctly. This can be done with programs like midiscope or a simple MAX program. It is complicated by all the DIP switches and trim pots. To start: Hold the WX7 with the back toward you and the mouthpiece pointing up. Open the rubber switch cover and move all the DIP switches to your left. In this position, the WX7 should transmit Breath Control messages (cc#2) when you blow. Blow and check midiscope (or whatever) to make sure. Then move the top DIP switch to the right. It should stop sending cc#2 and start sending Channel Aftertouch messages. Move the 2nd DIP switch from the top to the right, and the WX7 should start sending cc#7 (MIDI Volume) messages in addition to the cc#2 or Aftertouch messages selected by the top switch. Also check to see that both the lip sensor and the thumb wheel are transmitting Pitch Bend messages. If not, the trim pots could be wildly misadjusted, or the lip-pressure sensor may be broken or bent. This happens a lot when people take off the mouthpiece. If you have trouble getting a response, the apertures inside the mouthpiece may be clogged. (See previous question.) The best plan, if you can possibly arrange it, is to find another successful WX7 player to do the testing. The WX7 is a great little controller, but all the setup options can make it a nightmare for a beginner. ............................................................................ 2.9 How do I contact Yamaha? USA Post Office Box 6600 Buena Park, CA 90622-6600 (800) 443-2232 Customer Service (800) 854-3619 Technical Service (800) 443-3548 Parts/Manuals Yamaha International 6600 Orangethorpe Avenue Buena Park, California 90620 (714) 522-9011 Yamaha Technical Help (California) (714) 522-9011 UK Yamaha Kemble Sherbourne Drive Tilbrook Milton Keynes MK7 8BL (0908) 366700 **************************************************************************** * Section 3: Akai wind controllers. * **************************************************************************** 3.1 What is the EWI series? Like the Yamaha WX's, the Akai EWIs (Electronic Wind Instruments) are based on the saxophone. These have touch sensitive keys which take some getting used to, since just touching a key produces a note. ie. you can't rest your fingers on the keys like on a real woodwind instrument, although to counter this you can buy an EWI-FR finger rest. The Akai wind controller is pretty versatile. When using an external sound module, you can program up to 4 note chords. Each note of the chromatic scale can be set to a (1), 2, 3, or 4 note chord. (It has nothing to do with which fingering you use to play the note.) When setting up your chords, you just pick which notes will actually sound when you play a particular fingering on the controller. It takes some advance planning for a piece, but can be well worth it. Also, you can get control over dynamics on a sound module by using a line in jack on the Akai. This loops the module back through the Akai before going to the mixer. When doing this you can mix the ratio of volume between the Akai and your sound module. This is done on the Akai. A dual foot pedal with a stereo plug allows you to change patches up and down while playing. The following models have been made: EVI1000 Electric Valve Instrument is a controller EWI1000 Electric Wind Instrument is a controller EVW2000 is an analog synth module for the EVI1000/EWI1000 EWI3000 is a controller EWI3000m is a tabletop analog synth module for the EWI3000 EWI3020 is a controller (looks very similar to the EWI3000: perhaps the only difference is the colour) EWI3020m is an analog synth module for the EWI3020 EWI3030m is a PCM sound module for the EWI3020 ............................................................................ 3.2 What is the EWI1000 / EVI1000? The Akai EWI1000 (Electronic Wind Instrument) / EVI1000 (Electronic Valve Instrument) are vehicles to introduce MIDI to the horn player. Developed from the "Steinerphone", created by Nyle Steiner, by using traditional sax-like and trumpet-like fingerings. Feature include a seven octave range, touch sensitive keys (no moving parts), breath sensor in the mouthpiece for control of dynamics and timbre. Biting the lip sensor in the EVI controls the amount of glide while glide on the EWI is controlled by a touch responsive glide sensor. Lip sensor pressure on the EWI controls vibrato and modulation and a vibrato lever has the same effect on the EVI. Both instruments have a special touch sensor control allowing the player to bend note up or down. ............................................................................ 3.3 What is the EWV2000? The EWV-2000 sound module is usually sold with the EWI1000 or EVI1000, and consists of a programmable analog synthesizer with 2 VCO's, 3 Filters, 2 Envelope Generators and 2 VCA's. It can perform as two parallel synthesizers with two different sounds or as a single complex synthesizer. Breath and lip pressure can control vibrato, pulse width, modulation, filter modulation and volume. The three different filters allow the creation of resonant formants for simulations of cups, mutes and plungers. External input allows other instruments to be processed through the EWV2000. Other feature include wave envelope FM, 64 user programmable memories, and a 16 character backlit LCD. Additionally, the EWV-2000 is equipped with a MIDI out jack. Patches (all patch data/single voices) can be saved on cassette. There is no MIDI dump of patches, but then again you couldn't dump the patches back to the EWV2000 via MIDI, since there is no MIDI in. ............................................................................ 3.4 What are the EWI3000/EWI3000m? The EWI 3000/3000m combination includes a wind controller (3000) and dedicated analog synth module (3000m). The synth module is voltage- controlled, and also emits MIDI information. The controller is basically sax-like, with a number of alternate fingerings, and includes eight metal octave rollers. The mouthpiece is tubular and nothing like that of an acoustic single-reed woodwind; it contains a bite sensor that controls vibrato. The controller can be used with or without a plug that prevents air from flowing through the instrument. All keys are non-movable touch sensors, and there is a touch sensor sensitivity adjustment. The sensors may fail to operate cleanly with extremely dry hands. The right thumb rests on a grounding plate, above and below which are pitch bend up and down sensors. Portamento is controlled (to some extent) by a metal strip next to the octave rollers. The 3000m module contains knobs to adjust breath sensitivity and gain, portamento time, pitch bend sensitivity and gain, vibrato and volume, with a bar-graph mode for the LCD display that aids in setup. There is memory for 100 patches, of which the last 50 are user-programmable. The first 30 factory patches are for use with the EWI controller, while the next 20 are set up for keyboards (with the last 10 being bass patches). The synthesis engine is a 4-oscillator 2-voice unit-- there are 4 VCOs, with 2 VCOs feeding each of two resonant (but non-formant) filters and amplifiers. (This is apparently different from both the earlier EWV2000 and the later 3020m, which are 2-oscillator 2-voice.) Each VCO is fed by a triangle, sawtooth, or square wave (the square wave may be pulse-width-modulated), or by the external analog input, which allows you to control an external synth with the EWI's filters and amplifiers. For use with external MIDI keyboards, the module has envelope generators (breath control may be turned off). All 12 chromatic transpositions are supported. The module emits MIDI Note On, Note Off (actually Note On/zero velocity), pitch bend, portamento (though the implementation chart doesn't acknowledge this), and one of {breath controller, mod wheel, channel aftertouch, volume, or off}. Note-on velocity is fixed at a user-selectable value (64-127). There is memory for 16 user-defined chords of up to four notes, a different one of which may be assigned to each of the twelve chromatic pitches (the chords work with an external MIDI module, not with the analog unit). The 3000m also has a MIDI in, unlike the EWV2000, and can be driven by an external keyboard or sequencer. Folk wisdom asserts that the EWIs in general are a bit harder to master than the Yamaha controllers, but when driving their dedicated analog modules are capable of a greater degree of expressiveness than is a MIDI-only unit. In my own experience, the difference is real, but subtle, at least with well-programmed MIDI wind patches. ............................................................................ Or, from Akai promotional material, "An Expressive Encore Put the Human Feeling and Emotion Back Into Your Music There have been many advances in electronic musical instruments since the first days of MIDI yet musical expression was limited to what could be played on a keyboard. Now, Akai is widening the expressive horizons with the introduction of the new EWI3000 Wind Controller and the EWI3000m Sound Module. The EWI3000 will give you the freedom of expression and "human feel" that musicians have been searching for all these years. The powerful expressive capabilities of the EWI3000 and the rich sonorous sound of the EWI3000m will let you soar to new levels of musical expression and creativity. The Akai EWI3000 MIDI Wind Controller and the EWI3000m sound module set is a completely new type of electronic instrument that even unexperienced wind players can quickly and easily master. Like the saxophone, the EWI3000 uses fingering similar to a recorder which makes it very easy to learn and play. And due to the use of a special easy to blow breath sensor, beginners who might have a difficult time with acoustic instruments such as the saxophone can quickly and easily learn to control sounds using the Akai EWI3000. The EWI3000 and the EWI3000m sound module are designed as a complete set that is capable of extremely sensitive musical expression. The EWI3000m contains an exquisite selection of professionally programmed electronic wind programs so you can start playing beautifully expressive sounds right from the beginning. There is no need to use an external synthesizer or sampler. The operation of these instruments is designed to be intuitive and easy to understand so you can spend your time playing, not figuring it out. And because the EWI3000 (in conjunction with the EWI3000m) provides full MIDI implementation, you can also use it as a master MIDI controller that provides the utmost in human expressive capabilities whether you are playing a lead solo or a lyrical symphonic line. With the EWI3000, you will be able to play lines and phrases that would be impossible on a keyboard controller, And you can start playing immediately. A New Expressive MIDI Controller and a Colorful Sound Module The EWI3000 and EWI3000m are the successors to the EWI1000 Wind Controller and the EWV2000 Sound Module. Both of these highly acclaimed instruments have been used by top performers throughout the world and have developed a reputation as being the most expressive and warm sounding electronic instruments ever designed. We have now taken this proven concept and refined it even further. By both enhancing and enriching the sonic capabilities and providing more functional capabilities, we have created a new cost-effective MIDI wind controller and sound module unlike any other ever designed. The EWI3000 will let you have expressive control not possible with any other type of MIDI controller. And with its incredibly fast and sensitive response, you can control other MIDI sound Modules, synthesizers, and samplers as well as the EWI3000m. This instrument is a powerful new expressive tool for both wind players and other musicians who are seeking creative new MIDI tools. The Power of MIDI Control with Human Expression The EWI3000 gives you unsurpassed performance control and the ability to .shape any musical line with tremendous feeling and expression. The EWI3000 has a special breath sensor, lip sensor, a touch sensor for pitch shifting, volume controlled pulse width, vibrato, and glide. You can play synthesizer sounds and control external MIDI modules with the expressive characteristics of a brass instrument. The EWI3000 gives you the ability to perform tonguing just as on a real brass instrument. In addition to being able to play the most incredibly expressive monophonic lines, you can also play chords too. Using any MIDI polyphonic sound module, it is possible to program and play chords with up to four voices. Rich Analog Synthesizer Sounds with Dual Voices The EWI3000m analog sound module uses four VCOs to create its incredibly full warm sound. The sound module contains 4VCOs, 2VCFs, 2VCAs, and 4EGs. You can also mix two different sounds together giving you the freedom to create rich powerful sounding programs. The back-lit 16 character LCD will guide you easily through the editing operations and provides you with a monitor system to check the control sensors. The EWI3000m with its convenient desktop design, is very small and light so it can be easily carried with you wherever .you go. And you are not limited to just woodwind and brass sounds either. The low frequency response of the EWI3000m in particular is incredible - ideal for the rich vibrance necessary for creating effective bass programs. And you'll find that the analog sounds of the EWI3000m are ideal for numerous other types of sounds as well. It is even possible to use two EWI30OOm's together for the ultimate rich analog sound or as a powerful and unique creative performance tool. Large Memory Storage for Easy Program Management There are a total of 100 memory locations available for storing your sound programs. The storage locations are arranged in two banks of 50 memories including 50 extremely musical programs created by a professional artist. These 50 memory locations can also be rewritten for storing your own custom programs. For performing, sounds can be easily arranged and organized in the order you require them to produce easy access on stage and during recording work. Programs may also be selected using a footswitch allowing you to keep both of your hands free for performing. Incredible Expressive Control Never Possible Before The EWI3000m features a MIDI IN connector allowing you to control it from an external MIDI controller or sequencer for Maximum flexibility. This lets you use the rich and warm sounds of the EWI3000m with any MIDI controller you are using so your favorite sounds will always be accessible. The EWI3000m also features an EXT IN connector that lets you control the sound from an external MIDI sampler or synthesizer using the EWI3000's expressive breath controller. This powerful capability will let you have expressive control like you've never experienced before. The EWI3000 simply provides you with superior control. And by mixing and editing sampled sounds along with the EWI3000m analog sounds, you can explore entire new sonic territory with full human expressive control - perfect for creating an emotional impact on your audience. Try out the EWI3000 yourself and see what the excitement and fanfares are all about." ---- SOUND LIST T.STRUT / CAT WALK / FEEDBACK / PRICKLY / PASSION / FANTASIA / BRUTE / QUACK / SILKY / ILLUSION / FLUTE / OBOE / TRUMPET1 / TRUMPET2 / HARMONIC / STRING / MUTE TP / SAXES / CLARINET / BRASSENS / GENTRY / FOG SET / SPARKLE / JANGLE / FEEDBACK2 / PANPIPES / SMASH / AIR WAVE / WINDY / EXT.IN / DUCKY / HOT WAVE / BIG SHOT / COSMOS / HIP SKIP / SOFT PAD / AIR PAD / MIST PAD / CLOUDY / ELFIN / KNOCKBAS / DISTBASS / PLSFMBAS / SLAPBASS / FAT BASS / WOW BASS / MAD BASS / NET BASS / RESOBASS / FUNKBASS 01~30 for EWI 31~50 for MIDI 51~00 (not shown) are rewritable. The above 50 Patches are duplicated in slots 51~00. EWI3000m SPECIFICATIONS Type: Special sensor controlled, programmable analog synthesizer Voice: Monophonic/Dual Sound Source: 4VCO ( |\, /\, |-|, FM on/off, sync on/off, EXT) Number of Sounds: 100 (50 user programs are included) Display: 16 Character backlit LCD Function Volume: Breath (sense/adjust), Glide (time/adjust), Bend (width/adjust), Vibrate, Volume, Tune (x50 cent), EXT Level Function Key: Transpose (12 step: -D# ~C~ +D#), Auto Tune (VCO/VCF), Utility (memory protect on/off, key priority, bulk dump, verify, 16 chord pattern), MIDI (send/receive channel, program change TX, RX, on/off, MIDI send velocity, breath control), Monitor (monitor following control: breath, glide, bend, vibrate), Write, Sound/Prgm, Glide SW (glide on/off), Edit, Source 1/2, Value (up/down), Select (0~9), Next (up/down) Parameter (source 1 & 2): VCO-A (Frequency, Fine Tune, Wave ( |\, /\, |-|, off ), Pulse Width, Synchronize [on/off], Modulation, Balance) VCO-B (Frequency, Fine Tune, Wave ( |\, /\, |-|, off ), Pulse Width, Synchronize [on/off], Modulation, Balance) VCF (Cut Off Frequency, Resonance, Key Follow, Attack Time, Decay Time, Sustain Level, Release Time, Depth, Velocity) VCA (Output Level, Attack Time, Decay Time, Sustain Level, Release Time, Depth, Velocity), LFO (Speed, Depth, Delay) VIB/BEND (Bend Width, Bend Depth, Glide Time- Source 1, 2 are same -) BREATH INTENSITY (Breath VCF, Breath VCA, Breath PWM, Breath Resonance, Breath VCO Balance) TRIGGER (Single/Multi), CHORD (Maximum of 4 note chord for MIDI output, 12 key chord assign, 100 program), LABEL (Maximum of 8 characters: alphabet large letter, number, space, 28 signs) Display LED: Breath, Glide, Bend, Trans, Sound/Prgm Connector: Instrument (EWI3000 only multi connector), Program UP (6.3mm standard phone jack), Head Phone (6.3mm monoral/standard stereo phone jack), Line Out (6.3mm standard phone jack), EXT in (6.3mm standard phone jack), MIDI IN/OUT(DIN 5P), DC Input (3.5mm mini plug, tip=positive) Power: DC 15V 7OOmA (Use AC adaptor) Size: 351(W) x 78(H) x 241(D)mm Accessory: AC Adaptor EWI3000 SPECIFICATIONS Fingering: Saxophone standard and EWI type Size: 560(L) x 34(W) x 65.5(D)cm Weight: 6OOg Accessories: Multi Connecting Cable, Slinger, Cleaning Cloth OPTIONS: EWI-FR Finger Rest SC-X3000 Soft Case .......................................................................... 3.5 What are the EWI3020 / EWI3020m / EWI3030m? >From Akai promotional material. WIND SYNTHESIZERS WITH PRECISE CONTROL, LIVELY SOUNDS AND NATURAL EXPRESSIONS Even if you've never played a woodwind instrument before, you'll enjoy Akai EWI wind synthesizers. The EWI3020 is a wind controller that lets you play naturally and with emotions. The EWI3020m is an analogue synthesizer module featuring warm, expressive sound. And the EWI3030m is a digital synthesizer module providing high-quality, realistic sound from PCM modules. No keyboard instrument can match the ease and flexibility of our wind synthesizers. The Wind Controller: Recreating the playing style of woodwind instruments The EWI3020 responds precisely to the feeling of the player through breath, lip and touch sensors. Controls include pitch, volume, pulsewidth, vibrato and glide that infuse life into sound modules. Unlike keyboard-type controllers, the wind controller can provide a subtle, natural wind sound. Together with the EWI3020m or EWI3030m sound module, it puts at your command a versatile instrument with colourful sound and flexible styles. The Analogue Sound Module: Flexible expression and rich sound The EWI3020m is an analogue synthesizer featuring 2 VCOS, 1 VCF, 1 VCA and 2 EGs. It boasts the ability to realistically express a wide range of sounds, from subtle to powerful. The modulation function lets you combine any of seven modulation sources with any of 10 destinations, to add up to tremendous flexibility, There are also string and bassoon filters that help create natural string and woodwind sounds. What's more, the synthesizer comes with 50 preset banks with select sounds that you can use immediately just by connecting it with the EWI 3020 controller. The Digital Sound Module: PCM high sound quality The EWI3030m is a digital synthesizer equipped with two PCM sound modules. Seventy-five PCM waves, digitally sampled from live sound sources, are at its unit's heart- sounds that you can modify using filters, LFOs, ENVs, breath controllers and vibrato, to synthesize unlimited variations. You have sounds that you'd normally have to obtain from external sound modules through MIDI. Moreover, 128 selected sounds are preset for instant use with the EWI3020 controller. You can add a final touch using reverb- 24 types in all. Extra ease of use, especially on stage The EWI3020m and EWI3030m let you assign any preset or user-created sound to up to 100 or 99 programmes, respectively. You can arrange the necessary sounds in order of play, which adds to extra ease of use during live performance or recordings. Of course, there's a foot switch for program up/down, delay settings for key and a breath-sensitive velocity output (1-127). Controlling EWI modules and external MIDI equipment With the INSTRUMENT OUT/IN jacks and optional EWI-B15, you can use a number of EWI3030m, EWI3020m, and EWI3000m units, together or singly, depending on the song. Moreover, the MIDI OUT lets you control an external MIDI module. Re-route the external module's audio outputs to the EXT IN on the EWI3020m or EWI3030m, and then you can control sound with breath on the EWI 3020. You can import sounds from an external synthesizer or sampler for processing or mixing. When you use external MIDI sound modules through MIDI, you can play chords of up to four notes. You can also control the EWI3020m and EWI3030m as an external sound module from the keyboard through MIDI IN. Sound List- EWI3020m --------------------- Strut2 / Judd'94 / Windy! / Fluty / EWI3020/ Cindy! / Cloudy / Judd3020 / Mighty / Delicate / Flute / Clarinet / Oboe / Harmonic / VI / Cello / Trumpet / String / Brass / Ocarina / Brass-1 / F.Back! / Smoky / Stony / Smash! / Impress / Image / Limp / Sparkle / Simple / Juggle / Gloom / Blow / Jeff / PopHorn / Rex! / Gently! / Norton / Boxer/ Native / Fog Set! / Depot / Silky /Axis / Orion / Prime / Stream / Lotus / SyncWave / Ext+Osc / Ext! Sound List- EWI3030m --------------------- Trumpet 1 / Trumpet 2 / Mute Tp 1 / Mute Tp 2 / Piccolo Tp / Plunge Tp / Trombone 1 / Trombone 2 / Mute Tb / Flugelhorn / Soft Flugel / French Horn / Cornet 1 / Cornet 2 / Solo Bugle / Brass Sect / Synth Brass / Soprano Sax / Alto Sax 1 / Alto Sax 2 / Tenor Sax 1 / Tenor Sax 2 / Soft Tenor / Baritone sax / Grr sax / Oboe / English Horn / Bassoon / Clarinet / Piccolo / Flute / Pan Flute 1/ Pan Flute 2 / Shakuhachi / Reed / Reed Organ / Harmonica / Panpipe 1 / Panpipe 2 / Chiff Pipe / Chiff FI / Chiff Str / Blow Bottle / Arab Oboe / Bagpipes / Bucket Mute / Shanai / Flute Vox / Fuzz Guitar / OD Guitar / F.B. Guitar / 5th Guitar / F.B. Guitar 2 / Kokyu / Fiddle / Bowed Glass / Bell Attack / Attack Flute / Breath Vox / Breathy Fl / Vox Wave / Digi Bow / Spike Lead / Blow Lead / Mix Tp / Solo Violin / Strings / Slap Bass / Pili / Teagum / Breath Flute / Analog Lead / Synth Tp / Reso Bass / Synth Sax / Ocarina / Analog Horn / Breathy Horn / Whistle / Horns / Stack Mute / Stack Sax / Soft Guitar / Mad Bass / Oct Lead / Synth Lead / Chiff Vox / Harmo Lead / Sax Section / Breathy Lead / Crazy Lead / Soft Horn / Fluty Horn / Square Lead / Saw Lead / Delicate Horn / Soft Reed / Tb Section / Pipe Lead / Chameleon Tp / Easy Tp / Easy Mute Tp / Easy T. Sax / Easy T. bone / Easy Violin / Easy Guitar / Easy Kokyu / Easy Flute / Easy Harmoni / Easy Voice / Oct Horn / Spike Pipe / Stack Bass / Synth Harmon / Oct Guitar / Vox Strings / Attack Lead / Oct Reed / Shaku Lead / 5th Lead / TRI / SAW / LAMP / SQUARE / Ext+Tp / Ext+Pipe / Ext+Guitar / EXT. IN EWI3020 ELECTRIC WIND INSTRUMENT * Special sensor woodwind type controller * Fingering: Saxophone-style/EWI system * Control range: 8 octave * Dimensions/Weight: 560L x 34W x 65.5D (mm); 6OOg EWI3020 SOUND MODULE for EWI * Voice: Monophonic * Number of sound tones: 100 maximum (50 user-programmable) * Sound source: 2 VCOs * Main sound parameter: VCO-A, VCO-B, VCF, VCA, LFO, ENV1/2, CHORD, LABEL, MOD (Modulation function) * Display: Back-lit LCD with 16-character * LED Indicators: BREATH, GLIDE, BEND * Function Volumes: TUNE (+/- 50 cents), VIBRATO, BREATH (SENSE/ADJUST), GLIDE (TIME/ADJUST), BEND (WIDTH/ADJUST), EXT. IN, VOLUME * Function Keys: AUTOTUNE (VCO/VCF), TRANSPOSE (12 step, E-C-D#), SOUND/PROG, WRITE, MIDI, GLIDE SW, (GLIDE ON/OFF), EDIT, VALUE (+/-), SELECT (O-9), UP/DOWN * Effects filters: OFF1,2 * Chord: Maximum 4 notes (for MIDI OUT only), 16 chord patterns, 12-Key chord assign * 100 programs * Terminals: INSTRUMENT IN (for EWI3000, EWI3020), PROGRAM UP/DOWN, HEADPHONE, LINE OUT, EXT IN, MIDI IN/OUT THRU, INSTRUMENT OUT (for EWI3000m, EWI3020m, EWI3030m) * Dimensions/Weight: 483W x 88H x 4O8.8D (mm), 5.8kg EWI3030M SOUND MODULE for EWI * Voice: Monophonic/Dual * Number of sound tones: 128 maximum (user programmable) * Sound source 2 (75 PCM WAVES) Ext-In * Main sound parameter: WAVE A/B, A-B MIX, FILTER, REVERB SELECT, LFO, ENV, VIBRATO, GLIDE, BEND, SOUND LEVEL, LABEL * Display: Back-lit LCD with 16 character * LED Indicators: BREATH, GLIDE, BEND * Function Volumes: TUNE (+/- 50 cents), VIBRATO, BREATH (SENSE/ADJUST), GLIDE (TIME/ADJUST), BEND (WIDTH/ADJUST), EXT. IN, VOLUME * Function Keys: REVERB, TRANSPOSE (12 step, E-C-D#), SOUND/PROG, SENS, MIDI, EDIT, BREATH, WAVE A, WAVE B, A-B MIX, FILTER, REVERB SELECT, LFO, ENV, VIBRATO, GLIDE, BEND, SOUND LEVEL, LABEL * Effects filters: DIGITAL REVERB (24) * Chord Maximum 4 notes (for MIDI OUT only), 16 chord patterns, 1 user program * 99 programs * Terminals: INSTRUMENT IN (FRONT PANEL for EWI3020, EWI3000), PROGRAM UP/DOWN, HEADPHONE, LINE OUT x 2, EXT IN, MIDI IN / OUT / THRU, INSTRUMENT OUT (for EWI3000m, EWI3020m, EWI3030m), INSTRUMENT IN (BACK PANEL: for EWI3020m, EWI3030m) * Dimensions / Weight 483W x 88H x 4O8.8D (mm), 6.4kg ............................................................................ 3.6 What optional extras are available from Akai? * EWI-FR Finger Rest for EWI3020/EWI3000 * EWI-C1O 10m Cable * EWI-B15 Breath Out Cable (1.5m) * SC-X302O Soft Case for EWI3020 * EWI-CD WIND, WINDS * EWI-CD Transition (N. Sumitomo) * X335i Breath Controller for EWI3030m / EWI3020m / EWI3000m ............................................................................ 3.7 How can I get my EWI converted to an EVI? Nyle Steiner, the inventor of the EWI and EVI, and will convert an EWI to an EVI The cost of this service is estimated at$150-$200. You must provide him with an EWI controller (EWI3000 or later) and he will "gut" it and put the innards into a newly redesigned EVI body. The final product will be a controller that is compatible with the newer EWI sound modules. The new EVI body is made of plastic, is lighter, easier to manufacture, and is about 3" wide (more room for expansion. He said if you close your eyes it feels the same in your hands as the old EVI. Contact: Nyle Steiner 3111 Evelyn St. La Crescenta, CA 91214 ............................................................................ 3.8 How do I contact Akai? USA: Akai Professional 2344 Fort Worth TX, 76113 Tel: 817-336-5114 akai@pan.com akai@delphi.com UK: Akai UK 12 Silver Jubilee Way Haslemere Heathrow Estate The Parkway Hounslow Middx TW4 6NF Tel: 0181 897-6388 Fax: 0181 759-8268 Japan: Akai Electric Co. Ltd. Electronic Musical Instrument Division 335 Kariyado Nakhara-ku Kawasaki-shi Kanagawa Japan **************************************************************************** * Section 4: Others. * **************************************************************************** 4.1 What is the Synthophone? Simplisticly, the synthophone is a saxophone body with MIDI output. In addition to standard features you would expect on any wind controller the Synthophone also gives you aftertouch control, modulation control, start/continue/stop for sequencers, 5 part harmony in any given key (3 preset styles and 6 user modifiable), chord variations through lip pressure, 3 styles of pitch bend with 5 levels each, 5 part multi channel mode with proper voice leading, freeze harmonies, optional thumb express assignable for pitch bend/number of voices in a chord/lower-upper midi channel/ bII Substitue Chords/ sustain, portamento, as well as many others. The other nice thing is when you find a setting you like, including program change, midi channel, all of the above, you just save it to the Synthophone. It also has a very friendly use interface, which means the saxophone players in particular can get immediate results. The instrument can be set to feel and respond so much like a saxophone that you can play it right away. The designer also puts your own custom altissimo fingerings on the instrument so there should be nothing about fingering that will feel odd. After you're comfortable playing it "like a saxophone" the other features will keep you busy for a long time. The Synthophone has a 'reed', but it is just to get lip pressure, it does not vibrate. The Synthophone 'range' is the normal sax range with altissimo plus one octave up and one octave down for a total of about 5+ octaves. Of course it is easy to move that up or down an octave across the board. The Synthophone accomplishes these and other commands by using 'non-standard' fingerings. In other words there are certain key combinations which get you into a control area, then allow to alter that parameter. These fingerings are largely used in setting up a sound, once a sound is set up,(saved using a non-standard fingering) you mostly will move from one sound to another via one non-standard fingering. So there is very little to remember in a performance situation. The harmonies, breath settings, mod wheel settings, lip settings, patch changes, midi channel, etc. are all saved at once to the instrument when you find a sound you like. The Synthophone is priced at $3450.00. This is the same price it has been since 1987. It is also available in a professional Selmer Paris alto body, but I'm not sure what its price is. (At $3450 it is in a Yamaha student alto sax body.) Contact: Martin Hurni Softwind Instruments Munstergasse 52 CH-3011 Bern Switzerland Tel: (int.+41) 31 311 28 20 Fax: (int.+41) 31 751 15 48 U.S. distributor: Softwind Instruments 304 Newbury St. Suite #323 Boston, MA 02115 Tel: 617-969-4798 Fax: 617-969-5698 ............................................................................ 4.2 What is the Lyricon? There were 3 Lyricons manufactured by Computone, Inc., in the 1970's. The original Lyricon was a wind controller which drove a computer that generated overtones. It came with a delux plush lined case, and had a shiny chrome finish and an elongated bottom piece. It used a form of additive synthesis, where you dial in the amount of overtones you want, and you could then blend that with the wind overtoned section. It had a key switch for a fundamental of G, Bb, C, Eb or F and a range switch of low, med or hi. Combined with two octave up keys, you had a functional 6 octave range. It also had glissando, portmento and "timbre attack", which was sort of like chorusing. The sounds were very expressive and there was quite a bit of control over the actual sound. The down side was that, like early synths, there was no way to "save" a sound. So the first Lyricon players had to know the way the dials should be set for a sound, and hope they approximated those settings. Other problems included it being incapable of controlling any other sound source than its own computer, and adding more of the top overtones could give it a very "buzzy" sound. Later 2 other Lyricons were introduced. One of them had no sounds, and was known as the Wind Synthesizer Driver. This unit had the ability to control pitch through fingering, pitch bend through lip pressure, and through its wind control outputs the performer would generally control VCA and VCF information. The control was fairly elaborate with choices and settings for each control voltage output. The third Lyricon had its own built in synth, and was called the Lyricon II. This came with a formed plastic case, and had a brushed aluminium look. The bottom piece was a stubby "plug" that looked quite different from the first Lyricon. The synth module was a 2 oscillator synth with a choice of square or sawtooth waves, VCF and LFO, but no envelope generator, since you controlled this with your wind and embouchure. It had a patch point to connect to external CV/gate synths. All of the Lyricons used the same saxophone style fingering system, with two octave keys above the left-hand thumb rest. The Wind Synthesizer Driver also had a transposition footswitch feature, where a foot pedal could be used to transpose the entire range up or down one octave. With the Lyricon II you could do this from the control panel. They all used a bass clarinet mouthpiece, with a sensor on the reed to detect pressure. There was a diaphragm which moved and changed the light output from a LED which was in turn sensed by a photocell to give dynamic control. There were additionally some models put out just as the mouthpiece unit, and they were used to control keyboard synths, much as a breath control unit works on a Yamaha keyboard currently. This occurred just as the company went out of business. Just before it went out of business in the early 80's, the Selmer band instrument company took over distribution, but was unable to market the instrument successfully. A company called Innovations Ltd. later developed from Computone Inc. Last known address: Innovations Ltd. PO Box 564 Norwell, MA 02061 Last known contact (around '84): Bill Bernardi, one of the co-founders of Computone. ............................................................................ 4.3 What is the Casio DH series? Casio made a DH-10, DH-20, DH-100, and DH-200, all of which were about the same, though the later model claimed more sounds. They lack most accidental keys, so you play them more-or-less like a recorder, which can take a true sax player some time to get used to. They are shaped like saxophones, have an internal speaker (at the "bell"), audio output and MIDI output. It is not the most expressive way to play a MIDI module, but it does send velocity with its note on messages, and channel after-touch as you change how hard you blow after sounding a note. Fingering is mostly like a sax but there is an alternate fingering method that you can select which allows many octaves of control. The Casio is good for fun and basics or as a proof of concept, but one of the Yamaha or Akai wind controllers will be a better choice if it is to be your main controller. There are also reports of a whole line of Casio DH horns that were not available outside Japan. There is a DH-500 which apparently looked like the DH-100 and DH-200 but had a cassette-tape capability for play-along. There may be a DH-800 as well. ............................................................................ 4.4 What are the Sting controllers? There are two Sting controllers, both of which [I believe] are no longer in production. Sting EW1 synthesized, electronic wind instrument fingers basically the same as a saxophone or recorder but can be customized with up to 2000 different fingerings available. Nickel plated instrument appears very much like a clarinet with standard woodwind mouthpiece. Keys - 12 upper, 2 under, E flat and B flat fingerings, transmits a single conductor cable. A pin lock jack for the connector & standard shielded cables can be used. The EW1 includes a synthesis module with Threshold controls for wind and lip, Lip control for vibrato, bend and filter, LFO for vibrato speed, Transpose (E flt, F, D flt and C), Main oscillator with 3 octave range and Sub Oscillator with octave control and detune. There are 64 preset sounds and a MIDI out jack. The back panel includes inputs for foot switch control of Sub Oscillator and CV control of LFO speed, Filter and Bend. The Sting EW2 MIDI controller uses the same input unit as the EW1 but does not include the synthesis module. The control unit ( a rack mount box) for the EW2 has Wind threshold, Wind Modulation Wheel, Wind Dynamic, Moving Threshold, Moving bend, Moving Modulation Wheel, Key transpose (E flt, F, B flt and C), and Master volume on the front. The rear panel has 2 MIDI out, 2 Velocity In, 2 Master outs, Program change, Sustain switch, Headphone out and Key transpose jacks. Contact: SSSound Co Ltd. Box No 1 Kanie, Aichi Japan 497 ............................................................................ 4.5 Are there any others? Yes...but I havn't got any details. Artisyn SX01 MIDI Sax Perkiphone MIDI acoustic trumpet Suzuki MIDI Recorder SRW-100 ********************************************************************** * End of MIDI Wind Controller FAQ - Part 1 * ********************************************************************** [------------------------------------------------------------------------------] David Rees Tel: (+44) 0171 387-7050 X3513 Optical Science Laboratory Fax: (+44) 0171 380-7153 University College London, U.K. e-mail: djxr@star.ucl.ac.uk [------------------------------------------------------------------------------] ========================================================================= Date: Tue, 4 Apr 1995 14:11:16 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arne Claassen ISE Subject: Re: FAQ : MIDI Wind Controllers v1.2 Part1 (LONG) In-Reply-To: from "Dave Rees" at Apr 4, 95 04:55:02 pm Woah!!! As nice as FAQs are, this one is a biton the large side. One minute nothing in my mailbox, next minute the system complains that my mailbox is full... ugh -- Arne F. Claassen On the Web: ----------------------------------------------------------------------------- "The usual issues of societally-induced female technophobia are always raised [in discussions about the lack of female emusicians], but I have to admit that the possibility of trapping to extinction never came up" (mike metlay) ========================================================================= Date: Tue, 4 Apr 1995 14:16:02 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: Zorn In-Reply-To: <199504032117.RAA09529@clark.net> from "Joe McMahon" at Apr 3, 95 05:17:24 pm Joe McMahon writes-- > >Greg Taylor is right. Again. As always. To paraphrase the Rev. Sidney Smith in reference to T. B. Macaulay, I wish I knew as much about anything as Greg knows about everything. >I finally gave in and bought a copy of John Zorn's "Spillane" last night. >This is *great* stuff. I need more. Christian Marclay plus the Kronos >Quartet - yum yum yum. This music could hurt people. Injury is always nice. I admit I've had my fill of jumpcut bizarreness for a little while, though. I'm still not entirely over "Cobra." >"Spillane" made me think of the kind of music Carl Stalling would have written >if he had been drafted into writing the soundtrack for "Pulp Fiction". There's a .sig file in here, but I'll let someone else grab it this time. mike -- "General MIDI is like the war on drugs. In both cases the ideologically fueled mechanism actually contributes to the problem it is supposed to remedy." (j. rossi iii) --------------------------------------------------------------------------- mike metlay * atomic city * p. o. box 81175 * pittsburgh, pa 15217-0675 usa atomic@netcom.com * atomic-city@netcom.com * http://pd.net/atomic-city ========================================================================= Date: Tue, 4 Apr 1995 15:16:08 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: Ears on? In-Reply-To: <9504022135.AA000d3@newty.demon.co.uk> from "Thomas Jerome Newton" at Apr 2, 95 09:35:35 pm Thomas Jerome Newton writes-- > >Mike Metlay recently astounded us all with: > >> When a nuclear accelerator is run at too high a terminal potential to >> maintain a continuous charge on the rotating belt, the corona points >> that deliver the charge can arc to the inside of the accelerator >> enclosure, an event known as a "tank spark". This event, which is in >> effect the same as trying to contain a large lightning bolt inside a >> steel can, is abrupt, startling, potentially damaging to the >> accelerator if not dangerous, and very, very, VERY loud. >> >> [specifics removed] > >Phwoarr! This is what we want! > >I have only one question. Where can I, as a citizen of the UK get my mic >on such a device? (what is a nuclear accelerator anyway!) Nuclear accelerators do just that. They accelerate beams of atomic nuclei to very high velocities and shoot them at targets to create tiny nuclear reactions for research purposes...they're what the press likes to call "atom smashers." They are used in nuclear physics laboratories, and access to them for any reason is highly restricted due to safety hazards (hard radiation and high voltage, among others). That having been said, tank sparks are not welcomed or encouraged phenomena; they are bad for the accelerator, and often lead to severe internal damage that can cost days of lost research time to hunt down and repair. So to record one, you either have to be on a research team working with a cranky accelerator, or be a staffer who's assigned to cure one that's sparking a lot. A musician who walks in and asks to sample a tank spark isn't likely to be welcomed with open arms. Sorry. Hey, I call my label "Atomic City" for a reason....;) mike PS. If it makes you feel any better, you can approximate the effect by hitting a large empty fuel drum with a metal wrench really hard, then transposing it down an octave or three. -- "General MIDI is like the war on drugs. In both cases the ideologically fueled mechanism actually contributes to the problem it is supposed to remedy." (j. rossi iii) --------------------------------------------------------------------------- mike metlay * atomic city * p. o. box 81175 * pittsburgh, pa 15217-0675 usa atomic@netcom.com * atomic-city@netcom.com * http://pd.net/atomic-city ========================================================================= Date: Tue, 4 Apr 1995 20:37:56 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Brian Good Subject: Re: Zorn Joe M. writes: >I finally gave in and bought a copy of John Zorn's "Spillane" >last night. This is *great* stuff. For something completely different, you might enjoy "Absinthe." Think of it as ambient for people who enjoy migraine. Brian Good ========================================================================= Date: Tue, 4 Apr 1995 21:17:05 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Davvid Brooks Subject: Michael Jackson's CD is it finished? are songs being selected? a guy could really use a tuneon that album. buy a farm and watch the kids grow. let me know where to send the tracks. or buy them ========================================================================= Date: Wed, 5 Apr 1995 09:06:43 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Giuseppe Voglino Subject: Re: File Format at american.edu Ciao. The format of file located at american.edu in emusic directory is not strange. I tried to download them by using a vax machine instead of unix machine. So, now everything is okay. Doea anybody know what I have to do in setting some parameter during ftp from a unix machine to get files from a vax machine ? Thanks. Giuseppe ========================================================================= Date: Wed, 5 Apr 1995 12:26:10 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Alex Serenkov Subject: Re: midi to soundcard diagram >I think the 50$ midi cable was for the Gravis sound card. You can only get >from the Gravis Ultrasnd. If you know where I can half that price please let >me know. Thank you. You can build midi cable in 1/5 of price if you have knowledge in electronic. Contact me by e-mail if you need diagram. Regards. ------------------------------------- Alex E-mail: ket_star@netvision.net.il 04/05/95 12:26:10 ------------------------------------- ========================================================================= Date: Wed, 5 Apr 1995 09:30:37 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: More on mixers (fwd) Comments: To: emusic-l > Date: Tue, 4 Apr 1995 11:41:56 -0700 > From: Rocky Mullin > Subject: Re: Mixing desk.... my final choice! > > ahhhh lessee. i suppose i thought you had aquired > the spirit folio lite. however, to correct a few > things.... > > the mackie 1202 has 8 mono inputs. 4 of those same > mono inputs can also be used as stereo, if and when > two connectors are attatched. > > i too like sliders better than rotary pots, but if > it comes down to better quaility with the rotpots > i'll take 'em. also, on the little soundcraft stuff, > i diddn't like the way the range on the sliders > worked. not enough travel distance for my tastes. > > sweepable mids: i wish the mackie had them. > > pfl's: *sighhhhh* > > though in the end, the mackie has better specs. > anyway, good luck with yer mxr, and i'm sure you'll > keep us posted :) > > /\ c /\ a /\ l /\ i /\ b /\ a /\ n /\ rocky mullin > /__\____/__\____/__\____/__\____/__\____/__\____/__\____/__\ organic online > \ / \ / \ / \ / \ / \ / \ / san francisco > \/ \/ \/ \/ \/ \/ \/http://wbl.com/~caliban > splitting lanes on the information superhighway > ========================================================================= Date: Thu, 6 Apr 1995 11:49:03 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Janet M. Dunbar" Subject: CCRMA Concert Comments: To: users@ccrma.Stanford.EDU, jody@leland.Stanford.EDU, et.mgm@forsythe.Stanford.EDU, barth@leland.Stanford.EDU, kberger@leland.Stanford.EDU, hf.jbz@forsythe.Stanford.EDU, alcohen@leland.Stanford.EDU, hf.mvd@forsythe.Stanford.EDU, hf.smg@forsythe.Stanford.EDU, hf.bmg@forsythe.Stanford.EDU, tsgrey@leland.Stanford.EDU, cisco@leland.Stanford.EDU, stephenh@leland.Stanford.EDU, shinton@leland.Stanford.EDU, mhui@leland.Stanford.EDU, mjohnson@leland.Stanford.EDU, hf.kak@forsythe.Stanford.EDU, mahrt@leland.Stanford.EDU, et.jap@forsythe.Stanford.EDU, sano@leland.Stanford.EDU, cn.bes@forsythe.Stanford.EDU, sheridan.schroeter@forsythe.Stanford.EDU, et.ads@forsythe.Stanford.EDU, cn.mmt@forsythe.Stanford.EDU, tenor@leland.Stanford.EDU, weldy@leland.Stanford.EDU, adams@interval.com, alex@korgrd.com, siyer@netcom.com, timis@opcode.com, rob@opcode.com, Eichenberg_Tom.EVE@macmail1.nb.rockwell.com, kato@lab4.yamaha.co.jp, USERS@CNMAT.berkeley.edu, musjkm@samba.ucsb.edu, craig@well.sf.ca.us, amirk@well.com, dgl@netcom.com, fish@musclefish.com, timis@opcode.com, robert@rockmore.com, rww@sgi.com, studer@applelink.app.com, muscom@mills.edu, tildy@ella.mills.edu, dej@cats.ucsc.edu, mab@dolby.com, STRANGE@SJSUVM1.sjsu.edu, furman@SJSUVM1.sjsu.edu, wendt@SJSUVM1.sjsu.edu, michael@mcnabb.com, david@jaffe.com, kathy@jaffe.com, cstone@netcom.com, raf@mercury.sfsu.edu, econcert@charles.ucdavis.edu, timper@holonet.net, js%timbre.uucp@nbn.com, scotgl@csuhayward.edu, emusic-l@american.edu, edens@interval.com CCRMA Computer Music New works by composers from The Doreen B. Townsend Center for Computer Research in Music and Acoustics John Chowning, Director DINKELSPIEL AUDITORIUM APRIL 15, 1995 SATURDAY, 8 PM Admission: $7 adult $4 Student PROGRAM I Little Boy (1968) Jean-Claude Risset (b. 1938) II Vox (1995) Jorde Sad (b. 1959) III Terra Informa (1992) Richard Karpen (b.1957) INTERMISSION IV Plastophonic World The Gates to Hell Hommage a. Robin (1994/1995) Bernd Hannes Sollfelner (b. 1963) V Three Dreams (1993) "Paper Castles, Invisible Clouds, Electric Eyes"Fernando Lopez Lezcano (b. 1956) VI IMAGE: the pop can Ronald Alford (b. 1939) Performed by Ronald Alford & Candce Lowe CCRMA expresses its gratitude to the late Mrs. Doreen Townsend for her interest in and support of the work at the Center. Support for research and composition at CCRMA has been received from the California Arts Council, Meet the Composer, the Mellon Foundation, the National Endowment for the Arts, the National Science Foundation, the Rockefeller Foundation, the System Development Foundation, Ann and Gordon Getty, Walter Hewlett, Apple Computer, Crystal Semiconductor, Dynacord, E-Mu, Korg R&D, Lexicon, Matsushita, MediaVision, Meyer Audio, Opcode, Rockwell International, Roland, Symbolics, Xerox PARC, Yamaha and private gifts. UPCOMING CONCERTS If you would like to receive the Music DepartmentÕs quarterly concert calendars, please add your name and address to the mailing list in the lobby. Or, for information on upcoming concerts, call (415) 723Ð2720. 20, July: CCRMA Computer Music. New works by composers from StanfordÕs Center for Computer Research in Music and Acoustics. Frost Auditorium, 8 p.m., $7/$4 students. 5 May (Friday): Alea II: Ensemble for New Music. Featuring graduate composers and works by Joan Tower and Harvey Sollberger. Campbell Recital Hall, 8 p.m., free. Tickets are available at Tresidder Ticket Office, (415) 723Ð4317, or at the door. Please arrive early to purchase tickets at the door. ========================================================================= Date: Wed, 5 Apr 1995 21:46:57 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Stephen P. Lee" Subject: Re: Ears on? Hello, Anyone know what the artist "Moby" uses to create his E-Music? Thanks, Info1one ========================================================================= Date: Thu, 6 Apr 1995 18:45:24 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Rocky Mullin Subject: Re: Ears on? sure. well, for the live shows anyway, he uses dat tapes. /\ c /\ a /\ l /\ i /\ b /\ a /\ n /\ rocky mullin /__\____/__\____/__\____/__\____/__\____/__\____/__\____/__\ organic online \ / \ / \ / \ / \ / \ / \ / san francisco \/ \/ \/ \/ \/ \/ \/ http://wbl.com/~caliban splitting lanes on the information superhighway From: "Stephen P. Lee" Subject: Re: Ears on? To: Multiple recipients of list EMUSIC-L Hello, Anyone know what the artist "Moby" uses to create his E-Music? Thanks, Info1one ========================================================================= Date: Thu, 6 Apr 1995 22:36:01 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Greg Poltrock Subject: Mini Moog wanted One of my students wants to buy a Mini Moog desperately. Can anyone help? ========================================================================= Date: Thu, 6 Apr 1995 23:23:38 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: CCRMA Concert In-Reply-To: <9504061849.AA03435@ ccrma.Stanford.EDU > from "Janet M. Dunbar" at Apr 6, 95 11:49:03 am > I > Little Boy (1968) Jean-Claude Risset > (b. 1938) > *This* is the piece with the ever-descending note in it. If you can make it to this concert, this is worth it all by itself. --- Joe M. (who can't be there, but wishes he could) ========================================================================= Date: Fri, 7 Apr 1995 00:13:28 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Ross Wright, Anything Musical" Subject: Re: Mini Moog wanted Comments: cc: Gregman1@aol.com >Subject: Mini Moog wanted >Date: 95-04-06 23:20:02 EDT >From: Gregman1@AOL.COM (Greg Poltrock) > > >One of my students wants to buy a Mini Moog desperately. Can >>>anyone help? I may have one laying around at one of the stores at the chain where I work. I will E mail you 4-7-95. Ross Wright, Anything Musical Spitzer Music Co. 818 763 3383 ========================================================================= Date: Fri, 7 Apr 1995 00:35:31 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Concert review: Music for performers and computer Comments: To: emusic-l Well, this was quite a lot of fun. The program was extremely well thought-out, with a keynote (pun unintended) piece at the beginning and everything else nicely related (at least orthogonal to, anyway) that piece. duo runedako - Daniel Koppelman and Ruth Neville - played several pieces. I'm going to abbreviate them as d-r throughout, since it took me four tries to spell it right the first time... First up was the keynote piece - Debussy's "En Blanc et Noir" (first movement)for two pianos. This was a lovely piece and very virtuoso. It was all colors and effects - sheets and planes of sound, with scarcely any "melody" per se. Lots and lots of polychordal stuff in a sea of undulating piano. Very, very nice piece, and one I hadn't heard before. d-r played it as if they were telepathic. These folks were *good*. Second piece was one of the pieces by the featured composer, Curt Lippe - "Music for Clarinet and ISPW". (I guess we've got the instrumentation figured out, anyway.) He has been doing a lot of work with the NeXT and the IRCAM ISPW board. I have no doubt that this device has been covered in the CMJ recently. Essentially, it's a boardful of DSPs under real-time MAX control. The clarinet was wired with a transducer on the mouthpiece and at the bell. There were also a pair of stereo mikes as well. Player was Alex Sidorowicz. The piece started off very, very subtly - the clarinetist was playing an ascending motif which started phasing and panning, very, very slightly. The piece used a combination of score following and real-time sampling and playback. The interaction between the player and the computer was very strong and exceedingly well-played. The realtime stuff being generated by the computer was very tasty and worked extremely well with the live playing. The clarinet was never overwhelmed even in the densest sections - great mixing job. In these sections, the line between computer and clarinet blurred to the point where I couldn't tell if some of the effects were extended clarinet techniques or computer generated - a seamless welter of extravagant sounds. Toward the end of the piece, the filtered white- noise sound of the performer blowing through the clarinet without sounding a note was used as a great punctuation device. An outstanding piece of music, though I did catch myself wondering how long it was somewhere in the middle. The clarinetist was simply outstanding, playing amazing things I don't think I'd have the courage to write, even. :) The third piece, "Free Shadows", by William Kleinasser, was again played by d-r on Diskclavier and piano. This one was definitely much more "with computer" than the clarinet piece; the pianos were really the focus of attention much more than the computer. The piece was interestingly jazz- inflected, sort-of-serial stuff - kind of chordal in an odd way. The computer part sounded somewhat tentative in this piece; I imagine this was simply a stylistic thing. The integration of sampled and synthesized timbres was very good, but the pianos definitely had much more weight and authority. The computer part was rather contemplative in contrast to the furiously-moving pianos. Another incredibly virtuoso performance. We had a break, during which the stage was set up for the next ISPW piece, "Music for Sextet and ISPW". The sextet was violin, flute, bass clarinet, trombone, cello, and piano. The instrumentation makes good sense in the context of the piece; the strings and the trombone were used very effectively as glissando tone producers, with the flute, bass clarinet, and piano doing the note-by-note and percussive work. Lots of good rhythmic work in this piece - seamless integration of computer and sextet. Absolutely amazing *walls* of sound, with intricate textural stuff going on inside, subtle little effects commenting on the sextet and standing alone as well. This was, I think, a fairly lengthy piece, but I never caught myself wondering how long it was going to be. It held my interest very nicely, thank you. One of the best effects was some great heterodyning stuff ... done by the instrumentalists! In the fifth piece, "Setting for Two Pianos" by Mel powell, we returned to d-r. This was sort of an abstract expressionist reply to the impressionist Debussy piece. Incredibly fast, with the two pianists exquisitely interplaying. A nice piece, well-played, but it didn't push my buttons like the ISPW pieces did. The last piece, "Somethin' Like That", by Koppelman (half of d-r), used some staging that was interesting, but, I felt, not critical to the performance of the piece. It did do some interesting things with blurring the lines between piano and synthesizer - the piece was for piano, and what I think was an SY77 plus a TG77 (It was too dark to see the front panel well on the rack device, but it had the big ol' LCD ... I'm almost certain it was a TG77, simply because that would nicely expand the SY77's polyphony in a compatible way. Anyway. The piece started out with one player on synth and one on piano; after a time the piano player came over and sat down with the synth player - they played this way for a while, then the first synth player moved over to the piano. After that I got wrapped up in the music and forget who moved where... The start of the piece didn't grab me much - it seemed pretty much like good old 12-tone, and theat went for a while, not really piquing my interest. Then the piece slowed down and went into a sort of Badalamenti crossed with Bill Evans business. As the piece sped up again, the computer accompaniment (yes, there was one, it just wasn't waking me up a lot) started sampling and playing back *just* the hammer noise. A neat, neat effect. The final section was kind of Xenakis-like: atonal, lots of concentration of shape and ... SWING! Lots of swing! It hurtled along like Oscar Peterson on mind-expanding substances. A fantastic finish, and worth the not-quite-so-interesting beginning. A thouroughly enjoyable concert. I'm hoping we'll get to see a lot more of these in the future. (Thanks again for letting us know about it!) --- Joe M. ========================================================================= Date: Wed, 5 Apr 1995 23:21:00 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tony Cappellini Subject: Midi for Windows Comments: To: synth-l@american.edu, emusic-l@american.edu ate: Tue, 4 Apr 1995 11:33:31 -0400 From: Greg Dorter Subject: Windows Toolkit >>Can anyone give me any info on Toolkit for Windows? Will it let me >>access the Windows MIDI driver? I'd like to do some real simple Windows >>programming with MIDI and I'm wondering what the easiet way to do this >>might be. How difficult is it to learn to program MIDI in Windows in C, >>C++? How would I go about learning how to do this? >>Thanks for any help, >>Greg Dorter University of Western Ontario >>63 Dean Ave. gdorter@julian.uwo.ca >>Guelph, ON N1G 1L3 519-836-2071 >>CANADA Hi Greg Programming for Windows is a pain in C, and I've been told it's easier to do in C++, if you already know C++. LEarning C++ is a pain. The easiest way to do most Windows apps is with Visual Basic. I just bought it after a fellow software engineer showed me a how to get s simple windows app on screen in just a few minutes. VB is a hell of a lot more visual than Visual C/C++. After struggling with windows prgramming using Visual C, I'd highly suggest Visual Basic 3.0. It's not that Visual C/C++ is bad, it's just that they don't give you a many features as Visual Basic does. With VB, you can actually "draw" (drag, drop, click) your application together. That's a little over simplified. I haven't even touched on the Msoft Foundation classes, simply because I don't know C++ enough to use them. Also, a friened of mine suggested using Arctic Software Cool Midi Tools for Visual Basic 3.0 only make Windows Midi apps real easy. I just ordered them, and they'll be hear soon. It's $59 for a package of cutom VBX tools. Give VB a shot, and get a 3rd party book on how to program in VB . In case you go with VB, Artic Software's phone number is 414-534-4309 Have fun TC ========================================================================= Date: Thu, 6 Apr 1995 10:42:28 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Giuseppe Voglino Subject: MNOD Format file of MIDISCAN by MUSITEK Ciao. Has anybody any info on which type of format for score the MNOD (.mnd) files have ? This is used by MIDISCAN by MUSITEK. I have a demo of MIDISCAN that can save recognized score into .mnd file and not midi format. GIUSEPPE ========================================================================= Date: Thu, 6 Apr 1995 10:43:48 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Giuseppe Voglino Subject: Lipsia & Lime programs Ciao. I am searching for programs called Lipsia and Lime used for Optical Music Recognition. Any info ? Thanks in advance Giuseppe ========================================================================= Date: Fri, 7 Apr 1995 09:07:09 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Re: Ears on? Stephen P. Lee asks: > Anyone know what the artist "Moby" uses to create his E-Music? I'm assuming you haven't read the sleeve notes in "Everything is wrong". Here they are anyway... Fender precision bass, Ibanez electric guitar, Apple Mac w/Cubase Audio & Soundtools, World Beat Congas, Technics 1200, Akai s-1000, s-950, Yamaha SY-22, 35 85, spx-900, ns-10s, Roland Jupiter 6, juno 106, tb-303, tr-909, spd-11, tr-606, Alesis hr-16, quadraverb, mmt-8, adats, Emu pro-piano, proteus world, Serge modular synth, Oberheim matrix 1000, Eventide dps-4000, Boss super feedbacker and distortion, se-50, Casio cz-101, Klark-teknik dn- 60, Soundcraft Spirit 48x8x2, dbx 160xt, 163x, 463x, Opcode studio 4, Digitech time machine, Numark dm-1650, Panasonic 3700s, Korg kms-60, Auratones, Hafler pro 5000, Aps 1.2gb hd, drum set, classical guitar, Syquest disks, Shure sm-58, Ev pl1881, etc. Personally, I found his earlier work a bit shallow, but glad I took the risk with "Everything is Wrong". It's really rather good, plenty of contrasting styles. Not your run-o'-the-mill techno! Found the last track particularly moving, real lump in the throat stuff. Nuton -- _________________________________________________________________________ _____/ __ \ ___/ // / / ( / \ \ / __\ \ \ / - thomasjeromenewton - / / // / / /\L- -__ \_) / \ / / ) \/ \ \ \// / / / /.\/\/. \-'\ / / \/ /\ "/ newty@newty.demon.co.uk \_// / / / \_/| \__/ _/ / " / /\__/ /// / / / ( |_ / / zu ------------------------------------------------------------------------- ========================================================================= Date: Fri, 7 Apr 1995 13:13:16 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Matthijs M. Dierckx" Subject: unsubscribe me please everything was interesting but I don't have enough time to read all the messages, so when I log in once in a week I'm ending up reading over 100 messages! Greeting from the Netherlands! ========================================================================= Date: Fri, 7 Apr 1995 13:32:58 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Matthijs M. Dierckx" Subject: Superwave 32 I know it's not excactly the right group to inform, but can anybody please tell me how I can get my Superwave 32 PC-soundcard to play descent samples from most programms and games. It screws up every 'big' game (like Doom2 -doom 1 is working well- Sam'n'Max, Descent, etc.). Also, since I'm a musician, I like my own equiptment to be perfect, at least it has to sound perfect. Is there a way to give the Superwave 32 something like a digital Reverb- effect? Send answers too: M.M.DIERCKX@STUD.LET.RUU.NL (those last two characters also explain my questionable English!) ========================================================================= Date: Fri, 7 Apr 1995 08:59:26 U Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Hall, Troy" Subject: ((o)) How To Unsubscribe ONCE AGAIN- To quote the message everyone got when they subscribed... "You may leave the list at any time by sending a 'SIGNOFF EMUSIC-L' = command to LISTSERV@LISTSERV.AMERICAN.EDU." I.E. Body of message: SIGNOFF EMUSIC-L Send to: LISTSERV@LISTSERV.AMERICAN.EDU Note well the e-mail address to which you send the SIGNOFF command. It's = LISTSERV@... _not_ EMUSIC-L@... Sayonara, TH ========================================================================= Date: Fri, 7 Apr 1995 10:51:21 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: _SHatterday_ CD In-Reply-To: from "rg8@UMAILSRV0.UMD.EDU" at Apr 2, 95 05:48:15 am here's Mike's entry in the Atomic City catalog for the album: SHATTERDAY is Joe McMahon's first solo album. By turns playful and moody, introspective and martial, this remarkable collection of songs displays the talent and breadth of vision unique to McMahon's music. Musical styles from lounge jazz to 20th-century academic endeavours are represented here, with a sly stylistic nod to the works of "Twin Peaks" composer Angelo Badalamenti, whom McMahon cites as a major influence. Realized entirely on one digital keyboard workstation in real time with only minimal outboard processing during the final mixdown, this work is the electronic world's ultimate realization of doing more with less, and is sure to please anyone with eclectic tastes, high standards, and a sense of humor. The CD release features twelve spectacular compositions in a running time of about 56 minutes. I'm selling them two ways: $20 for a signed/numbered copy (out of 150) $15 for a regular unsigned copy It's $3 for shipping/handling, which is in a cardboard box to prevent cracked cases and banged-up CDs. It remains $3 up until you order a boxful, after which we'll have to negotiate. :) The address is Cambrian Music PO Box 1497 Laurel MD 20707-1497 Make the check to Cambrian Music, and I'll send it as soon as the check clears. --- Joe M. ========================================================================= Date: Fri, 7 Apr 1995 08:36:50 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: jk Subject: Re: _SHatterday_ CD Joe, in unbridled exuberance> >I'm selling them two ways: HEY, KEEP THIS JUNK OFF EMUSIC!! ;) -john jkrikawa@ccit.arizona.edu ========================================================================= Date: Fri, 7 Apr 1995 13:12:16 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: concert review (long) Comments: To: eml@physics.american.edu herewith my own review of the instrument/computer music concert held last night at the university of maryland. (joe, i knew you had to be there, and even dropped a few loud hints in the hope that i could figure out by response who you were. the tall one, maybe? i was the one in the back, goatee and wirerims, the bigger nose, guffawing loudly during intermission.) let me open with two comments that are more cynical than they perhaps ought to be, but are what floated to the top of my head when i walked away. in fact, this whole thing is going to have a more negative tone than i really feel, and i think that says something about what the music communicated. first, on the more snide note, "20th century music is great because it frees us from the strictures of great music." second, i think i've finally got a personal definition of 'music'. for me to identify something as music, i have to give a damn about what comes next. the first piece, the debussy, was nice. it was debussy. it floated. it bounced around a little. debussy, while often atonal, seems rarely dissonant, and i appreciate that. and the pianists were really quite good. in fact, the outstanding feature of the entire evening was the notable virtuosity of the performers. the duo runedako in particular were just sharp as hell, and got even tighter during the latter parts of the performance. anyway... the second piece was a clarinet soloist whose sound was realtime processed by a dsp system under the control of max. as joe said, the mix of the clarinetist's original and processed tone was quite good, and that was also a positive feature of the evening as a whole; electronic and acoustic tones meshed well, and no little care was given to matching the whole ensemble up to itself and the hall. for instance, the last piece used a small cube amp on the stage, which the performer directed toward the back rather than at the audience, not only giving himself a functional monitor, but using the bandshell to integrate the synthetic tone with the piano as well. the processing of the clarinet generally involved pitch shifting, from what i could tell. often several shifting channels would run simultaneously, with varying degrees of modulation or delay, so that clarinet phrases would be transformed into multitimbral glissandos, or the instrument's tone would be layered in a synthetic chorus. at one point the performer (a bloody athlete, i swear) was clearly producing some of the odd duo-tones himself, and the system accompanied with a sort of low, swirling metallic drone, which i quite liked. during the entire piece, i could hear the computer operator clicking away on themouse, which made sense since the kinds of processing kept changing during the performance. as for the music itself, that is, the notes played... well. suffice it to say that what i heard pretty much set the tone for the whole evening. math music. random structures. irritating intervals deliberately beat to death in a frantic effort to keep any semblance of 'old, tired musical paradigms' from creeping into the composition. the composer, cort lippe, who was also the operator, is a student of xenakis. it shows. i kept wondering just what mechanical procedures he had selected to determine which stochastic processes to apply to which frames of time/pitch space. as i heard more and more of this kind of thing throughout the evening, i wondered just how the academy had managed to paint itself into such a restrictive and distant corner. of course, all genres are self-limiting by definition. it just seems unfortunate that this is what it takes to merit 'serious' attention. the third piece went back to the piano duo, and this time one of the performers played a diskclavier, which midi-controlled some computerized sample/processing... i don't think that the live sound of the pianos themselves were part of the computer's pallette. at the first burst of note clusters i stopped paying attention to the music and listened to the samplers. the first synthetic tone was a harpsichord patch, and then the piece switched to using some looped attackless piano tone. at this point, i drifted. been there. done that. after a couple of minutes of looking at the ceiling and thinking about completely different things, i discovered that my inattention had made the music pleasurable to me. by making no effort to make contact with a form which was making no effort to make contact with me, the tension created by normal critical approach was released. the pianos were just sort of tinkling along, the computer was doing something vaguely vocal, and i, freed of any internal need to actually follow along, floated along instead. it was a bit like looking at a jackson pollock. when i view 'lavender mist' i don't think about action painting, i don't trace the individual filligree, i just don't really worry about it... i don't 'see' it at all in the same way i see something figurative. the music had entered a similar space in my head. is this the way i'm supposed to 'listen' to this kind of thing? i'm not being mean or facetious by suggesting that the music made no attempt to make contact with me, by the way. i took it to be a feature of the compositional technique, pure and simple. it in no way associated itself with my internal musicality, made no reference to expectation or surprise, wasn't really motive or static. it was just sort of 'there', external to myself, my emotion, my thought. my final reaction to it pretty much summed up my response to the evening. i didn't actually 'like' a bit of it, although there were certainly moments of interest, impressiveness, and even humor. the fourth piece was the sextet, processed in the same way as the clarinet had been, with cort as operator. this was jason's favorite piece, because the combination of instruments alllowed for more timbral variation. (jason is a grad student here who i've been working with recently. we hang out and make rude noises at each other.) the heterodyning bit that joe pointed out was quite cute. each performer (violin, cello, flute, trombone, bass clarinet, piano) did a slow pitch change in a different direction. this motif was repeated several times, and provided good inputs for the processing system, which burbled and hooted in interesting ways. i liked the end, when the ensemble stopped cold and the system gurgled and looped quietly away to nothing. fifth was a straight piano duet. no computers. extraordinarily virtuosic performance of white noise composition. feh. it pointed out just how embedded in the culture you have to be to read the program notes. "crystalline figures resound[ing] beautiful harmonies"? sorry... i guess i just wasn't there. last was another bit by the duo, this time composed by one of the members. still very much in the vein of the whole evening, but it seemed to me a little less strained, a bit less intent on seriousness... it was essentially a kind of game, and recognized itself as such. again, the performers were excellent, trading off the parts of long, rapid glissandi without any discernible discontinuities. it did indeed swing, particularly near the end, which was quite percussive, quick, and regular, but with a lot of feel in the triplet counterpoint. my ear was most attracted to a tone produced by the synth module (they switched off between piano and synth) that remined me of the subtle orchestra-suggestions of wendy carlos' "digital moonscapes." tg module, huh? does that have highpass filters? so that's it. i had intended to do the straight review in one section, and hold the commentary till after, but as you can tell it made its way into the body of the text. jason, do you have anything to add? JASON: Hmmmmm ..... No, not much to add, you have summed up the after concert discussion well. Though, I found it interesting that the gentleman introducing the concert began by apologizing for all of the wires and other gizmos on stage, as if to say, "Welcome to the land of computer music. It is supposed to be this way." Why must we apologize for being computer musicians in the academic world? He also added something to the effect that though the set-up appeared "unorthodox" it was indeed functional. So was the music unorthodox as well or just purely functional? Just an observation. <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 ========================================================================= Date: Fri, 7 Apr 1995 18:27:00 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Gregory A Youngdahl 708 979 0013 Subject: Shatterday Comments: To: EMUSIC-L%AUVM.BITNET@CUNYVM.CUNY.EDU Hi all, Well, my copy of Shatterday was in my mail box when I arrived home last night (I got 9/150). I've been listening to it yesterday at home, and most of the day today on the CD player in my SUN workstation. Great job Joe!!! I find it amazing that all this music came from a single synth. I'm enjoying it a lot! I'm not sure exactly what I expected, but with all the discussions from this list that cross my screen, I think I was expecting something a lot more esoteric. I'm finding it quite listenable. Hopefully Joe doesn't take offense to my opinion that I didn't think it was too esoteric, if so then it must be a difference in definition of terms ;-) The insert artwork was very nicely done as well. I think the most jaring thing to me was the photo of Joe! I guess I had this mental picture of Joe based on reading the list and such, and it was startling to see how far off the mark it was. I think the cartoon on the inside of the guy holding the synth was closer to my expectation ;-) Anyway, excellent work (IMHO). -- Greg Youngdahl AT&T Bell Laboratories Naperville, IL greg@ihlpm.att.com ========================================================================= Date: Fri, 7 Apr 1995 19:36:27 -0400 Reply-To: Jay Elias Sender: Electronic Music Discussion List From: Jay Elias Subject: General MIDI Document In-Reply-To: <0098E871.AB639B80.14965@physics.american.edu> Hi! I'm looking for information about the way in which General MIDI is set up. Does anyone know of any General MIDI documents that show the bank configurations for General MIDI? I'm hoping to find the bank names (strings, brass, etc...) and how many instruments go into each bank. Any information would be greatly appreciated and can be sent directly to my e-mail address at jelias@bgnet.bgsu.edu Thank-You J.E. Jay Elias Music Education Bowling Green State University Bowling Green, OH 43403 "This [situation] calls for a special blend of psychology and extreme violence." - Vyv ========================================================================= Date: Fri, 7 Apr 1995 19:47:32 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: concert review (long) In-Reply-To: <0098E871.AB639B80.14965@physics.american.edu> from "Eric Harnden" at Apr 7, 95 01:12:16 pm > (joe, i knew you had to be there, and even dropped a few loud hints in > the hope that i could figure out by response who you were. the tall one, > maybe? i was the one in the back, goatee and wirerims, the bigger nose, > guffawing loudly during intermission.) > Yep, that was me. Oh well. I'm Mr. Nonobservant. :) Next time we'll get together and go out for coffee and slander everybody then. > as for the music itself, that is, the notes played... well. suffice it to > say that what i heard pretty much set the tone for the whole evening. math > music. random structures. irritating intervals deliberately beat to death > in a frantic effort to keep any semblance of 'old, tired musical paradigms' > from creeping into the composition. the composer, cort lippe, who was also > the operator, is a student of xenakis. it shows. i kept wondering just what > mechanical procedures he had selected to determine which stochastic > processes to apply to which frames of time/pitch space. as i heard more and > more of this kind of thing throughout the evening, i wondered just how the > academy had managed to paint itself into such a restrictive and distant > corner. of course, all genres are self-limiting by definition. it just seems > unfortunate that this is what it takes to merit 'serious' attention. > Yeah. I have to admit that I think there could be more "beauty" (whatever *that* means) in computer music. The slow section in the final piece did calm down and give the listener a chance to listen to some harmonies that were not "what ought to happen here", but actually seemed to be written solely because they were interesting to listen to (i.e., at least partially identifiable and related to one another in more standard ways). And the swing section did actually have me wanting to bob my head along with the music, though it was in some intensely odd meter which pretty much precluded that... > samplers. the first synthetic tone was a harpsichord patch, and then the > piece switched to using some looped attackless piano tone. at this point, i > drifted. been there. done that. after a couple of minutes of looking at > the ceiling and thinking about completely different things, i discovered > that my inattention had made the music pleasurable to me. by making no effort > to make contact with a form which was making no effort to make contact with > me, the tension created by normal critical approach was released. the pianos > were just sort of tinkling along, the computer was doing something vaguely > vocal, and i, freed of any internal need to actually follow along, floated > along instead. it was a bit like looking at a jackson pollock. when i view > 'lavender mist' i don't think about action painting, i don't trace the > individual filligree, i just don't really worry about it... i don't > 'see' it at all in the same way i see something figurative. the music > had entered a similar space in my head. is this the way i'm supposed to > 'listen' to this kind of thing? i'm not being mean or facetious by suggesting > that the music made no attempt to make contact with me, by the way. i took > it to be a feature of the compositional technique, pure and simple. it in > no way associated itself with my internal musicality, made no reference to > expectation or surprise, wasn't really motive or static. it was just sort > of 'there', external to myself, my emotion, my thought. my final reaction > to it pretty much summed up my response to the evening. i didn't actually > 'like' a bit of it, although there were certainly moments of interest, > impressiveness, and even humor. Hence my comparison to abstract expressionism. I did find myself wandering from time to time, but getting called back. A couple of the pieces at the conference concert that I did not get around to reviewing never let me wander at all. They were intense, harmonically and rhythmically challenging, but they had direction. I think this may be what my personal problem is with some of this music; I lack the "musical sophistication" which enables me to analyze the pieces as they are played. This raises the question: Should I have to? I think the thing that bothered us both was a lack of discernable direction. Sort of like watching a random walk algorithm draw a graphic. When directions developed, they tended to be episodic rather than sustained. A note for everyone to consider: at the concerts back in October? November? there were a couple of pieces that were standouts in that every single second was interesting to listen to AND contributed to the predictability and direction of the piece. Neither was computer-generated - one was the old dice-and-slice-and overdub, done with a heap of old analog synths; the other was Robert Gibson's (one of our list members), which was done with a heap of MIDI synths and MAX. Now THERE was rhythmic drive, and a sense of "hey, this is supposed to be fun to listen to". I wish there was more of that. Of course, there were "sophisticates" in the audience who seemed less impressed than I was... I submit that it is perfectly possible to use computers to make interesting and listenable music. Nick does it all the time. It would be fascinating to see what the audience reaction would have been to one of Nick's dance pieces at the computer music conference. :) --- Joe M. ========================================================================= Date: Fri, 7 Apr 1995 19:49:25 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: _SHatterday_ CD In-Reply-To: <01HP1UO9WB8I8WX031@CCIT.ARIZONA.EDU> from "jk" at Apr 7, 95 08:36:50 am > > Joe, in unbridled exuberance> > >I'm selling them two ways: > > HEY, KEEP THIS JUNK OFF EMUSIC!! ;) > > -john > jkrikawa@ccit.arizona.edu > Oh, CRAP. Well, this is what I get for posting at 1 in the morning. Abject apologies all round, folks. Don't *I* feel like an idiot. :/ Thanks, John. --- Joe M. ========================================================================= Date: Fri, 7 Apr 1995 17:38:19 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Rocky Mullin Subject: Re: _SHatterday_ CD i find no fault in trying to sell one's artistic endeavors to members of one's own community in a forum such as this. disregard if these posts were originally sarcastic. heh. /\ c /\ a /\ l /\ i /\ b /\ a /\ n /\ rocky mullin /__\____/__\____/__\____/__\____/__\____/__\____/__\____/__\ organic online \ / \ / \ / \ / \ / \ / \ / san francisco \/ \/ \/ \/ \/ \/ \/ http://wbl.com/~caliban splitting lanes on the information superhighway ========================================================================= Date: Fri, 7 Apr 1995 21:08:06 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: _SHatterday_ CD In-Reply-To: <199504080038.RAA14551@eat.organic.com> from "Rocky Mullin" at Apr 7, 95 05:38:19 pm > > i find no fault in trying to sell one's artistic > endeavors to members of one's own community in a > forum such as this. > Yeah, but see, I'm the one who came up with the no ads policy in the first place and then I... I mean ... I just... D'OH! --- Joe M. ========================================================================= Date: Fri, 7 Apr 1995 09:46:32 PDT Reply-To: dunn@intellicorp.com Sender: Electronic Music Discussion List From: Casey Dunn Subject: Re: CCRMA Concert In-Reply-To: <199504070323.XAA19310@clark.net> Joe McMahon writes: > > I > > Little Boy (1968) Jean-Claude Risset > > (b. 1938) > > > *This* is the piece with the ever-descending note in it. If you can make it > to this concert, this is worth it all by itself. > > --- Joe M. (who can't be there, but wishes he could) d'ya mean a sheppard (?) tone? Perhaps I'll run over that night and check it out. EMUSIC folks in the bay area; these CCRMA concerts are really worth the hassle of getting to stanford. ========================================================================= Date: Fri, 7 Apr 1995 09:52:23 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Janet M. Dunbar" Subject: CCRMA Concert Update Comments: To: users@ccrma.Stanford.EDU, jody@leland.Stanford.EDU, et.mgm@forsythe.Stanford.EDU, barth@leland.Stanford.EDU, kberger@leland.Stanford.EDU, hf.jbz@forsythe.Stanford.EDU, alcohen@leland.Stanford.EDU, hf.mvd@forsythe.Stanford.EDU, hf.smg@forsythe.Stanford.EDU, hf.bmg@forsythe.Stanford.EDU, tsgrey@leland.Stanford.EDU, cisco@leland.Stanford.EDU, stephenh@leland.Stanford.EDU, shinton@leland.Stanford.EDU, mhui@leland.Stanford.EDU, mjohnson@leland.Stanford.EDU, hf.kak@forsythe.Stanford.EDU, mahrt@leland.Stanford.EDU, et.jap@forsythe.Stanford.EDU, sano@leland.Stanford.EDU, cn.bes@forsythe.Stanford.EDU, sheridan.schroeter@forsythe.Stanford.EDU, et.ads@forsythe.Stanford.EDU, cn.mmt@forsythe.Stanford.EDU, tenor@leland.Stanford.EDU, weldy@leland.Stanford.EDU, adams@interval.com, alex@korgrd.com, siyer@netcom.com, timis@opcode.com, rob@opcode.com, Eichenberg_Tom.EVE@macmail1.nb.rockwell.com, kato@lab4.yamaha.co.jp, USERS@CNMAT.berkeley.edu, musjkm@samba.ucsb.edu, craig@well.sf.ca.us, amirk@well.com, dgl@netcom.com, fish@musclefish.com, timis@opcode.com, robert@rockmore.com, rww@sgi.com, studer@applelink.app.com, muscom@mills.edu, tildy@ella.mills.edu, dej@cats.ucsc.edu, mab@dolby.com, STRANGE@SJSUVM1.sjsu.edu, furman@SJSUVM1.sjsu.edu, wendt@SJSUVM1.sjsu.edu, michael@mcnabb.com, david@jaffe.com, kathy@jaffe.com, cstone@netcom.com, raf@mercury.sfsu.edu, econcert@charles.ucdavis.edu, timper@holonet.net, js%timbre.uucp@nbn.com, scotgl@csuhayward.edu, emusic-l@american.edu, edens@interval.com CCRMA Computer Music Concert New works by composers from Center for Computer Research in Music and Acoustics John Chowning, Director DINKELSPIEL AUDITORIUM APRIL 15, 1995 SATURDAY, 8 PM Admission: $7 adult $4 Student PROGRAM I Suite from Little Boy (1968) Jean-Claude Risset (b. 1938) II Vox (1995) Jorge Sad (b. 1959) III Terra Infirma (1992) Richard Karpen (b.1957) INTERMISSION IV Plastophonic World The Gates to Hell Hommage a Robin (1994/1995) Bernd Hannes Sollfelner (b. 1963) V Three Dreams (1993) "Paper Castles, Invisible Clouds, Electric Eyes" Fernando Lopez Lezcano (b. 1956) VI IMAGE: the pop can Ronald Alford (b. 1939) Performed by Ronald Alford & Candice Lowe CCRMA expresses its gratitude to the late Mrs. Doreen Townsend for her interest in and support of the work at the Center. Support for research and composition at CCRMA has been received from the California Arts Council, Meet the Composer, the Mellon Foundation, the National Endowment for the Arts, the National Science Foundation, the Rockefeller Foundation, the System Development Foundation, Ann and Gordon Getty, Walter Hewlett, Apple Computer, Crystal Semiconductor, Dynacord, E-Mu, Korg R&D, Lexicon, Matsushita, MediaVision, Meyer Audio, Opcode, Rockwell International, Roland, Symbolics, Xerox PARC, Yamaha and private gifts. UPCOMING CONCERTS If you would like to receive the Music Department's quarterly concert calendars, please add your name and address to the mailing list in the lobby. For information on upcoming concerts, call (415) 723-2720. Friday, May 5th: Alea II Ensemble for New Music. Featuring graduate composers and works by Joan Tower and Harvey Sollberger. Campbell Recital Hall, 8 p.m., free. Thursday, July 20th: CCRMA Computer Music. New works by composers from Stanford's Center for Computer Research in Music and Acoustics. Frost Auditorium, 8 p.m., $7/$4 students. Tickets are available at Tresidder Ticket Office, (415) 723-4317, or at the door. Please arrive early to purchase tickets at the door. ========================================================================= Date: Fri, 7 Apr 1995 23:00:31 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bill Calvery Subject: CD ROM w. S/PDIF interface? Do any of you out there remember seeing a CD ROM reader (maybe in keyboard or EM) that had S/PDIF digital outs? Most of them have analog outs, but that's still only analog. I'd love to have the capability of keeping CD samples in the digital domain (instead of always having to use the analog inputs on my sampler). If they are manufactured and go for a reasonable priced, then the combination of features would be a bargain. ========================================================================= Date: Fri, 7 Apr 1995 13:14:21 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: yeehah!! Comments: To: eml@physics.american.edu by the way, i just got MAX. talk to you when i crawl back out back of the studio. weee!!!! (zoop, boing, vwop vwop..) ========================================================================= Date: Fri, 7 Apr 1995 13:15:07 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: John O Davidson Subject: amp I need a amp thas about 300 watts of real power. where can i look(new or used) i can get things wholesale. ========================================================================= Date: Fri, 7 Apr 1995 10:20:08 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Randy Budnikas Organization: Biola University Subject: Fair price? Comments: To: emusic-l@american.edu I have to convert a 40 track MIDI file into a 6 track MIDI file (for a video game score). What is a good rate for this type of work? Thanks, Randy Budnikas Randy_Budnikas@bubbs.biola.edu ========================================================================= Date: Fri, 7 Apr 1995 14:06:31 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Phillip Djwa Subject: Re: EMUSIC-L Digest - to 7 Apr 1995 Comments: cc: "Janet M. Dunbar" >Date: Thu, 6 Apr 1995 11:49:03 -0700 >From: "Janet M. Dunbar" >Subject: CCRMA Concert Maybe I'm just jealous, but I'm getting tired of reading the entire CCRMA performance schedule every time it comes out. If CCRMA wants to publish it why not a) Just list ALL the concerts ONE time and b) send a small reminder closer to the date for people in the area. I live about 3000+ miles from CCRMA and don't plan on attending them. Having said that, I don't mind hearing about who's doing work where, and I like a vast majority of the people they have performing, it's just annoying reading the huge long list of pieces, performers, when their intermission is, and CORPORATE THANKX??!!?? I haben't said anything before, but it's been bugging me for a while. However, maybe this has been discussed already, but it sure could open the floodgates if everyone posted their performance schedule in such excruciating detail.... BTW, we just had Maryanne Amacher here last nite, and her music is extraordinary. She uses difference tones to create music that sounds like it's right in your head. It's actually painful and you have a threshold shift very quickly. However, I don't think I have ever heard a music that so profoundly affected my physical body. I was literally shaking and sweating, and there were *actually* tears in my eyes....Yikes, like hat thread about low-frequency vibrations Amacher is well aware of the physical affects on bodie and she has much research to back up her music. All I could think about after would be how to mix this kind of music without undergoing some kind of prolonged psychosis because of it!! ******************************************************* "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 ))))))))))*******************