========================================================================= Date: Sun, 23 Apr 1995 11:30:21 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Martin Russ Subject: Synthesis Theory I'm compiling a guide to methods of synthesising sounds. Does anyone know of any good sources of detailed information on the underlying theory of the following methods of sound synthesis? Granular synthesis Waveguide Emulation synthesis Harmonic synthesis Phase Distortion 'Casio CZ101-type' synthesis FOF synthesis Thanks Martin Russ ------------------------------------------------------------------------------ Martin Russ Hi-Tech Music Technical Author & MIDI Consultant Reviewer & Columnist for Sound On Sound Magazine (UK) mruss@midi.dungeon.com Macintosh & Synthesizer Programmer ========================================================================= Date: Sun, 23 Apr 1995 14:59:33 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Re: Synthesis Theory Martin Russ recently asked: > I'm compiling a guide to methods of synthesising sounds. Does anyone know > of any good sources of detailed information on the underlying theory of the > following methods of sound synthesis? > > Granular synthesis > Waveguide Emulation synthesis > Harmonic synthesis > Phase Distortion 'Casio CZ101-type' synthesis > FOF synthesis I'm not sure about specifics, but a good place to try may be the Computer Music Journal at: ftp://mitpress.mit.edu:/pub/Computer-Music-Journal/CMJ.html Hope this is useful! Newtz -- _________________________________________________________________________ _____/ __ \ ___/ // / / ( / \ \ / __\ \ \ / - thomasjeromenewton - / / // / / /\L- -__ \_) / \ / / ) \/ \ \ \// / / / /.\/\/. \-'\ / / \/ /\ "/ newty@newty.demon.co.uk \_// / / / \_/| \__/ _/ / " / /\__/ /// / / / ( |_ / / zu ------------------------------------------------------------------------- ========================================================================= Date: Sun, 23 Apr 1995 11:06:02 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bradley A. Barkett" Subject: Re: Intellectual farts? Well, Harry, you make a good point here. I tend to get a little technologically obsessed, because I am currently working a petty pissant job I could have got BEFORE college. I somehow feel that the more technical knowledge I gain, the more likely it we be that I will actually become a SALARIED worker, or even earn double digits per hour. The things I do with music, everyone appreciates. A lot of them even treat it as a master status. When I meet people who have heard of me, they almost always, without fail, have something to say about my musical reputation. And yet I never get paid for it? I'm gonna take care of that problem real soon. I have a friend who is a programmer and a producer, and our collaborative efforts should make us the supergroup of the nineties, like Asia. The band he played for four years ago won Star Search's finals. Enough of this. When and if I get comfortable enough to afford food and rent, I will probably be more involved in discussing things like the ethics of noise pollution. Brad Barkett, AOL (amatur online) ========================================================================= Date: Sun, 23 Apr 1995 12:12:09 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: NEC_CEELY@FLO.ORG Subject: Re: Intellectual farts? How does one join ANALOG HEAVEN ?????? Thank you Robert Ceely ========================================================================= Date: Sun, 23 Apr 1995 12:20:13 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bradley A. Barkett" Subject: young upstart/pop inclinations Brad Barkett here. I am actually composing a letter offline, so it might actually be well thought out, and possibly dangerous. *"Academic" music. What is it worth? In my quick 22 years, I have actually pondered CONTANTLY about the validity issue. Firstly, this is a pop letter, so it will have *lots* of unusual and repeated -------->ASCII characters to catch your eye. Every human being that lives and breathes requires validation. Validation through speech, gestures, written language, and music. !We all desire, and require approval, lest our personality contructs slide into disarray, giving way to mental illness! WHAT IF YOUR LOVED ONES SUDDENLY REFUSED TO RECOGNIZE YOU AS ANYTHING MORE THAN A STRANGER?? "I'd dare say, you'd go nuts." @@@@AT some point, most adolescents realize that life cannot be spent pondering one's origin or "natural" identity, so they make some choices (or they are made for them, through lack of choice.) SOME of us make volatile choices to pursue volatile careers, without the development or perseverence that accompanies them, and we end up working at LOWE'S. *MUSIC* is just such a career. Music, as a primary career, amounts to: 0.00. Why? !!!!! Creativity is an unpredictable capital!!!!! PLUS+ Affecting an audience large enough to support a career, even with good capital, is a slow and costly process. Initially, it is not worth the investment. ----------------------------------------------------------- BUT: Those to whom $COST$ is not a concern (with primary careers other than music), posessing a constant and reliable source of capital (creativity), are closer to musical entrepreneurialship than they often realize. Many fall prey to the martyrous legitemacy virus, which affects their brains in a delusional manner, and convinces them that a completely lucrative industry that they are almost exclusively privy to, is WORTHLESS, because it is a departure from the comfortable, esoteric academic music subculture. :( In conclusion, I am here to tell you today, that NO MAN or WOMAN can be validated enough because we are all insecure, both psychologically and economically. Subcultures that urge us to resist personal advancements outside of their constraints are like funnels that we stumble into. Although they can sometimes protect us from the elements, our view becomes more and more myopic, until we have isolated ourselves into affirmation cliques, in total denial of the greater market we have repressed, and in denial of the great social force of communication before us. If this happens because people realize they have nothing of general scope to say, to an audience of non-peers, then I suppose that is a personal decision. But the real tragedy is the underuse of resources and knowledge, in a field where information is so exclusive, yet involvement is so inclusive. *A puppeteer CAN keep his science and ALSO put on a show.* Which reminds me, I have to go. I have a gig tonight. Anyone interested in collaborative work for mass consumption, drop me a line./ Brad Barkett aka DJGROOVES@AOL (amateur online) ========================================================================= Date: Sun, 23 Apr 1995 12:36:36 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Masato Kamikoriyama." Subject: Re: Kawau Gmega LX Hi ! You had better to check Roland SC-55mkII sounds. I do not recomend you to select Gmega. ========================================================================= Date: Sun, 23 Apr 1995 14:36:13 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Concert review: "New Century Music" Comments: To: emusic-l So, last week I'm reading the paper, and I see an ad which reads,"New Century Music: Jerzy Sapieyevski, the world's leading synthesist/ keyboardist". Now, I'm willing to believe that I'm far enough out of touch that I've somehow missed hearing about this guy. But I make some inquiries, and nobody I talk to has ever heard of this guy either. "Hmmm," I say to myself. "This could be pretty ... interesting." The concert venue is a small church in Georgetown - a nice venue, not very big, but excellent acoustics. "World's greatest, huh?" I think to myself again. So, I go. Having forgotten what a horror it is to try to find anywhere to park in Georgetown, especially on a Saturday evening, I arrive belatedly. As I'm ascending the stairs, I hear what sounds like an interesting little arpeggiator thing going and say to myself, "Perhaps I've judged too fast." As I reached my seat and got settled in, he started playing ... Shakuhachi. SHAKUHACHI. Oh, dear. Mr. Sapieyevski had a setup which appeared to be a Korg T1 or the 01-series equivalent (he had the IDs taped over) as his "piano" keyboard; *two* Ensoniq TS-10/TS-12 (they're hard to tell apart with no markings), a Wavestation, and two TG-77's in a rack behind him. The setup was a V surrounding him, 76-key controller and TS on one stide, the WS and the other TS on the other. Technically speaking, as a keyboardist, he was brilliant. An excellent keyboard technician. All ofthe piano parts were played with a lot of feeling and exquisitely done. The pseudo-symphonic stuff was well-played and stylistically quite accurate. As a synthesist, well... Much of the synthesized stuf just wasn't played idiomatically. It was well-played, but we had 12-string guitar as played by a keyboardist, flute as played by a keyboardist, shakuhachi *erk* as played by a keyboardist... As far as I could tell, the entire performance was essentially improvised. Quite an achievement, technically speaking and from the endurance standpoint. The second half of the concert requested that the audience vote for their favorite themes from the first half, on which he would improvise for the second half. Admirable, but a touch on the "cute" side. He led off the second set with a very Gershwinesque piano solo with some orchestral pad accompaniment. As long as he was playing keyboard idioms, he was brilliant. However, when he moved on to other idioms, he tended to fall back on cliches. A significant section of the improv (also done during the first section) drew on Beethoven themes; at first I wasn't sure that the rather heavy-handed quotations were supposed to be humorous or not. Alas, they were serious. An egregious quote here and there, and then we're back into noodling. (_Moonlight Sonata_ on brass and tympani? Ow.) He did some free stuff with bizarre little wavesequences ticking away which was really quite good if a bit tentative - he didn't throw himself into the free sections like he did with the more familiar stuff. Generally speaking, the only thing I could tell he was using the WS for was as an arpeggiator - I never heard anything else that wasn't attributable to the SD's, in terms of evolving synthesized timbres. There was very little in the was of "synthesis" - most of it seemed to be presets; I even recognized one or two of the TS evolving timbres. Again, this kind of thing makes me look a bit askance at the claim of "world's leading synthesist." There was a distressing amount of cheese. Pentatonic noodling over pads during the "Japanese" (as named by Mr. Sapieyevski) segments; sambas cooming out of nowhere over wavesequenced rhythmic backgrounds; new-age dreamy pads, with wandery flute solos. Generally speaking however, the audience ate it up; when he announced that the "Japanese" section would be used in the improv section, there was even an outbreak of applause. Perhaps my standards are just too high, but I can't say that I thought that last night's performance was that of the "world's leading synthesist." A damn fine keyboard technician, yes. But I expect more idiomatic playing, more sonic exploration, and more of a "Damn! How'd he *do* that?" experience from "the world's leading synthesist." I can't say that I'm going to feel impelled to attend another of his concerts anytime soon. An interesting side note - Mr. Sapieyevski has a number which one can call to become a "sponsor" of New Century Music, or to "volunteer ... with this creative endeavour". I have to admit that I thought claiming to be the world's leading synthesist took a lot of chutzpah. Asking the audience to send you money or be a roadie for free, now *that's* chutzpah. --- Joe M. ========================================================================= Date: Sun, 23 Apr 1995 21:42:41 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: composers/audiences >>Apart from dance.. >You still need music, man. Not so. I've seen dancers out of Bush-Davies do dance performances in silence, ditto some Cunningham-trained folks I know. Even more performers work with sound scores which could hardly be described as musical. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Gonna go down town, kill some spammers." - Joe McMahon. ========================================================================= Date: Mon, 24 Apr 1995 10:00:22 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Cliched sounds Comments: To: emusic-l@american.edu Hello Emusicers, my apologies if you received a contentless message under this subject. My university's machine froze and I had to ring off and resume my session; it might have sent my first attempt. Joe, in his New Century concert review, said... > Shakuhachi. SHAKUHACHI. Oh, dear. Oh, come on, Joe. Don't tell us you're sick of that Fairlight sample!? Any other cliched sounds assaulting your ears anyone? What should we try to avoid? Regards David Rodger, | Fax: +61-3-479-3651 (mark "ATT.: David Rodger") Music Department, | E-mail: musdr@lure.latrobe.edu.au School of Art and Media, | La Trobe University | "It was a boot failure ... Bundoora VIC 3083 | commonly called getting your feet wet!" Australia | -- Chris Lai ========================================================================= Date: Sun, 23 Apr 1995 21:39:23 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Puckett Catherine E Subject: Cliched sounds Comments: To: emusic-l@american.edu Bell-pad/vox-almost-humana, commonly referred to as "Halo Pad" ORK!! HFPH ========================================================================= Date: Mon, 24 Apr 1995 02:36:59 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "William R. Shannon" Subject: Who's Metley? After a couple of months on the EMUSIC-L list, I am humbled to admit that after more than 20 years in electronic music, I had never heard of Prof. Metley or "atomic city". As I live in the backwater of the San Francisco Bay Area, I can be forgiven for not having received news of current trends. Our local record store doesn't seem to have his CDs. Are they available locally? How can I receive them? From what I read on the list, his works must be be among the greatest of the 20th century, exceeding Varese or Alvin Lucier or Cage. I teach electronic music. I am heartbroken that I've been misleding hundreds of students these many years. Oh well...maybe I should quit music and technology altogether and leave it to the popular 3Rs. That will surely help things... William R. Shannon wk02418@worldlink.com Life in the fast lane is slower than you think. ========================================================================= Date: Mon, 24 Apr 1995 09:42:58 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Alberto Meroni Subject: help with program score Comments: To: EMUSIC-L@american.edu Hello, I am looking for an upgrade of the program score for notation from 3.08 to 3.11 but it seem impossible to find a vendor here in Europe, has someone the address of a distributor in France o Italy ? Or an email or fax address of the publisher SAN ANDREAS PRESS ? Thenk you very much Albeto Meroni ========================================================================= Date: Mon, 24 Apr 1995 08:20:05 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Who's Metley? In-Reply-To: <9504240636.AA10177@worldlink.worldlink.com> from "William R. Shannon" at Apr 24, 95 02:36:59 am > > After a couple of months on the EMUSIC-L list, I am humbled to admit that > after more than 20 years in electronic music, I had never heard of Prof. > Metley or "atomic city". As I live in the backwater of the San Francisco Bay > Area, I can be forgiven for not having received news of current trends. Our > local record store doesn't seem to have his CDs. Are they available locally? > How can I receive them? From what I read on the list, his works must be be > among the greatest of the 20th century, exceeding Varese or Alvin Lucier or > Cage. I teach electronic music. I am heartbroken that I've been misleding > hundreds of students these many years. Oh well...maybe I should quit music > and technology altogether and leave it to the popular 3Rs. That will surely > help things... I'm assuming this is sarcasm, but I'm having a hard time telling exactly what you're driving at. Could you elaborate? Is it "you young punks got no business dissing academic music"? Or "Metlay's got a big mouth"? (Hey, we *know* that...) As far as contacting him, just look at his signature. Web site and e-mail address are in there. If it's agonizing about choice of career, I'm afraid we can't help you there. :-) Awaiting clarification (preferably off the list), --- Joe M. ========================================================================= Date: Mon, 24 Apr 1995 10:48:46 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bradley A. Barkett" Subject: 50 metlay fans can't be wrong... If this critical fellow who slights Metlay is a teacher, one can only hope that he is not showing his students how to behave as insidiously and sarcastically as he. Just remember, buddy, YOU'RE the one who clicked the mouse on Metlay's subject headers. Force fed? Think not. Brad Barkett, AOL (amateur online) ========================================================================= Date: Mon, 24 Apr 1995 12:30:10 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "John P. Leonard" Subject: Re: 50 metlay fans can't be wrong... Comments: To: "Bradley A. Barkett" In-Reply-To: <950424104841_94173216@aol.com> On Mon, 24 Apr 1995, Bradley A. Barkett wrote: > If this critical fellow who slights Metlay is a teacher, one can only hope > that he is not showing his students how to behave as insidiously and > sarcastically as he. > > Just remember, buddy, YOU'RE the one who clicked the mouse on Metlay's > subject headers. Force fed? Think not. > > > Brad Barkett, AOL (amateur online) > Whoa....... fifty-ONE fans of Metley! John ========================================================================= Date: Mon, 24 Apr 1995 12:39:10 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Phillip Djwa Subject: Re: synthesis theory >Date: Sun, 23 Apr 1995 11:30:21 +0000 >From: Martin Russ >Subject: Synthesis Theory > >I'm compiling a guide to methods of synthesising sounds. Does anyone know >of any good sources of detailed information on the underlying theory of the >following methods of sound synthesis? > >Granular synthesis One of the major players in this is Barry Truax, at Cambridge St. Records, 4346 Cambridge St, Burnaby B.C., Canada V5C 1H4 He has written many, many articles on it (in CMJ notably), and has recorded a LOT of music using this technique. You could also reach him at Simon Fraser University in the Communications dept. or the arts dept. The phone might be 604-291-3363 for the arts. Sorry I don't have an email.. hoever, if it's like the others, it would either be truaxb@sfu.ca or barry_truax@sfu.ca. Kind of vague I'm afraid. Good luck, Phillip ******************************************************* "Past the rocky road of association,through the gulf of misunderstanding, and into the sea of confusion." Phillip Djwa (djwap@rpi.edu) http://www.rpi.edu/~djwap ***************(((((((( 0 ))))))))))******************* ========================================================================= Date: Mon, 24 Apr 1995 12:47:12 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Phillip Djwa Subject: Re: dance and music Oh yeah, I agree with Nick about not needing 'music' with dance. I have seen, and actually performed in works without music. It really focuses the movement in a very interesting way. When I was working in Montreal in the dance scene composing music, very often choreographers would ask for sections in the dance "sans musique". These functioned as much as 'silent music' as did the parts when I was physically playing. Silence IS music, as Cage might be paraphrased. Also, the breathe of dancers, or the noise they make as they go across the floor becomes a soundscape that qualifies as 'music' for me. And there is kind of musical relationship that develops in their movement, either to each other or to the audience. Phillip p.s. as for another cliched sound (at least in computer music), how about that FM sound where you get that very particular frequency sweep... ******************************************************* "Past the rocky road of association,through the gulf of misunderstanding, and into the sea of confusion." Phillip Djwa (djwap@rpi.edu) http://www.rpi.edu/~djwap ***************(((((((( 0 ))))))))))******************* ========================================================================= Date: Mon, 24 Apr 1995 17:40:49 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Re: Cliched sounds David Rodger recently wrote: > Any other cliched sounds assaulting your ears anyone? What should we try to > avoid? T'K'Tsshh T'K'Tsshh T'K'Tsshh T'K'Tsshh Thump! Thump! Thump! Thump! (_Unless_ you're the Aphex Twin!) ;-) Newtz -- _________________________________________________________________________ _____/ __ \ ___/ // / / ( / \ \ / __\ \ \ / - thomasjeromenewton - / / // / / /\L- -__ \_) / \ / / ) \/ \ \ \// / / / /.\/\/. \-'\ / / \/ /\ "/ newty@newty.demon.co.uk \_// / / / \_/| \__/ _/ / " / /\__/ /// / / / ( |_ / / zu ------------------------------------------------------------------------- ========================================================================= Date: Mon, 24 Apr 1995 13:58:11 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: William, tell.... In-Reply-To: <9504240636.AA10177@worldlink.worldlink.com> > After a couple of months on the EMUSIC-L list, I am humbled to admit that > after more than 20 years in electronic music, I had never heard of Prof. > Metley or "atomic city". As I live in the backwater of the San Francisco Bay > Area, I can be forgiven for not having received news of current trends. Our > local record store doesn't seem to have his CDs. Are they available locally? > How can I receive them? From what I read on the list, his works must be be > among the greatest of the 20th century, exceeding Varese or Alvin Lucier or > Cage. I teach electronic music. I am heartbroken that I've been misleding > hundreds of students these many years. Oh well...maybe I should quit music > and technology altogether and leave it to the popular 3Rs. That will surely > help things... > > William R. Shannon wk02418@worldlink.com There seems to be a rash of this going around. It must be that "Good times" virus that makes messages like this appear... Or maybe some people are just awakening to the fact that 80% of the messages that appear on this list are put out by 3 people. Some people are just more talkative than others. And just imagine how quiet this list would be if they didn't post all the time. The only way decrease the percentage of bandwidth taken up by these 3 people, is for others to write in more often. So maybe William R. Shannon should tell us about what he's doing in emusic. After all, I've never seen his name in any record bins. We'll never know until you tell us, William. Mark Simon mgs2@cornell.edu ========================================================================= Date: Tue, 25 Apr 1995 04:38:49 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: rg8@UMAILSRV0.UMD.EDU Subject: Re: Concert review: "New Century Music" >So, last week I'm reading the paper, and I see an ad which reads,"New >Century Music: Jerzy Sapieyevski, the world's leading synthesist/ >keyboardist". Oh well. The last time I thought about what must've been a really good show was when I read the following in Keyboard (May 1995): >From the NAMM Show: "Best Example That Gear Doesn't Make the Musician: Joe Zawinul, at the Keyboard 20th Anniversary Concert. His own gear didn't make it to the show, so he played on a totally strange rig; not even the sounds were ones he was familiar with. The result: He was Awesome." Bob Gibson ========================================================================= Date: Mon, 24 Apr 1995 17:09:37 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Neal A. Dillman" Subject: NLWTF Hello, The user nwilson@morgan.com is no longer w/our firm. Please remove him from your mailing list (or refer the proper address to do so). Thanks in advance. Regards, Neal -- *&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*& * Neal A. Dillman | neald@morgan.com & * Postmaster General |---------------------------------------------& * Morgan Stanley & Co. | If you choose not to decide, you & * 750 Seventh Avenue, NY NY | still have made a choice. -Peart & *----------------------------------------------------------------------------& * Neither rain, nor snow, nor power outage... & *&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*&*& ========================================================================= Date: Tue, 25 Apr 1995 09:19:04 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: synthesis theory Hello Phillip and Martin, Barry Truax's email address *is* truax@sfu.ca I found this in the current ICMA directory. There are heaps of other synth gurus in there, too! (BTW, I had to borrow the copy I saw; I'm not yet a member.) Regards David Rodger, | Fax: +61-3-479-3651 (mark "ATT.: David Rodger") Music Department, | E-mail: musdr@lure.latrobe.edu.au School of Art and Media, | La Trobe University | "It was a boot failure ... Bundoora VIC 3083 | commonly called getting your feet wet!" Australia | -- Chris Lai ========================================================================= Date: Tue, 25 Apr 1995 09:22:24 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Cliched sounds Hi Thomas... >T'K'Tsshh T'K'Tsshh T'K'Tsshh T'K'Tsshh > >Thump! Thump! Thump! Thump! What! Are you denying entire genres (just about every dance record of the last 10 years) -- 4 kicks with offbeat hi-hat? >(_Unless_ you're the Aphex Twin!) ;-) Never actually heard these guys, but people seem to be rather enthusiastic aboutthem, so I ought to make an effort. Regards David Rodger, | Fax: +61-3-479-3651 (mark "ATT.: David Rodger") Music Department, | E-mail: musdr@lure.latrobe.edu.au School of Art and Media, | La Trobe University | "It was a boot failure ... Bundoora VIC 3083 | commonly called getting your feet wet!" Australia | -- Chris Lai ========================================================================= Date: Tue, 25 Apr 1995 09:30:43 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: dance and music Hi Nick and Phillip and others, I seem to remember a TV documentary a couple of years back about a late collaboration between John Cage and Merce Cunningham. Cage used found sounds which he then put through some radical computer DSP. Cunningham got his dancers together and worked on the choreography to a finished piece. Both worked in isolation. The dance, precisely timed, was shot without the music, which was post-synchronised. The result was almost no correspondence between the music and the dance movements. Of course, Cunningham has expressed a desire to work in this way for many years. He often spoke of music and dnace as being separate: "one channel for the eyes and one for the ears" or words to that effect. I think it was dance without music and music wihtout dance. The combining of them was NEVER a part of the process of creation. Does anyone know of the piece: name, date, documentary title? I can't remember and I'd like to see it again and seek it out. Thanks David Rodger, | Fax: +61-3-479-3651 (mark "ATT.: David Rodger") Music Department, | E-mail: musdr@lure.latrobe.edu.au School of Art and Media, | La Trobe University | "It was a boot failure ... Bundoora VIC 3083 | commonly called getting your feet wet!" Australia | -- Chris Lai ========================================================================= Date: Tue, 25 Apr 1995 09:37:22 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: William, tell.... HI Mark and William... Mark said >After all, I've never seen his [William's] name in any record bins. Nor in any message on this list, at least for the year and a half I've been on it. Contribute, William, please. BTW, on the algo-comp@isca.uiowa.edu (algorithmic composition) list a few months ago, someone started a "who are we" thread, inviting people to write in with their interests and methods (and sometimes their gear, too). Perhaps we could do the same, with an emphasis on those who tend to sit back and 'listen' (read?). I don't want to put the shy ones on the spot, but I'd like to hear from you. Then maybe we can fix the > 80% of the messages that appear on this list are put out by 3 people problem (not QUITE true). Regards David Rodger, | Fax: +61-3-479-3651 (mark "ATT.: David Rodger") Music Department, | E-mail: musdr@lure.latrobe.edu.au School of Art and Media, | La Trobe University | "It was a boot failure ... Bundoora VIC 3083 | commonly called getting your feet wet!" Australia | -- Chris Lai ========================================================================= Date: Tue, 25 Apr 1995 10:24:40 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Holosound Comments: To: emusic-l@american.edu Hello emusicers, I was looking at a message from one of my informants, who mentioned a fellow in Belgium called Godfried-Willem Raes, inventor of something called the Holosound system, which tracks a dancer's movement. Does anyone know about this; has anyone got an e-mail address? Thanks David Rodger, | Fax: +61-3-479-3651 (mark "ATT.: David Rodger") Music Department, | E-mail: musdr@lure.latrobe.edu.au School of Art and Media, | La Trobe University | "It was a boot failure ... Bundoora VIC 3083 | commonly called getting your feet wet!" Australia | -- Chris Lai ========================================================================= Date: Mon, 24 Apr 1995 22:41:24 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Kham Inthasomsack Subject: Re: How should I setup? > I've briefly learned how to put the arpeggiator and delay lines in, >last night. How does it work. I'm sort of a beginner in this midi thing. ========================================================================= Date: Mon, 24 Apr 1995 20:09:32 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Minae Lee Subject: Desert Island. 1. Bucky Fellini - Dead Milkmen. 2. Give Me Convenience or Give Me Death - Dead Kennedys. 3. Broken (still the best!) - NIN. 4. Any Joy Division. Can't decide. 5. To Bring You My Love - PJ Harvey. Minae. ========================================================================= Date: Mon, 24 Apr 1995 22:37:08 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: in shadows of retribution Subject: does anyone have an SC-50? In-Reply-To: <01HPR1MYW0HG9GWV5Y@LURE.LATROBE.EDU.AU> or does anyone know if this has an MIDI in and out/thru? can anyone suggest a synth module under $400. ========================================================================= Date: Tue, 25 Apr 1995 00:14:53 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bradley A. Barkett" Subject: Re: 50 metlay fans can't be w... Not to slight you, John, but the guy IS pretty bright. Brad B. ========================================================================= Date: Tue, 25 Apr 1995 00:39:09 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bradley A. Barkett" Subject: negation of sound---------->? Most of you probably know about anechoic chambers, right? Chambers designed to completely absorb sound? I wanna know if anybody out there has any info on a possible new sound system based on a beating, or negation principle of wave motion, that allows the listener to select the listening radius, and beyond that radius, there is nothing but silence? Possible? I don't believe this to be a rumour. Seems unreal. 112 decibels at your bed, dropping pins on your desk. Whoooaaah... Fill me in??? ========================================================================= Date: Tue, 25 Apr 1995 06:41:11 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "William R. Shannon" Subject: , Re:Re: Who is Metlay? Wow what a sensitive bunch! Actually, yes my letter was quite (maybe too) sarcastic - but it got your attention <:-D And, IUll say at the top that I have absolutely nothing against Mike Metlay et al. In fact I quite like his email persona. I may even order his CD (not sarcasm). What triggered this, though, is that for a couple of months my box seemed to fill with single sentence banter on some topic which was very personal and specific. It was like joining a group of men (or women) reminiscing on old times (not mine). Or, it was like opening other peopleUs mail. This may be interesting to a point. I got fed-up to where I unsubscribed (yes, I used Proper Procedure). But, I am very interested in emusic discussion. I make my living teaching emusic and value the ideas and experiences of others (IUm not really a monster). And, I am back. Thought that I would try this little drama. If I may offer a very gentle advice to long-term listers: please step back now and then and realize that there are (I assume) many newer subscribers from around the world who are interested in your ideas and materials, but know nothing of who you are or where you are coming from. They may have some interesting viewpoints to contribute. Ask questions. Please try to interpret your past and present for them in your articles and responses so that they may join in the discussion and not be excluded from it. Man, this is becoming a sermon...Amen. Several folks have suggested that I contribute more to the list. Will do, and thanks. More later. Have a terrible schedule at the moment. William R. Shannon wk02418@worldlink.com Incidentally, I am one of the least notable people... ========================================================================= Date: Tue, 25 Apr 1995 08:38:22 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: NEC_CEELY@FLO.ORG Subject: Re: , Re:Re: Who is Metlay? Any relationship to Shannon and Weaver? RPC ========================================================================= Date: Tue, 25 Apr 1995 08:45:46 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "John P. Leonard" Subject: Re: 50 metlay fans can't be w... In-Reply-To: <950425001451_95216806@aol.com> On Tue, 25 Apr 1995, Bradley A. Barkett wrote: > Not to slight you, John, but the guy IS pretty bright. > > Brad B. > Yes Brad, I agree whole-heartedly, but can only speak for myself; hence, fifty plus one (me). :) Actually, I've been lurking for awhile. I dismissed the recent flaming Team Mettlay got. A lot can be learned by just "hanging around" these guys. Way back (1968...wow) when I was a long-haired 14-year old bassist-wannabe, I was always tip-toeing into various band's rehearsals trying to glean every tidbit I could from the back of the room. I've been working with synths and sequencing for about 10 years now, but I still grab every chance I can to hang with the "big kids." John ========================================================================= Date: Tue, 25 Apr 1995 08:50:55 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: If it sounds too good to be true.... In-Reply-To: <950425003727_95246947@aol.com> On Tue, 25 Apr 1995, Bradley A. Barkett wrote: > Most of you probably know about anechoic chambers, right? Chambers designed > to completely absorb sound? I wanna know if anybody out there has any info on > a possible new sound system based on a beating, or negation principle of wave > motion, that allows the listener to select the listening radius, and beyond > that radius, there is nothing but silence? Possible? I don't believe this to > be a rumour. Seems unreal. 112 decibels at your bed, dropping pins on your > desk. Whoooaaah... > > Fill me in??? This sounds like the answer to prayer in this age of ever louder music and ever thinner walls. This system should be mandatory for all car sound systems. Just think, no more "thump thump thump" from 2 blocks away. The trouble is, how do you get people to actually use such a system? The guys that go around blasting music from their cars want the whole world to hear them. They would select the widest possible listening radius, not the smallest. Other implications that come to mind: Someone could focus a beam of 13 Hz sound at someone he was out to get, and he himself wouldn't be affected. We may be about to enter the era of music as a lethal weapon. Mark Simon mgs2@cornell.edu ========================================================================= Date: Tue, 25 Apr 1995 09:47:14 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: AISRILEY@EKU.ACS.EKU.EDU Subject: Re: does anyone have an SC-50? In-Reply-To: On Mon, 24 Apr 1995, in shadows of retribution wrote: > or does anyone know if this has an MIDI in and out/thru? > can anyone suggest a synth module under $400. > I not sure about the SC50 but I have an SC55 and it contains 2 in's, 1 thru, and 1 out. I would guess the SC50 also has the same midi port setup (but with Roland ya never know). Take care, Ed ========================================================================= Date: Tue, 25 Apr 1995 08:27:08 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: James Knight Subject: favourite electronic music 1. space - magic fly 2. emerson, lake and palmer - brain salad surgery 3. yello - stella ok - so i'm out of date, but even synthesis has it's classics.. while i'm on the subject though - i don't suppose anybody might know where i could find a copy of magic fly ? it's been a long time since anyone i've spoken to even knew who they were.. ========================================================================= Date: Tue, 25 Apr 1995 12:51:52 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Robert Deadman Subject: Re: Negation of Sound Hey Brad, You'll have to be more specific about what you're talking about. Obviously, if you're generation a sound at 120 db and want it brought down to 0 db at a radius of 6 feet then a nice 2 foot thick concrete room will do the trick. If you are talking about the absence of the room, the only chances you have for attenuating the sound is from absorbtive material around the area (i.e. the anechoic chamber you mentioned.) The only other way that I can think of to have sound drop at that rate would be to evacuate the room of all air (though this could cause some breathing problems for anyone involved, but that's a minor detail ;-) If this is not what you're talking about, then be more specific so that we can give you a more accurate answer. Talk later, Robert ========================================================================= Date: Tue, 25 Apr 1995 14:22:18 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Art Joyce Jr." Subject: Re: W. Shannon/Metley rudeness > After a couple of months on the EMUSIC-L list, I am humbled to admit that > after more than 20 years in electronic music, I had never heard of Prof. > Metley or "atomic city". As I live in the backwater of the San Francisco Bay > Area, I can be forgiven for not having received news of current trends. Our > local record store doesn't seem to have his CDs. Are they available locally? > How can I receive them? From what I read on the list, his works must be be > among the greatest of the 20th century, exceeding Varese or Alvin Lucier or > Cage. I teach electronic music. I am heartbroken that I've been misleding > hundreds of students these many years. Oh well...maybe I should quit music > and technology altogether and leave it to the popular 3Rs. That will surely > help things... > > William R. Shannon wk02418@worldlink.com Well, I don't really think that Mr. Shannon is going to quit music and technology, do you guys? But considering that his musical taste and insight is far advanced from anyone elses around here, maybe he should quit the hanging out here instead, so he could have more time to perfect his OWN breathtaking talents. ARTIS1@aol.com ========================================================================= Date: Tue, 25 Apr 1995 14:43:26 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Art Joyce Jr." Subject: Re: negation of snd... well sorta >Most of you probably know about anechoic chambers, right? Chambers designed >to completely absorb sound? I wanna know if anybody out there has any info on >a possible new sound system based on a beating, or negation principle of wave >motion, that allows the listener to select the listening radius, and beyond >that radius, there is nothing but silence? Possible? I don't believe this to >be a rumour. Seems unreal. 112 decibels at your bed, dropping pins on your >desk. Whoooaaah... >Fill me in??? Someone may have been telling you about another piece equipment, and somehow gottten their story misconstrued. There IS a piece of equipment out (looks like a walkman) for noisy workplaces that negates unwanted noise by creating a similar sound but of the opposite phase and playing it thru the headphones. One place that sells them is Tiger Software. Maybe someone was telling you about that...? ARTIS1@aol.com ========================================================================= Date: Tue, 25 Apr 1995 13:11:04 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: James Knight Subject: Re: Negation of Sound there is the possibility of using phase cancellation, similar to the road noise cancellation tricks they use in some newer cars. basically you can generate a "bubble" of negation by collecting the original signal, phase inverting it and playing it back. given careful timing to allow for the speed of sound and the distance from the source, etc, a speaker carrying the phase inverted sound will effectively cancel the original sound in the vicinity of the speaker. could this be what you're referring to ? james knight entomology department byte designs limited james@byted.com tel:604/534-0722 fax:604/534-2601 ========================================================================= Date: Tue, 25 Apr 1995 15:46:52 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arne Claassen ISE Subject: Re: , Re:Re: Who is Metlay? In-Reply-To: <9504251041.AA03476@worldlink.worldlink.com> from "William R. Shannon" at Apr 25, 95 06:41:11 am > If I may offer a very gentle advice to long-term listers: please step back > now and then and realize that there are (I assume) many newer subscribers > from around the world who are interested in your ideas and materials, but > know nothing of who you are or where you are coming from. They may have some > interesting viewpoints to contribute. Ask questions. Please try to interpret > your past and present for them in your articles and responses so that they > may join in the discussion and not be excluded from it. Man, this is becoming > a sermon...Amen. I've been on the list for about 2 1/2 years. I don't consider myself too active a member, but i will say, that i'd rather have Mike and some of the other active members talk about various, even personal matters, on this list, than have no mail from the list. It's still informative and if a thread does get on my nerves, i'll just not read any more of it. So i don't think any scaling back is necessary. Sure some things leave newer subscribers in the dark, but this is after all a community on top of being an informative list, so i'd rather take some time getting to know the details about some members and their personalities than to have this place impersonal. -- 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, 25 Apr 1995 17:32:23 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Ongoing mudflinging In-Reply-To: <950425142042_95776490@aol.com> from "Art Joyce Jr." at Apr 25, 95 02:22:18 pm Enough. We don't need this here. Metlay can defend himself, if he chooses to; Bill has already said that he was just trying to get everyone's attention about what seemed an overly chummy attitude to him. The problem is that some of us ARE good friends, whether or not we've met each other. And we all like to talk. The solution is to give us more to listen to - most of my posts are to try to draw people into the conversation, not to monopolize it. I normally don't try to stop conversations, but this is taking a nasty tone, and we don't need to do that, at least on the list. Private e-mail is better, especially since if you're like me (and I know I am), you get really embarassed when you look at such things months later.... --- Joe M. ========================================================================= Date: Tue, 25 Apr 1995 20:20:49 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: NEC_CEELY@FLO.ORG Subject: Re: Negation of Sound Best way is to freeze SOUND and dump into the ocean. SEE jr by William Gaddis RPC ========================================================================= Date: Tue, 25 Apr 1995 19:19:29 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Doug Goodman Subject: Sequencers I have recently subscribed to this list so if this subject has already been discussed please send me a message off line telling me when and I will look it up in the index. I'm looking for the most powerful and versatile sequencer for the Mac. I don't care about how easy it is to learn as this will be a long term relationship. I'll be using it to develop electronic music for advertising, theater and film. I have been using Opcode's Easy Vision and have looked at their Vision program. I've also heard good things about Passport's Master Trax. Any suggestions? Doug Goodman ========================================================================= Date: Tue, 25 Apr 1995 17:52:57 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Cliched sounds >Bell-pad/vox-almost-humana, commonly referred to as "Halo Pad" The Emulator drum hit, y'know, the reverse-gated "gSHINSKshah!" thing. On everything from Babylon 5 to Hamish MacBeth. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Gonna go down town, kill some spammers." - Joe McMahon. ========================================================================= Date: Wed, 26 Apr 1995 01:14:21 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Re: negation of sound---------->? Bradley A. Barkett recently wrote: > Most of you probably know about anechoic chambers, right? Chambers designed > to completely absorb sound? I wanna know if anybody out there has any info on > a possible new sound system based on a beating, or negation principle of wave > motion, that allows the listener to select the listening radius, and beyond > that radius, there is nothing but silence? Possible? I don't believe this to > be a rumour. Seems unreal. 112 decibels at your bed, dropping pins on your > desk. Whoooaaah... I've had similar thoughts myself, concerning the idea of somehow eliminating the inherent organic feedback noise of the human mechanism [did I just write THAT!]. I mean the high-frequency squeal of the Central Nervous System and it's low-frequency counterpart, the rumblings of the Circulatory System. I just wondered what it would actually be like to really hear _silence_. Ear plugs are all very well, but they only really do half a job. Absolute silence, if indeed possible, could open up interesting possibilites. Golly! I'd better get this mechanism to bed before I get real spooky. Nution -- _________________________________________________________________________ _____/ __ \ ___/ // / / ( / \ \ / __\ \ \ / - thomasjeromenewton - / / // / / /\L- -__ \_) / \ / / ) \/ \ \ \// / / / /.\/\/. \-'\ / / \/ /\ "/ newty@newty.demon.co.uk \_// / / / \_/| \__/ _/ / " / /\__/ /// / / / ( |_ / / zu ------------------------------------------------------------------------- ========================================================================= Date: Wed, 26 Apr 1995 01:03:13 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Not for Recycling into Frisbees... 1. Witchery Woods 7" - Aura O'Neill 2. The Faust Tapes - Faust 3. Zeichungen Des Patienten O.T. - Einstuerzende Neubauten 4. The Wild Bull - Morton Subotnick 5. As The Veneer of Democracy Starts to Fade - Mark Stewart + Maffia 6. Rubycon - Tangerine Dream 7. Gesang Der Junglinge / Kontakte - Karlheinz Stockhausen 8. Aqua - Edgar Froese 9. Some Deaths Take Forever - Bernard Sjazner 10. Radioactivity - Kraftwerk On now: I Care Because You Do - Aphex Twin (Dee-bloody-licious!) Newtz -- _________________________________________________________________________ _____/ __ \ ___/ // / / ( / \ \ / __\ \ \ / - thomasjeromenewton - / / // / / /\L- -__ \_) / \ / / ) \/ \ \ \// / / / /.\/\/. \-'\ / / \/ /\ "/ newty@newty.demon.co.uk \_// / / / \_/| \__/ _/ / " / /\__/ /// / / / ( |_ / / zu ------------------------------------------------------------------------- ========================================================================= Date: Wed, 26 Apr 1995 12:21:39 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Desert Island Comments: To: emusic-l@american.edu Date: Mon, 24 Apr 1995 20:09:32 -0500 (EST) From: Minae Lee >1. Bucky Fellini - Dead Milkmen. >2. Give Me Convenience or Give Me Death - Dead Kennedys. >3. Broken (still the best!) - NIN. >4. Any Joy Division. Can't decide. >5. To Bring You My Love - PJ Harvey. A good list, but with the possible exception of Joy Division, where's the e-music? Any highlights from *that* broad category? Regards, David musdr@lure.latrobe.edu.au P.S. The first PJ Harvey album was good, too. ========================================================================= Date: Tue, 25 Apr 1995 22:27:27 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "L Mccoy (GD 1999)" Subject: granular synthesis Comments: To: emusic-list In response to Martin Russ' search, there may be some good material in back issues of INTERFACE that might help. Also, there are some people working with this type of synthesis (very interesting) at Illinois. If possible, contact Mike Hamman there. And, the first 3 chapters of Xenakis' FORMALIZED MUSIC give some amazing insights (written in the mid to late 50's) that forecast the use of granular synthesis. I hope that this helps. Are there other composers here working with granular synthesis? Best, Scott McCoy mcco5@minerva.cis.yale.edu ========================================================================= Date: Tue, 25 Apr 1995 22:35:11 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "L Mccoy (GD 1999)" Subject: dance and music Comments: To: emusic-list Isn't dance essentially a rhythmic phenomenon? ========================================================================= Date: Wed, 26 Apr 1995 12:50:06 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Cliched sounds Hi Nick... >used on everything from Babyllon 5 to... [whatever you said] I obviously don't watch enough TV. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Wed, 26 Apr 1995 12:51:46 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: negation of sound---------->? Hi negaters, didn't Canon make a speaker which was supposed to be highly directional? Kinda looked like a frisbee upside down. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Tue, 25 Apr 1995 23:17:10 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pete Schoenhoff Subject: Re: negation of sound---------->? In-Reply-To: <9504260114.AA000jn@newty.demon.co.uk>; from "Thomas Jerome Newton" at Apr 26, 95 1:14 am These are the graceful words of Thomas Jerome Newton: ->I've had similar thoughts myself, concerning the idea of somehow eliminating ->the inherent organic feedback noise of the human mechanism [did I just write ->THAT!]. I mean the high-frequency squeal of the Central Nervous System and ->it's low-frequency counterpart, the rumblings of the Circulatory System. I ->just wondered what it would actually be like to really hear _silence_. Ear ->plugs are all very well, but they only really do half a job. Absolute ->silence, if indeed possible, could open up interesting possibilites. Golly! ->I'd better get this mechanism to bed before I get real spooky. Also similar to something I heard of - A friend of a friend was working on this problem: An middle-aged man had a small blood clot in an artery right next to one of his ears. The doctors would not operate at the time, because the clot was not dangerous, and the operation could have been. The main problem was that the man could actually hear his blood rushing around the clot in that ear. The sound was constant, very loud, and had become maddening, he said. This friend of a friend apparently was convinced he could construct a phase cancelation device which this man could wear, like a hearing aid, which would allow him to regain his sanity and hear the world normally again. Last I heard (about 1989) this was all on the drawing board, and I never learned if it was succesful, or even if it was attempted. - But it is a neat idea/application for the concept at hand.... -Pete Schoenhoff -pschoenh@pen.k12.va.us ========================================================================= Date: Wed, 26 Apr 1995 00:05:24 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bradley A. Barkett" Subject: Re: If it sounds too good to ... Mark, you are not kidding about the era of music as a weapon. One can only wonder what sort of laws would develop around such new technology, and the deviants who would abuse it. "I support reducing government, but what we REALLY need are some SIGHT POLLUTION laws. The following violations: 1. Car/Jeep/Truck bumpers over 26 inches. The actual law is forty-two, for safety reasons, but there should be a visual 'poor taste' citation issued for anything over 26, or whatever's the functional max. 2. Wiggers, and their tent clothing. If you know anything about these kids, you know that they are a disgrace to black America, and a mockery of culture. 3. Couples with matching clothing. EWWWWW! 4. Consumption of food, in public, by anyone over 300 pounds. 5. 50%+ skin exposure by anyone over 300 pounds. 6. Girls with hair sprayed or moussed more than 16 inches from their scalps. 7. GUYS with hair sprayed... (especially punks, in 1995?) You add the rest.. ;-[) If anyone is offended by this, write me, and I'll send you a ten page paper consisting of entirely SELF-MOCKERY, just to do away with any whiny "glass house" claims. Brad Barkett@AOL (amateur online) ========================================================================= Date: Wed, 26 Apr 1995 01:22:17 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bradley A. Barkett" Subject: Re: Negation of Sound Here is what I am talking about, as specifically as my lack of physics knowledge will allow: Every sound has energy. That energy is generated by the percussions that are created by the cresting and troughing of soundwaves. If a simple sine wave is generated at 340 cycles per second (Hz,) then that means there is an energy flux to a positive voltage 340 times per second, and to a negative 340 times per second, since one of each makes up a cycle. We all know that part of synthesis (particularly subtractive and FM, right?) is dependent upon voltage reduction. The extreme form of this, I believe, is called "masking," and this is a phenomenon that causes one wave to be completely flatlined by the counteraction of another. So, even if a snare drum has an amplitude of 120 dB, isn't it possible for a wavesample of exactly negative coordinates to exist, one that could also cause this snare to produce NO SOUND? I have heard this is true, and if you really think about it, the basic postulation that any wave's energy CAN be negated by a wave of opposite crest, then you surely must be able to extend this to include any SOUND, and from there, any recordi``````ng. This would be extremely complicated technology, but I think it exists. You tell me. Brad Barkett, AOL (amateur online) ========================================================================= Date: Wed, 26 Apr 1995 01:41:28 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bradley A. Barkett" Subject: Re: negation of sound--------... That's another manufacture idea! People always think they're being funny when they pretend to mute each other with VCR remotes, but with phase inversion, we can give new meaning to "tuning you out." The personal module will have a directional adjust knob for muting particularly annoying offenders who choose to violate your ears with their vocal cords. It could be based on the 1/1000/sec lag time between the production of the sounds at their vocal cords, and the reception of the victim's ear. It would also have a voice wave selector knob that allows you filter out certain phrases like "my feelings.." and "you always...," or "I want...", "you can't...", while admitting, and even amplifying more favourable ones, like, "have some money..." "free food..." and "casual sex..." Bandpass vocal filters, baby. Whole new levels of social control. No more problems with the first amendment. You don't like certain statements, put them in your negation log, and "Joila!" you never, ever have to hear them. (c)The Barkett Corporation, 1995. All rights deserved. Void where exhibited. Brad Barkett@aol (amateur online) ========================================================================= Date: Wed, 26 Apr 1995 02:31:50 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: RonG225zt@AOL.COM Subject: Re: Sequencers >I'm looking for the most powerful and versatile sequencer for the Mac. I >don'tcare about how easy it is to learn as this will be a long term >relationship. I'll be using it to develop electronic music for advertising, >theater and film. I have been using Opcode's Easy Vision and have looked >at their Vision program. I've also heard good things about Passport's Master >Trax. Any suggestions? >Doug Goodman I've used both Vision and Master Trax Pro for recording TV and video soundtracks as well as in live theatre. Vision wins hands down. I could rant and rave about why, but that may be a Synth-L kind of post. If you want details feel free to e-mail me directly. I've also heard that Opcode's MAX is good too, but I've never had a chance to use it myself. Ron Rong225zt@aol.com ========================================================================= Date: Tue, 25 Apr 1995 23:49:01 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Shawn T. Rutledge" Subject: Re: Negation of Sound In-Reply-To: <950426000837_96549272@aol.com> from "Bradley A. Barkett" at Apr 26, 95 01:22:17 am > Every sound has energy. That energy is generated by the percussions that are > created by the cresting and troughing of soundwaves. If a simple sine wave is > generated at 340 cycles per second (Hz,) then that means there is an energy > flux to a positive voltage 340 times per second, and to a negative 340 times Flux? Voltage? Sound isn't always transmitted by means of electricity you know! Despite the predominance on this list of those of us who use electricity for that. :-) > per second, since one of each makes up a cycle. We all know that part of No voltage involved. You could say that the pressure on your eardrum peaks and falls to its minimum value every cycle. The pressure waves are what is transmitted through the air. > exist, one that could also cause this snare to produce NO SOUND? I have heard > this is true, and if you really think about it, the basic postulation that > any wave's energy CAN be negated by a wave of opposite crest, then you surely > must be able to extend this to include any SOUND, and from there, any Yes, it is indeed true. But the important thing is the phase matching. Sound travels slowly enough that where you stand in relation to that annoying noise source you want to cancel out determines the time delay between when the noise is generated and when you hear it. In fact even the distance between your two ears is significant; the phase difference between the sound you hear with one ear and that which you hear with the other is what your brain uses to allow you to perceive which direction the sound came from. So, matching an entire field of sound waves with an equal and opposite field of sound waves is very tricky indeed. If you even go so far as to set a speaker right on top of the noise source, and proceed to apply an equal and opposite signal to the speaker, the distance between the center of the speaker and the driving element of the noise source will not be zero. So you will have interference, but it won't completely cancel the noise; in some places it will reduce it and in other places the interference will be constructive and so you will hear it louder. These "places" where this happens are called nodes, in the case of cancellation, and antinodes, in the case of constructive interference. You might be able to find a quiet spot if the distance between the nodes is great enough to stick your head between them. Next time you're at a lake or pond or swimming pool, throw two rocks in at once and observe carefully what happens to the wavefronts when they meet. It's directly analogous. (It will be easier to observe if you throw the two rocks in fairly far apart, 10 feet or so). So your only options to really cancel noise are to cancel it right at the source (even a few inches away won't do), or perhaps do something really complicated with DSP's and multiple mikes and multiple speakers, so as to try and match exactly the waveform you want to cancel, or better yet, cancel it right at your own ears. This has been done already, and it has recently become possible to buy these dephasor headphones for $100-$300. I tried a pair on at Incredible Universe when they first opened their store here, and they really worked. But only for low frequency sounds. They did a good job with the bass sounds, which were rather intense in there what with all the people playing with stereos and stuff, but I could hear people talking around me just as well as without the phones. I'm not sure whether they can't do any better with higher frequencies or if it's by design for safety reasons (they're afraid people will wear them in their cars and not hear firetrucks and police sirens and horns and shattering glass, or wear them at the factory and not hear the alarms, etc.) I'm sure it is possible to reduce all the frequencies that we can hear with enough sophistication. The trouble is that higher frequencies propagate at slightly different speeds, but that shouldn't matter too much. The neat thing about the headphone method is that since your ear canal is small relative to the sound waves, you can make an approximation to the one-dimensional case. You don't need to match all that whole 3D sound field "out there", because in your ear sound travels as a series of approximately flat wavefronts, straight into your head. Sound that was traveling in the air doesn't couple well into the solid parts of your head surrounding the ear canal, so your head doesn't conduct much sound; mainly it travels through the air in your ear canal. The fact that your ear canal is a tube pretty much constrains these wavefronts to travel in the direction the tube is going. So if you wear headphones and fire off other flat wavefronts in the same direction, they will interfere with the ambient ones in an approximately uniform way across the cross section of your ear canal. The spatial distortions across that small a cross section are negligible precisely because the wavelength of any audible sound is large relative to it. (This is most true for the lowest frequencies of course.) So now all you have to do is put a mike on the outside of each side of the headphones, inline with the driver and your ear, detect the incoming wavefronts, phase shift the resulting signal by an amount such that when you apply the phase-shifted signal to the headphone driver it will be 180 degrees out of phase with the wavefront at that moment. The phase shift required will be different for different frequencies, so to dephase the whole range of human hearing you'd need several bands each with their own phase shift networks. You would of course do this separately for each ear. Since the circuits operate independently you would automatically correct for the fact that the phase of the ambient sound is different from one ear to the other. Programmable phase delays are best accomplished with DSP circuits, which is probably why these devices weren't available generally until recently. -- _______ KB7PWD - now on packet! shawn.rutledge@asu.edu (_ | |_) html: http://enuxsa.eas.asu.edu/~rutledge/home.html __) | | \__________________________________________________________________ * mad science * the hacker ethic * ham radio * Interpedia * electronics * ========================================================================= Date: Wed, 26 Apr 1995 03:16:10 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dustin McIntyre Subject: Re: granular synthesis Sounds intriguing, but could someone afford a brief description of the methodology involved in granular synthesis? I would be interested to know how it is realized, as I've never even heard of an instrument that utilised it. Thanks. p.s. I couldn't agree more about the people with chronic hairspray excess difficulties. ========================================================================= Date: Wed, 26 Apr 1995 00:33:03 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jim Hurley Subject: On Music as a Weapon Not terribly emusic-related, but... Remember Heinlein's book 'Fifth Column' - they used subsonics to make the bad guys feel uncomfortable? Well I have in front of me some old plans for a 'Phasor Crowd Controller', also sold as a personal defense system, rodent controller, etc. It's basically a 400 Watt amplifier with a variable sweep generator. You can set it to a center frequency and sweep about that point by small amounts. It uses a massive array of piezo-electric horns as the transducer. Rather gruesome reading about some of the effects it has on people - I thought I read somewhere that it makes a part of the skull resonate, but I can't find that in these plans. And, no, I won't tell you anymore so don't ask. The world's got enough kooks as is it, and I don't want to hear it used in the next Team Metlay release;-) -- Jim Hurley email: hurleyj@arachnaut.org ========================================================================= Date: Wed, 26 Apr 1995 15:33:36 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Zimbak Camire Subject: Re: 50 metlay fans can't be wrong... >Whoa........... fifty-ONE fans of Metley! Excuse me, would you mind making that fifty-TWO? BTW, I don't usually talk on these lists, but this one really pissed me off ... Kambiz (Zimbak) Amirtash. PS: I *HATE* sarcasm.Especially when it's from somebody claiming to be a proffessor. ========================================================================= Date: Wed, 26 Apr 1995 15:53:08 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Zimbak Camire Subject: Re: , Re:Re: Who is Metlay? William R. Shannon, thanks a lot (I mean it :)) for the explanation, I guess it saved us all from a nasty flame war.Looking forward to your contributions. Zimbak (...) Amirtash ========================================================================= Date: Wed, 26 Apr 1995 08:14:48 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: If it sounds too good to ... In-Reply-To: <950425235516_96531675@aol.com> from "Bradley A. Barkett" at Apr 26, 95 00:05:24 am We're getting WAY off topics here, folks. --- Joe M. ========================================================================= Date: Wed, 26 Apr 1995 16:48:07 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Zimbak Camire Subject: Re: Sorry, it's a hoax - was Warning, Will Robinson Sorry I'm a bit out of date, but our server was down for about a week and I had to read 200+ letters in a single afternoon. When I hit the part about "Good Times" I couldn't help thinking about that line "Gonna go downtown kill some spamers." (-Joe M. I persume) thought *I'ld* like to do the same BTW,Did anyone get that posting about the GMIDI dance music files?(I was & still am looking for some.) It was posted more than a week ago.Do you mean that in more than 600 music lovers there isn't even one relating to simple GM music making who knows where one can find an archive of such files? Sorry about the pushing.I just had to make sure if the letter ever got anywhere. Kambiz (Zimbak) Amirtash AMIRTAAS@Math.Sharif.ac.IR ========================================================================= Date: Wed, 26 Apr 1995 08:21:31 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pete Schoenhoff Subject: Re: negation of sound---------->? Just another thought on this sound negation thread... I was thinking about it when I went to bed last night, and this thought occured to me - kept me up for another couple hours. I hate that. If a sound source (A) and a sound source (B) are working against eachother to cancel sound, there are a few basic problems. Let's first assume that they are both stationary. If both sources are playing identical combinations of sound, only select frequencies could be effectively cancelled. - In other words, if the distance between the sound sources is one wavelength for an A440, AND if phase cancelation for the A440 is perfect, then any time a pitch of 660 Hz is played, the two sound sources will reinforce eachother!! A delay would have to be built in to any phase cancelation device- not just for pitches, but for all harmonic/partials. The cancelation device would have to be ready to compensate for any changes in the speed of sound: barometric pressure, temperature, even (to a small degree) wind! The two sound sources, AND the listener would have to remain completely stationary. Sound moves quickly enough that any small movement would affect the performance of the cancelation device. I guess that all this is possible in theory now, but I think we're a fair way off from seeing any of the fancier imagined toys we've talked about, except maybe on a StarTrek episode. -Pete Schoenhoff -pschoenh@pen.k12.va.us ========================================================================= Date: Wed, 26 Apr 1995 08:10:21 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dave Poole Subject: Re: Sequencers Comments: To: EMUSIC-L Mailing List Address ....and speaking of SYNTH-L, does anyone out there have a subscribe address for it? I'm new to this list, and it seems a fair amount of my particular interest might be better served by what I've seen referred to that list. Not that all this isn't instructive and enjoyable as well, but the more the merrier.... ========================================================================= Date: Wed, 26 Apr 1995 08:47:08 EST Reply-To: STERN@MAIL.LOC.GOV Sender: Electronic Music Discussion List Comments: SILVER APPLES From: JOEL STERN Subject: SILVER APPLES Comments: To: emusic-l@american.edu Following a lead I got from the list I purchased the Wergo recording of Subotnick's "Silver Apples of the Moon" and "The Bull." After seeing it for years, nay, decades, in the Nonesuch bin at record stores, it took some fortitude to pay 17 bucks for the 49 minute CD. Anyway, I'm glad I did. It is just what the doctor ordered in terms of hearing what can be done with our electronic medium without going thump thump thump thump. I'd be grateful for other recommendations of more academic-oriented electronic music and also to hear what anybody knows about the Buchla modular that Subotnick used in Silver Apples. I noticed that Wergo has a recording of some music by Chowning: is this using FM, and is it any good? Joel Stern stern@email.loc.gov j.stern11@geis.genie.com ========================================================================= Date: Wed, 26 Apr 1995 09:07:35 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "John P. Leonard" Subject: Re: If it sounds too good to ... Comments: To: "Bradley A. Barkett" In-Reply-To: <950425235516_96531675@aol.com> On Wed, 26 Apr 1995, Bradley A. Barkett wrote: > Mark, you are not kidding about the era of music as a weapon. One can only > wonder what sort of laws would develop around such new technology, and the > deviants who would abuse it. > > "I support reducing government, but what we REALLY need are some SIGHT > POLLUTION laws. The following violations: > > 1. Car/Jeep/Truck bumpers over 26 inches. The actual law is forty-two, for > safety reasons, but there should be a visual 'poor taste' citation issued for > anything over 26, or whatever's the functional max. > > 2. Wiggers, and their tent clothing. If you know anything about these kids, > you know that they are a disgrace to black America, and a mockery of culture. > > 3. Couples with matching clothing. EWWWWW! > > 4. Consumption of food, in public, by anyone over 300 pounds. > > 5. 50%+ skin exposure by anyone over 300 pounds. > > 6. Girls with hair sprayed or moussed more than 16 inches from their scalps. > > 7. GUYS with hair sprayed... (especially punks, in 1995?) > > You add the rest.. ;-[) > > If anyone is offended by this, write me, and I'll send you a ten page paper > consisting of entirely SELF-MOCKERY, just to do away with any whiny "glass > house" claims. > > Brad Barkett@AOL (amateur online) > Hey Brad, Here in Michigan, we have moose with 16" girls stuck to their heads. (They kinda remind me of those bouncy little hula dancers on the dashboards of Chevy low-riders.) What about eating 300 lb. people in public? (Would that fall under the 'bad taste' citation provisions?) .....welcome to Michigan, we do things eh... differently here, heh, heh, heh, the old man laughed nervously... John ========================================================================= Date: Wed, 26 Apr 1995 09:12:48 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "David B. Hunt" Subject: Re: Sequencers I Have used Vision and Performer. My sequencer of choice is with out a doubt Mark of the Unicorns Performer 5.0, little more powerful for me, BUT you are allready using EZVision so you all ready have OMS installed right? Also do you plan on doing any digital stuff? because in that case I would go the Vision way then upgrade to Studio Vision later for the digital stuff, Digital Performer is good, but I think Studio Vision is better supported. did I confuse you even more? I hope not. Peace Dave..........AFCMidi@aol.com ========================================================================= Date: Wed, 26 Apr 1995 09:31:20 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Alex Sanielevici Subject: Re: Negation of Sound >it, the basic postulation that >any wave's energy CAN be negated by a wave of opposite crest, then you surely >must be able to extend this to include any SOUND, and from there, any >recordi``````ng. This would be extremely complicated technology, but I think >it exists. You tell me. The keyword is CAN. In theory, it's possible, _but_ since nothing in the physical world can be achieved *instantaniously* and *exactly*, you cannot possibly take an unpredictable soundwave, inverse its phase, and project it back into the real world in exact sync with the original wave. Also, the _location_ of the sound is very important: if the original sound is at point A, and propagates through the air as a spherical rippling pattern, even if you generate the exact opposite signal, but project it from point B, they will not be in sync, and will only give another copy of that sound. It's like when you reverse the polarity of one of the speakers in your sound system (by plugging it backwards): one of the speakers has its phase reversed in comparison with the other. It might sound a bit wierd, but you still hear both. So the complication is not only that you have to be in exact sync, but also that it has to be generated from _exactly_ the same spot. That would be like trying to throw a pebble into a lake and trying to cancel the ripples with another pebble, only in 3 dimensions. So I think it's pretty much out of the question, at least for now. ///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\ Alex Sanielevici, \/// E-Mail: sanielea@ere.umontreal.ca Music Student \\\ or: alex@hypercomp.ns.ca University of Montreal /// Phone : (514) 731-2578 Quebec, Canada. /\\\ http://mistral.ere.umontreal.ca:9090 \\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\/// Finger sanielea@mistral.ere.umontreal.ca for PGP public key. ========================================================================= Date: Wed, 26 Apr 1995 09:53:05 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Alex Sanielevici Subject: Re: Negation of Sound Oh! I see what you mean, Shawn. I was thinking of cancelling a sound at its source, while it _does_ make more sense to cancel it at the ear, which is one of its many destinations, plus that it's actually *possible* !! But that still doesn't solve the original question, which was silencing a sound, not muting it for a particular individual (you can do that with earplugs and those things hammerjack operators wear). And if you can stop a sound at it's source with a phase inverted copy in exact sync, you could go into muting other shock waves as well, like defeating the effects of a bomb etc... (though you'd need a really powerful sound source for that!). ///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\ Alex Sanielevici, \/// E-Mail: sanielea@ere.umontreal.ca Music Student \\\ or: alex@hypercomp.ns.ca University of Montreal /// Phone : (514) 731-2578 Quebec, Canada. /\\\ http://mistral.ere.umontreal.ca:9090 \\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\/// Finger sanielea@mistral.ere.umontreal.ca for PGP public key. ========================================================================= Date: Wed, 26 Apr 1995 14:56:19 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: dance and music >Cage used found sounds >which he then put through some radical computer DSP. Cunningham got his >dancers together and worked on the choreography to a finished piece. Both >worked in isolation. I know a choreographer who was a Cunningham student. The way he often works is to develop and rehearse a piece to one piece of music, and then perform it to something totally different. One piece he did was an energetic thing choreographed to some tango dance music and performed to a recording of the Gyuto Monks. He also developed something to Madonna's "Like a Virgin" and had it performed to some Kate Bush. He's also used my CD of Les Voix Bulgaire's hip-hop album "From Bulgaria with Love", which doesn't even go with *itself*. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Gonna go down town, kill some spammers." - Joe McMahon. ========================================================================= Date: Wed, 26 Apr 1995 14:56:29 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: favourite electronic music >1. space - magic fly aaaAAAAAAGHHHHHHH! >i don't suppose anybody might know >where i could find a copy of magic fly ? I think there was a recent double-CD containing their first three albums. No I don't have a copy, no way. Magic Fly was the first record I ever bought. God how embarrassing. Now, Space *Art* (Dominique Perrier, Roger Rizzotelli) is another matter. Beautiful, beautiful music from the Oxygene era. Rare as rocking-horse shit, of course. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Gonna go down town, kill some spammers." - Joe McMahon. ========================================================================= Date: Wed, 26 Apr 1995 10:11:21 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: WSCOTT@ACS.WOOSTER.EDU Subject: negation of sound done naturally Comments: To: emusic-l@american.edu Do you ever wonder why we DON'T hear our circulatory system all the time? How come our voice sounds louder when we cover our ears? Have you ever tried saying "rubber baby buggy bumbers" into a 750 msec delay loop? The answers to these questions must have something to do with the system being set to receive and cancel self-generated auditory stimuli. Why don't snorers hear themselves snore. You can wake them up with a tape recording of their own snoring at dB level lower than what they produce. Here's a free idea for some enterprising person. A portable wrist delayed auditory feedback device would make a good snore control. Bill Scott WScott@acs.wooster.edu ========================================================================= Date: Wed, 26 Apr 1995 10:30:08 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bradley A. Barkett" Subject: Re: On Music as a Weapon Sounds kinda like those hilarious sonic death rays often used in 1950's sci-fi movies. The kind of movies MST3K would review, you know... Brad Barkett@AOL (amateur online) ========================================================================= Date: Wed, 26 Apr 1995 10:43:47 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bradley A. Barkett" Subject: idiocy trade '95 Hey. someone send me an audio tape of some things you've done, and I'll send you some of the things I've done. (Wow. This guy's pretty original...) Also, I need some good dance samples, so I can sell my hits to local girls, and bars. Brad Barkett@AOL (amateur online) a.k.a. DJHEART-THROB (just kidding) ========================================================================= Date: Wed, 26 Apr 1995 09:42:49 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jeff Wheeler Subject: Re: Sequencers Comments: To: Doug Goodman In-Reply-To: <199504260019.TAA21195@biosci.cbs.umn.edu> Doug, I use Cakewalk Pro 3.0 for Windows and am quite pleased with the program and also with Twelve Tone Systems in their endevour to improve the product. They DO listen to the customer. I'm sure the MAC version is similar to the PC. Their address is: Twelve Tone Systems P.O. Box 760 Watertown, MA 02272-0760 (800)234-1171 10am-6pm EDT I've been using CW for about 2 years now. Having had experience in both Television advertising and music composition, I think you will find it to be a good program for what you want to accomplish. And no, I don't have an uncle who works for 12 Tone Hope this helps. If you want further details, email back and I'll go into specifics for you. Jeff Jeff Wheeler (some would call him Scruff) - MIDI composer & sound design _________________________________________________ Midifications by (__ _________________________)CRUFF JKW Productions/Scruff Recording jwheeler@mail.coin.missouri.edu scruff@big12.metrobbs.com On Tue, 25 Apr 1995, Doug Goodman wrote: > I have recently subscribed to this list so if this subject has already been > discussed please send me a message off line telling me when and I will look it > up in the index. > > I'm looking for the most powerful and versatile sequencer for the Mac. I don't > care about how easy it is to learn as this will be a long term relationship. > I'll be using it to develop electronic music for advertising, theater and film. > I have been using Opcode's Easy Vision and have looked at their Vision program. > I've also heard good things about Passport's Master Trax. Any suggestions? > > Doug Goodman > ========================================================================= Date: Wed, 26 Apr 1995 10:49:52 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bradley A. Barkett" Subject: Re: On Hurley as a Weapon... Hey, Jim Hurley: Where can I get a copy of the Heinlein book, "Fifth Colvmn?" *Does anybody ever visit the "Fifth Colvmn" in Washington, DC? Brad Barkett, AOL (agnostics online) ========================================================================= Date: Wed, 26 Apr 1995 09:55:13 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jeff Wheeler Subject: Re: negation of sound---------->? In-Reply-To: <9504260114.AA000jn@newty.demon.co.uk> On Wed, 26 Apr 1995, Thomas Jerome Newton wrote: > I've had similar thoughts myself, concerning the idea of somehow eliminating > the inherent organic feedback noise of the human mechanism [did I just write > THAT!]. I mean the high-frequency squeal of the Central Nervous System and > it's low-frequency counterpart, the rumblings of the Circulatory System. I > just wondered what it would actually be like to really hear _silence_. Ear > plugs are all very well, but they only really do half a job. Absolute > silence, if indeed possible, could open up interesting possibilites. Golly! > I'd better get this mechanism to bed before I get real spooky. > > Nution I would think that absolute silence would be impossible. If all around us were silence then we would be deafened by the cacaphonous clamor of our own bodies; the gurgling, swishing, beating, flatulance of the human condition. If those vibrations were somehow blocked, then we would blasted with our own mind-talk. You know, the countless committees in our brain...I know there is in mine. Scruff jwheeler@mail.coin.missouri.edu ========================================================================= Date: Wed, 26 Apr 1995 11:20:58 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: ObEmCon/Jerzy/Odds Comments: To: eml@physics.american.edu odds first: 1) Faust! Faust! i can't believe anyone else remembers! tape noise extraordinaire! if any of you have an ear for dark swirling fantasies in the old electroacoustic vein, go grab anything by faust. or old swans, for that matter, but that's not emusic, that's dirge metal. i would add to the opening exclamations, btw, a similar quote from lou stathis: "SPK! SPK!" i think the acronym stands for the phrase "screaming ghouls" in some teutonic language. 2) i never really liked einsterzende neubaten until i heard "interim". god love the almighty beat... 3) nin is definitely emusic. although "broken" has too much pure fuzz guitar for my tastes. "pretty hate machine" is still my favorite, although, like that album, i find that the louder i turn up the headphones on "downward spiral" the more unbelievably strange layers i hear. Flood! Flood! ObEmCon: actually, the metatopic. i take to heart the critique that we tend to get more than a little far afield, and endorse the recommendation that we keep the OEC a little closer to the front. (this from the guiy who just spent the past month nattering about esthetics and semiotics... sheesh. the nerve) at the same time, being a bit of a chauvinist, i don't feel like shoving anything that is technical off to synth-l, as i think was suggested recently. i did just sub to synth-l, but i still think of this as home. Jerzy: well, let me tell ya bout jerzy. he is a professor of music here at AU, who has long appreciated the potential of synhthesizers to produce a new expressive mode in traditional composition, and who has a facility with jazz, such that he can in fact make things sound improvisational, even they're not. several years ago he decided that the synth technology had finally evolved to the point where he could use it in a way that would appeal to his audience, and he came the Audio Tech department for assistance. i worked with him for a couple of years as a result. i set up and programmed his first concert synth system, which started out as a kurzweil midiboard driving a tx7, an ob6, a d550, and an s900 - processed by a pcm70 and mixed with an akai midi-contolled mixer. we used bose monitors (of which i am not particularly fond), partially because his brother works for the company - he was on the team that designed the noise-cancelling headphones used on the gossamer albatross' circumnavigation. he is a composer-in- residence at dumbarton oaks, so we deid two concerts there, as well as one on the terrace theater of the kennedy center. the arrangement consisted of jerzy on the system, along with a string quartet and a singer. the music was composed around a poem cycle called "the songs of the rose", and so was mostly a kind of episodic chamber music, inflected with jerzy's percussive jazz thang and a healthy dose of schmaltz. i'm not surprised that the recent concert was generally well received by his audience. jerzy is a very canny person, an expert at selling himself ("the world's leading..." indeed), and knows his audience... and remember that that audience largely comprises people who appreciate a little tune with their chardonnay, not 'emusic' listeners. it is also best that he is on his own, these days. he seems most comfortable that way; he and i never really got along, clashing partially because we were both perfectionists, but with different visions. the synths have hit the point where he really can get exactly the sound he wants with a minimum of tweaking, and their polytimbral capacity obviates the need for the ensemble. those bose acoustimass monitors he's using these days sure are heavy, though. i'll *bet* he's looking for 'collaborators'. <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 ========================================================================= Date: Wed, 26 Apr 1995 12:05:19 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Art Joyce Jr." Subject: Re: Sequencers >I have recently subscribed to this list so if this subject has already been >discussed please send me a message off line telling me when and I will look it >up in the index. My vote is definately Vision! Put is this way, I don't like macs much, but I bought one for my studio just so I could use Vision... Art Joyce Jr. ARTIS1@aol.com Ps. Vision also just came out for pc, but no word on how good IT is yet... Anyone heard? ========================================================================= Date: Wed, 26 Apr 1995 11:42:32 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: concert announcement Comments: To: eml@physics.american.edu here's joe's chance to sharpen his critical faculties on my ego. i can't believe i'm sticking my neck out like this... Il Gruppo Live! The Audio Technology Program of the American University College of Arts and Sciences presents Il Gruppo Di Musica Elettronica in a free concert on Monday, May 8, at 8pm, in the Experimental Theater. The performers will be: Eric Harnden, AT studio manager, and Jason Geistweidt, MA candidate in Arts Management: goatees and wirerims, synths. Steve Proto, AT student/engineer: cognitive dissidence, drums. Geo Cameron, MA in visual media and hereditary druid: natural force, voice. With Matt Totaro, AT student/engineer: quietude, mixage. and the spirit of Jeff Carey, AT alum: zeitgeist, 87 central. There will be beat. There will be noise. There will be no factory presets (well... maybe just a couple). Address inquiries to the address provided below. <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 ========================================================================= Date: Wed, 26 Apr 1995 13:18:06 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Black Subject: Re: Negation of Sound Interesting topic, so here's my 2 cents. The muffler on Lotus automobiles (you know those sports cars, one was James Bond's submarine car I think), does not work on the principle of absorbtion. It works on exactly what we're talking about. There is a mic and a speaker in the assembly which emits phase negative engine sounds at the source (the tailpipe). It works as good or better than regular mufflers, BUT not perfectly for all the reasons already stated here. It performs particularly well at high acceleration (engine noise). A Tidbit 4 U. Michael ========================================================================= Date: Wed, 26 Apr 1995 10:33:14 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Shawn T. Rutledge" Subject: Re: Negation of Sound In-Reply-To: <950426131802_97065465@aol.com> from "Michael Black" at Apr 26, 95 01:18:06 pm > Interesting topic, so here's my 2 cents. > > The muffler on Lotus automobiles (you know those sports cars, one was James > Bond's submarine car I think), does not work on the principle of absorbtion. > > It works on exactly what we're talking about. There is a mic and a speaker in > the assembly which emits phase negative engine sounds at the source (the > tailpipe). It works as good or better than regular mufflers, BUT not > perfectly for all the reasons already stated here. > > It performs particularly well at high acceleration (engine noise). I was going to say I thought it had been used that way before.... Didn't know that production Lotuses had it though. All of them? -- _______ KB7PWD - now on packet! shawn.rutledge@asu.edu (_ | |_) html: http://enuxsa.eas.asu.edu/~rutledge/home.html __) | | \__________________________________________________________________ * eschew obfuscation * packet * SunSparc * freedom of information * techno * ========================================================================= Date: Wed, 26 Apr 1995 13:36:26 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Steve Smith Subject: Re: desert island discs Comments: To: emusic-l@american.edu Hmm.. what about this Space - Magic Fly recording? Since the other two mentioned (ELP & Yello) are both ones I enjoy, my interest has been piqued. Can anyone provide more information about this musician/group? -- Steve Smith stsmith@davidson.edu ========================================================================= Date: Wed, 26 Apr 1995 13:57:20 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: h a u s Subject: TEAC 3440S I recently aquired a TEAC 3440S (4trk). It sounds good except for bleeding between the tracks. I know this is not a tape thing because I had it checked. According to the repair man, the bleeding is part of the units design. My question is for any one else who has had experience with this unit, have you come accross this (bleeding between tracks), or is my repair man just not able to isolate the problem. Christos. --- h a u s Electro-Body Experience ---- Representing and developing Ambient, Experimental and Industrial artists. Email - haus@io.org | URL - http://www.io.org/~haus | Finger - haus@io.org ========================================================================= Date: Wed, 26 Apr 1995 15:05:36 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: TEAC 3440S Comments: To: emusic-l@american.edu Christos, When you say bleed, do you mean crosstalk between channels during playback? I have a 3340S and have never noticed excessive crosstalk during playback. However, you might encounter crosstalk induced feedback if you play a track while in simulsync and recording it onto an adjacent track. (My Tascam 38 is [in]famous for that little trick!) Bill Fox wbf@aloft.att.com ========================================================================= Date: Wed, 26 Apr 1995 15:38:32 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Robert G. Simpson" Subject: SAMPLER INFO I need to know the exact procedure for multi-sampling so that I have separate samples at small intervals per octave to acheive optimum representation of the instrument. I have a Roland S330/550. The manual is unclear to me. Can anyone help? ========================================================================= Date: Wed, 26 Apr 1995 15:07:41 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: isor Subject: Re: ObEmCon/Jerzy/Odds (SPK) In-Reply-To: <0098F750.44A61880.15444@physics.american.edu> for information on ther original SPK (a movement of sorts) see IndustrailNation, (number 9, i believe). ========================================================================= Date: Wed, 26 Apr 1995 13:07:08 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: James Knight Subject: space/magic fly actually i've already been flamed once on this one. space were an early italian ( i think ) synth band, and, at the time, and in my opinion, one of the better ones. but only because they managed to sound good ( visceral is probably a close description ) but they'd be considered awfully tacky by today's standards. i've only owned two albums - "magic fly" was the first, and the other is "just blue". the latter included vocal tracks courtesy madelaine bell, so you may be able to connect to them via her. i've also just heard that they recently released a compilation cd comprising their first three releases. all told though, you should probably take my suggestions with a good dose of salt ( or perhaps something more hallucinogenic ) since my tastes would be considered pretty plebian by the standards of this list. to put it another way - i think shawn phillips was probably the most interesting musician to ever live, and from there i tend to lean towards michael hedges and papa haydin, so... god is alive and well and working on a much less ambitious project. james@byted.com ========================================================================= Date: Wed, 26 Apr 1995 16:38:42 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: h a u s Subject: Re: TEAC 3440S >Christos, > >When you say bleed, do you mean crosstalk between channels during >playback? I have a 3340S and have never noticed excessive crosstalk >during playback. However, you might encounter crosstalk induced >feedback if you play a track while in simulsync and recording it onto >an adjacent track. (My Tascam 38 is [in]famous for that little trick!) > >Bill Fox wbf@aloft.att.com > Hello Bill: Thanks for replying. Yes I mean crosstalk. It sounds quite loud (notice it faintly durring normal playback volume while recording or playing back). I have not used the simulsync. May be I should get it checked by another repair man. It sounds loudest when I have a SMPTE stripe on track four (crosstalk through track one). Christos. --- h a u s Electro-Body Experience ---- Representing and developing Ambient, Experimental and Industrial artists. Email - haus@io.org | URL - http://www.io.org/~haus | Finger - haus@io.org ========================================================================= Date: Wed, 26 Apr 1995 17:35:39 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pete Schoenhoff Subject: Re: Negation of Sound In-Reply-To: <950426000837_96549272@aol.com>; from "Bradley A. Barkett" at Apr 26, 95 1:22 am For the sake of tieing two threads together here, Imagine the sound cancellation idea applied as a weapon: If a submarine, which was hiding deep, was being sought by an enemy sub, the enemy sub would send a SONAR ping in various directions. The return sound wave gives an audio picture of the contour of solid masses in the area. If the hiding sub could detect AND CANCEL the incoming ping, and send back a slightly delayed return ping resembling the audio picture the enemy would receive if the hiding sub were not there.. (try to follow that run-on..).. it would appear to the enemy that the only thing in that vicinity was the rock formation on the ocean floor. Neat trick, maybe... Pete Schoenhoff pschoenh@pen.k12.va.us ========================================================================= Date: Wed, 26 Apr 1995 22:18:12 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Re: negation of sound done naturally Bill Scott recently wrote: > Do you ever wonder why we DON'T hear our circulatory system all the > time? How come our voice sounds louder when we cover our ears? Have > you ever tried saying "rubber baby buggy bumbers" into a 750 msec > delay loop? > > The answers to these questions must have something to do with the > system being set to receive and cancel self-generated auditory > stimuli. Why don't snorers hear themselves snore. You can wake > them up with a tape recording of their own snoring at dB level > lower than what they produce. Here's a free idea for some enterprising > person. A portable wrist delayed auditory feedback device would > make a good snore control. Hmm. I'm not sure if this is 'straight' phase cancellation you know. I'm no doctor, but I did a few basic experiments with auditory stimuli during sleep a while ago, with surprising results. I set up slow sub- bass sequences, quite inaudible in the waking state, and found that on waking I would have a recollection of the sequence as though played at a much higher frequency. After a few trials, I found myself convinced that a shift in the 'time base' of the auditory system during certain phases of sleep was occurring. It seemed as though all external sounds were being somehow speeded up, pushing the mid-range into ultrasonic and increasing the awareness of usually sub-audio vibrations! Hey, and what about radio waves!? If mobile phones supposedly transmit at the resonant frequency of the human skull, are some dream experiences being constructed from snapshots of RF? [Oh gawd, just go to bed Newtz] -- _________________________________________________________________________ _____/ __ \ ___/ // / / ( / \ \ / __\ \ \ / - thomasjeromenewton - / / // / / /\L- -__ \_) / \ / / ) \/ \ \ \// / / / /.\/\/. \-'\ / / \/ /\ "/ newty@newty.demon.co.uk \_// / / / \_/| \__/ _/ / " / /\__/ /// / / / ( |_ / / zu ------------------------------------------------------------------------- ========================================================================= Date: Wed, 26 Apr 1995 17:56:08 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Conlen Subject: Re: negation of sound--------... In-Reply-To: <950426003333_96579725@aol.com> > filter out certain phrases like "my feelings.." and "you always...," or "I > want...", "you can't...", while admitting, and even amplifying more > favourable ones, like, "have some money..." "free food..." and "casual > sex..." sex does wonderfull things to my feelings you always please me in bed can I have some money You cant have free food I dont want casual sex > Bandpass vocal filters, baby. Whole new levels of social control. No more > problems with the first amendment. You don't like certain statements, put > them in your negation log, and "Joila!" you never, ever have to hear them. Sign me up! Can I be a beta tester! There is nothing more annoying then a crying baby. Serously tho... ...this could be a good idea, not only for things that annoy us, but for the walls of appartments. I know my neighbors would love it. Groove on Dude Michael Conlen meconlen@intnet.net ========================================================================= Date: Wed, 26 Apr 1995 18:31:46 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: If it sounds too good to ... In-Reply-To: from "John P. Leonard" at Apr 26, 95 09:07:35 am [various things people don't like deleted] Not emusic at all. Please stop. --- Joe M. ========================================================================= Date: Wed, 26 Apr 1995 18:36:42 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: concert announcement In-Reply-To: <0098F753.48212E20.15446@physics.american.edu> from "Eric Harnden" at Apr 26, 95 11:42:32 am > > here's joe's chance to sharpen his critical faculties on my ego. > i can't believe i'm sticking my neck out like this... > Oh goody. And here I was wondering what I was going to do for my birthday... > There will be beat. There will be noise. There will be no factory > presets (well... maybe just a couple). Now that's more like it. I will Be There if I have to shoot my way out to get home... --- Joe M. ========================================================================= Date: Wed, 26 Apr 1995 19:46:01 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Angie Revis Subject: Re: concert announcement In-Reply-To: <0098F753.48212E20.15446@physics.american.edu> So what's really on the program? (I live in Baltimore and would consider coming down...) Angie Revis On Wed, 26 Apr 1995, Eric Harnden (Ronin) wrote: > here's joe's chance to sharpen his critical faculties on my ego. > i can't believe i'm sticking my neck out like this... > > Il Gruppo Live! > The Audio Technology Program of the American University College of > Arts and Sciences presents Il Gruppo Di Musica Elettronica in a free > concert on Monday, May 8, at 8pm, in the Experimental Theater. > The performers will be: > Eric Harnden, AT studio manager, and Jason Geistweidt, MA candidate in > Arts Management: goatees and wirerims, synths. > Steve Proto, AT student/engineer: cognitive dissidence, drums. > Geo Cameron, MA in visual media and hereditary druid: natural force, voice. > With Matt Totaro, AT student/engineer: quietude, mixage. > and the spirit of Jeff Carey, AT alum: zeitgeist, 87 central. > There will be beat. There will be noise. There will be no factory > presets (well... maybe just a couple). > Address inquiries to the address provided below. > > <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> > Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 > ========================================================================= Date: Thu, 27 Apr 1995 01:24:19 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thomas Jerome Newton Organization: Klaustrophonia Subject: Ashra Greetings! Anyone out there know where I can find a complete discography for Ashra and offshoots, I can't find anything in my regular archives. Thanks in advance! Newtz -- _________________________________________________________________________ _____/ __ \ ___/ // / / ( / \ \ / __\ \ \ / - thomasjeromenewton - / / // / / /\L- -__ \_) / \ / / ) \/ \ \ \// / / / /.\/\/. \-'\ / / \/ /\ "/ newty@newty.demon.co.uk \_// / / / \_/| \__/ _/ / " / /\__/ /// / / / ( |_ / / zu ------------------------------------------------------------------------- ========================================================================= Date: Thu, 27 Apr 1995 13:15:45 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: On Music as a Weapon Comments: To: emusic-l@american.edu From: Jim Hurley >Rather gruesome reading about some of the effects it has on people - >I thought I read somewhere that it makes a part of the skull resonate, >but I can't find that in these plans. Don't nobody mention those Australian chickens. (Sorry, newbies. You had to be here about 2 months ago.) Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Thu, 27 Apr 1995 13:37:17 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Academic oriented? Comments: To: emusic-l@american.edu Date: Wed, 26 Apr 1995 08:47:08 -0500 (EST) From: JOEL STERN > It is just what the > doctor ordered in terms of hearing what can be done with our > electronic medium without going thump thump thump thump. I'd be > grateful for other recommendations of more academic-oriented > electronic music and also to hear what anybody knows about the > Buchla modular that Subotnick used in Silver Apples. I noticed > that Wergo has a recording of some music by Chowning: is this > using FM, and is it any good? I'd have to disagree here (no flaming, I hasten to add). With pop culture studies forging ahead, thump thump thump emusic MUST be in the academy somewhere. But I know what you mean. The thump thump thump gets a bit tiresome after a while, unless you're a full-on raver who goes to the club for the feeling rather than *listening*. (No, this *doesn't* mean that dance music can't be listened to. Of course, it can, and I like to do that... when it's worth it.) Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Thu, 27 Apr 1995 14:03:19 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Crosstalk on a Teac Comments: To: emusic-l@american.edu Hi Christos, you wrote... > May be I should get it checked by another repair man. It >sounds loudest when I have a SMPTE stripe on track four (crosstalk through >track one). You sure should. I can't believe what the first guy said. NO ONE deliberately designs crosstalk into a product! Bill mentioned his problem with a Tascam 38. I found the 34s to be quite good. Maybe you should consider an upgrade, when you can afford it. Meanwhile, on synth-l list... There's a thread about ADATs vs DA88s. All things bright and digital, all sample made discrete...! Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Thu, 27 Apr 1995 00:33:38 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: emusic in general In-Reply-To: <0098F753.48212E20.15446@physics.american.edu> from "Eric Harnden" at Apr 26, 95 11:42:32 am Fair warning: I will have _Ballistic_, the Team Metlay double CD, in hand by then. I think you'd like it. A lot of *fun* stuff. Mike will not, alas, be posting the huge track-by-track breakdown on EMUSIC-L (or SYNTH-L either, I think - we both feel like thw wells are pretty well poisoned at the moment). I'll send you a copy of the completed magnum opus when I get the final version. ---- Joe M. ========================================================================= Date: Wed, 26 Apr 1995 23:09:46 +0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Uri Bruck Subject: Re: negation of sound---------->? In-Reply-To: <9504260114.AA000jn@newty.demon.co.uk> On Wed, 26 Apr 1995, Thomas Jerome Newton wrote: > Bradley A. Barkett recently wrote: > > > Most of you probably know about anechoic chambers, right? Chambers designed > > to completely absorb sound? I wanna know if anybody out there has any info on > > a possible new sound system based on a beating, or negation principle of wave > > motion, that allows the listener to select the listening radius, and beyond > > that radius, there is nothing but silence? Possible? I don't believe this to > > be a rumour. Seems unreal. 112 decibels at your bed, dropping pins on your > > desk. Whoooaaah... > I don't know about sound systems for music, but there is amedical procedure that a similar concept with ultrasound to break up kidney stones, by using several "sound beams" they get an intefernce pattern that creates an area of hig intensity on the target area, while all the surounding organs are exposed only to a low intensity "sound beam" I doubt this would be possible with regular sound, considering the differnet order of magnitude involved. thigns such as the ration of room size to wave lenght come to mind. Uri ========================================================================= Date: Thu, 27 Apr 1995 08:22:42 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: dance and music >Isn't dance essentially a rhythmic phenomenon? Nope. I presume we're talking about contemporary, or as you Americans call it, "modern". Sure, Isadora's stuff involved lots of jumping about and general partying, but Martha Graham had moved on somewhat, and Cunningham's current stuff (as well as some of the Dutch schools) uses music which is about as rhythmic as it is tonal, which is to say, not at all. (I'm reminded of the Maria Voortman company last year, performing en pointe to Schnittke's first symphony. God, that hurt...) Right now I'm working on a live score for a non-rhythmic dance piece. (Obligatory emusic reference: it's mostly Waldorf filter resonance overdriving the VCA and shifted up an octave with the LXP-5. It's a beautiful effect.) Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Gonna go down town, kill some spammers." - Joe McMahon. ========================================================================= Date: Thu, 27 Apr 1995 07:58:38 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Conlen Subject: Re: Academic oriented? In-Reply-To: <01HPU2X11L5G9GX0YE@LURE.LATROBE.EDU.AU> > I'd have to disagree here (no flaming, I hasten to add). With pop culture > studies forging ahead, thump thump thump emusic MUST be in the academy > somewhere. > > But I know what you mean. The thump thump thump gets a bit tiresome after > a while, unless you're a full-on raver who goes to the club for the feeling > rather than *listening*. (No, this *doesn't* mean that dance music can't > be listened to. Of course, it can, and I like to do that... when it's > worth it.) Accuatly a few of us like a little Thump di-dy Thump in our music. Something like the Trance Europe Express compilations, or what you might find on the idm list (about half to 3/4 of it). It is good for dancing and listenting. As long as the synth has good sounding horns.. Groove on Dude Michael Conlen meconlen@intnet.net ========================================================================= Date: Thu, 27 Apr 1995 09:34:46 CDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Kevan L. Moore" Subject: someone wanted a DVP-1 korg vocoder & it was sold already there's a DVP-1 korg vocoder for "best offer over $399" for whoever wanted it after it had been sold. it's on the newsgroup news:rec.music.makers.marketplace and the email address of the entity selling it is gm371@cleveland.Freenet.Edu (Alan Smith) give him a hollar. klm ========================================================================= Date: Thu, 27 Apr 1995 10:48:07 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: 3440 crosstalk Comments: To: eml@physics.american.edu crosstalk is an inevitable feature of analog decks, but it shouldn't be horrendous. if the deck is well used, it probably needs to have its heads realigned. when the heads do not contact the tape at the correct angle (actually, angles in three degrees of freedom), you get crosstalk, high-frequency loss, feathering, etc. ========================================================================= Date: Thu, 27 Apr 1995 11:24:33 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: concert followup Comments: To: eml@physics.american.edu someone asked, so i'll go ahead and preview the concert just a little bit: it's mostly jason and me on our JD800's, with a couple of extra bits to help fill it out. we'll provide a complete breakdown in the printed program and post it here later if anyone cares. steve will be playing live drums, and we've got some vocal parts, both for geo and jason. the pieces we've got so far are these: boneyard - a sort of unconstructed rhythym thing that we're working hard to not let get too funky. kadaya - an epic tribal beat song by geo. riptide - a wonky poptune (that's getting stranger every day) by jason. dark circuits - homage a klaus by me. (untitled) - something with tibetan bowls (real ones), echo, and maybe a didjeridoo. dripdry nonstick framedrop - thump, thump. you've heard it. you love it. you know you want to dance. the antinodes - intersticial noises, tinkles, and doodles. just us two on our JDs. 87 central - unnerving environments on dat, by jeff. none of this is supposed to be amazing. we're not looking for the "how did they do that" effect (we're just not that good keyboardists), but the "that was fun" effect. we will use sequencers on stage (hardware, not computer), just because we want to make as much sound as we can, but we are putting a lot effort into the performance aspect. we have no intention of forcing people to sit through a canned gig. jason has a tendency to make sounds that get up your nose. i have a tendency to loop and ethereate unhealthily. we keep each other under control, i think. the oblique strategies are in use. ========================================================================= Date: Thu, 27 Apr 1995 11:32:58 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: James Knight Subject: Re: concert followup sounds interesting.. don't suppose there's any way for a frozen northener to invest in a sample ? i particularly like the sound of the first two pieces and could desparately use some new influences. this is the magic fly freak asking, so think of it as a chance to rescue a lost soul. and robert moog is still god, whatever the rest of you heathens think. ========================================================================= Date: Thu, 27 Apr 1995 14:51:16 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Carnes Subject: Re: SILVER APPLES In-Reply-To: <199504270500.BAA116260@atlanta.american.edu> ---------- X-Sun-Data-Type: text X-Sun-Data-Description: text X-Sun-Data-Name: text X-Sun-Content-Lines: 8 X-Sun-Content-Length: 504 If you're looking for John Chowning's stuff, you might try to find a piece called "Stria". I remember playing a 4-channel version at a concert at B.U. 15-16 years back. It was FM, using some sounds that would sound hackneyed if you just plinked them out on a keyboard. The composite effect was rather nice as I remember it. Of course violins are hackneyed too, if you look at it that way. You might also look for "Touch" by Subotnick if you liked those earlier pieces. It is somewhat more dramatic. ========================================================================= Date: Wed, 19 Apr 1995 18:08:18 EST Reply-To: STERN@MAIL.LOC.GOV Sender: Electronic Music Discussion List Comments: CULTURAL APPROPRIATION From: JOEL STERN Subject: CULTURAL APPROPRIATION Comments: To: emusic-l@american.edu Mark Simon wrote: >Getting back to Azerbaijan, was Amirov an imperialist turncoat f >westernizing the music of his native people? Not a cultural imperialist, but maybe a lackey of the imperialist running dogs :) I'm not thinking so much about folk-derived or hybrid compositions, otherwise everyone from Conrad Pauman to Vaughan Williams would be ruled out for my enjoyment. I'm thinking more of the cut and paste usage of the efforts of other artists. When it comes down to it, though, like anything else, it's not what you do, it's how you do it. For instance, I just heard a recording of the Canadian (?) duo (?) Deep Forest in which they incorporate dozens of samples from recordings of African traditional singers and musicians. The CD insert makes very deferential reference to the Pygmy people and gives the address of a fund for them that you can send money to. The samples are plonked into a fairly straight ahead techno-funk context. Although the music is good kicking-and-screaming stuff (tip o' the hat to mike) the African samples end up sounding like caricatures and lose the dignity of the real thing. I think it is possible to incorporate samples of non-western music into our e-music without caricaturing it, but to do so it helps to be aware of the potential pitfalls of cultural imperialism or cultural condescension. Joel Stern stern@email.loc.gov j.stern11@geis.genie.com ========================================================================= Date: Thu, 27 Apr 1995 19:50:15 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: john rossi Subject: Re: On Music as a Weapon In-Reply-To: <950426103007_96908220@aol.com> Well, then there IS the interesting case of the 'Rat Enhancer'... Need I say more? John 3 ========================================================================= Date: Thu, 27 Apr 1995 19:58:18 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: john rossi Subject: Re: TEAC 3440S In-Reply-To: <199504261756.NAA04653@io.org> On Wed, 26 Apr 1995, h a u s wrote: > I recently aquired a TEAC 3440S (4trk). It sounds good except for bleeding > between the tracks. I know this is not a tape thing because I had it > checked. According to the repair man, the bleeding is part of the units > design. My question is for any one else who has had experience with this > unit, have you come accross this (bleeding between tracks), or is my repair > man just not able to isolate the problem. > I've owned 3 3340 machines in my life and have never experienced crosstalk with any of them. Seems to me I remember the crosstalk spec being something like -80dB or something like that. Anyway, I think that the repair tech was handing you a line. Personally, I would consider finding another repair person.... The most likely problem is head allignment. The most likely problem is that the heads are off on the z-plane. John 3 ========================================================================= Date: Thu, 27 Apr 1995 20:02:19 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: john rossi Subject: Re: TEAC 3440S In-Reply-To: <199504262038.QAA24682@io.org> On Wed, 26 Apr 1995, h a u s wrote: > Hello Bill: > > Thanks for replying. > > Yes I mean crosstalk. It sounds quite loud (notice it faintly durring > normal playback volume while recording or playing back). I have not used > the simulsync. May be I should get it checked by another repair man. It > sounds loudest when I have a SMPTE stripe on track four (crosstalk through > track one). > Well, cancel my last reply. If you mean that you are getting interference form thack 4 on track one this is not a case which can be explained by head allignment since they are separated by almost 3 eights inch. Also, I don't think you can call it crosstalk, either since crosstalk generally refers to the bleeding between adjacent tracks. However, if you meant to say you get more bleeding from track 4 to track 3, this might be an azimuth problem. John 3 ========================================================================= Date: Thu, 27 Apr 1995 21:34:44 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Edward Plant Subject: Re: TEAC 3440S >On Wed, 26 Apr 1995, h a u s wrote: > >> Hello Bill: >> >> Thanks for replying. >> >> Yes I mean crosstalk. It sounds quite loud (notice it faintly durring >> normal playback volume while recording or playing back). I have not used >> the simulsync. May be I should get it checked by another repair man. It >> sounds loudest when I have a SMPTE stripe on track four (crosstalk through >> track one). >> > >Well, cancel my last reply. If you mean that you are getting >interference form thack 4 on track one this is not a case which can be >explained by head allignment since they are separated by almost 3 eights >inch. Also, I don't think you can call it crosstalk, either since >crosstalk generally refers to the bleeding between adjacent tracks. >However, if you meant to say you get more bleeding from track 4 to track >3, this might be an azimuth problem. > >John 3 > > either way, John is right. Your first step should be to get a new repairman. ============================================================================= Edward Plant, Senior Engineer, Signal Processing Dept Manager egp@ideas.com SAIC/IDEAS Group voice (410)312-2094 7120 Columbia Gateway Drive FAX (410)312-2250 Columbia, MD 21046 ============================================================================= electric bassist - recording engineer - eternal student of composition and emusic The opinions expressed above are my own, and not my employer's... which is a damn shame sometimes.... ========================================================================= Date: Thu, 27 Apr 1995 22:48:42 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jeremie Tisby Subject: Ears out for good E-music... I have been subscribed to this list for the past 6 months exploring my intrest in E-music. Now that I have made the decision to take a plunge into this dizzing subject, I need some sources for good inspiration. Essentially I'm looking for suggestions on any bands/groups that I can listen to that demonstrate both good E-music fundamentals, and/or appealing complexity. Just to give you a general idea of the kinds of groups I'm looking for I can say that I love bands like NIN, (no flames please) Massive Attack, Portishead, Whale, Bjork, Neneh Cherry, Issac Hayes, and Vangelis. I've also heard raves about Orb, and a British musician with the handle of Tricky. However I haven't the latter two as of yet. If anyone could give me advice on such things I'd be very greatful. Also, any suggestions about good books concerning musical composition, and/or learning fundamentals would be most appricated. TAI, Morphiend ========================================================================= Date: Fri, 28 Apr 1995 00:42:12 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Art Joyce Jr." Subject: RRRe: Crosstalk on a Teac > May be I should get it checked by another repair man. It >sounds loudest when I have a SMPTE stripe on track four (crosstalk through >track one). Christos: I had a guy come to my studio to mix his project he did on a fostex 8 track. His problem sounds similar to yours- for instance track 5 could be heard in the background on tracks 4 and 6, especially high end stuff (just because low end is more easily masked..). This can be caused by the heads getting skewed so that the playback head is not running parallel to the tracks' paths. If properly aligned, your Xtalk should be unnoticable. Get someone else to check it out... I don't know what kind of setup you have, but onother possibility is that your channels on your board/mixer maybe feeding back on each other just a bit... I have seen this happen, especially when you are using-say- 8 busses to feed 24 tracks, or in your case possibly(?) one stereo buss w/ 4 outs to feed 4 tracks. Check like this: 1>Disconnect all connections on your multitrack except for 1 input and record a single track. 2>Disconnect all connections except for the OUTPUTS for the ADJACENT tracks and listen back... If you hear a fairly hot ghost on the adjacent tracks, then you can be absolutely sure that the "ghost is in the machine". (couldn't resist the pun)... And you should get a more experienced repairman. Art Joyce Jr. ARTIS1@aol.com ========================================================================= Date: Fri, 28 Apr 1995 02:26:13 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "L Mccoy (GD 1999)" Subject: dance and music Comments: To: emusic-list When a dancer moves, it is rhythm. What we Americans call "modern" may mean the transition from grooving to the Bee Gees or dancing on speakers to thinking about movement in many different ways, in many different mediums. Even non-movement is rhythmic. Perhaps through its negation reinforced by expectation that a dancer will move. Or the rising of the chest, the fluttering of an eye (in some Balinesian dances). Maybe exploding definitions is a good thing? Best, Scott McCoy mcco5@minerva.cis.yale.edu ========================================================================= Date: Fri, 28 Apr 1995 16:46:00 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: CULTURAL APPROPRIATION Comments: To: emusic-l@american.edu Date: Wed, 19 Apr 1995 18:08:18 -0500 (EST) From: JOEL STERN > When it comes down to it, though, like anything else, > it's not what you do, it's how you do it. For instance, I just > heard a recording of the Canadian (?) duo (?) Deep Forest in > which they incorporate dozens of samples from recordings of > African traditional singers and musicians. The CD insert makes > very deferential reference to the Pygmy people and gives the > address of a fund for them that you can send money to. Joel, did you miss the recent thread prompted by my report of my work with Ghanaian music (playing th real thing, not sampling it!) ? I too mentioned Deep Forest. To recap briefly: I read an interview with the Belgian duo in which one of them said that they got their samples from old ethno field recordings. They didn't go to Zaire and get them and they didn't pay royalties to anyone, even the musicologist who recorded them or the record company which originally released them. It's nice to know that there's a fund to send money to, but I want to know two things: (1) How much did Deep Forest send and is it linked to their earnings (effectively a royalty) ? (2) Waht is the fund for? Are pygmies in need of foreign aid? Or is it foundation set up to make guys like those in Deep Forest feel less guilty? (Do you detect a note of cynicism? You bet!) > The samples are plonked into a fairly straight ahead techno-funk > context. Hence my later comment about EVERYTHING being subordinate to the almighty beat. > Although the music is good kicking-and-screaming stuff > (tip o' the hat to mike) the African samples end up sounding like > caricatures and lose the dignity of the real thing. I have a feeling that, even in death, Mike wouldn't wish to be associated with this sort of thing. (May he live long, BTW.) They sound like caricatures becasue they are completely out of context and those fellows have no knowledge of Baka or Ituri music at all. If they did, they might set those samples in a musical context which is more sympathetic to them. (This isn't just aesthetics; I don't think the context serves them well structurally either.) Thanks for your thoughts, Joel. David musdr@lure.latrobe.edu.au P.S. In case you hadn't got it by now, folks, I detest Deep Forest. ========================================================================= Date: Fri, 28 Apr 1995 04:11:24 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dustin McIntyre Subject: Deep Forest's Chocolate Box David, you can note with glee that the new Deep Forest release is due within about a month, and that it will most likely suffer a brutal and senses-shattering sales death as it is relegated to the one hit wonder heap of the late twentieth century. Wherever you stand on the decency and cultural sensitivity nature of the issue, the fact stands: They used a gimmick, now it's time to pay the piper. As OperaMan is want to say,"BYE BYYYYYYE !" Sample Dialogue: DF: "Hi, we're the Deep Forest guys." KK: "Oh...Hi..We heard you were on your way. We're Kris Kross. And this is Vanilla, Rob, uh... oh yes, and that's Fab with his head in the oven over there." DF: "You knew we were coming?" KK: "Sure. Didn't everyone?" DF: "Not us! We just had a new album come out filled with the second best samples we had left over from our first. Doesn't that rate something?" KK: "Nope. Trust us. We speak from experience. Hammer won't even return our calls. That little candy ass. He'll be down here soon enough. Him AND Wilson Philips. Then we'll see who's bad !" DF: "Well, how can we make the best of it?" KK: "Go over to the buffet there and have Prince serve you up some of the tater-tots. They're really good today." DF: "Is it kosher to still call him that?" KK: "Hey, you yutzes, when he writes a decent song again, start showing some concern. Until such time, soup's on." ========================================================================= Date: Fri, 28 Apr 1995 08:01:48 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pete Schoenhoff Subject: Re: dance and music In-Reply-To: ; from "L Mccoy" at Apr 28, 95 2:26 am These are the graceful words of L Mccoy: ->Even non-movement is rhythmic. Perhaps through its negation reinforced ->by expectation that a dancer will move. Non-movement can be rhythmic, but only when surrounded by movement, or anticipated by movement. P Schoenhoff ========================================================================= Date: Fri, 28 Apr 1995 09:28:11 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bradley A. Barkett" Subject: Re: Ears out for good E-music... Let me fill you in. These groups kick ass. 1. Meat beat Manifesto 2. Orb 3. Pop Will Eat Itself 4. Renegade Soundwave 5. Revolting Cocks 6. Eon 7. Nitzer Ebb 8. KMFDM 9. Axiom Ambient 10. Kraftewerk Let me think of more that aren' on WAX TRAX!, and I'll get back to you. Industrial Forever, DJGROOVES ========================================================================= Date: Fri, 28 Apr 1995 10:10:21 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jeff Wheeler Subject: Mail problems Comments: To: EMUSIC-L Comments: cc: scruff@big12.metrobbs.com Hi all, Sorry for the wasted bandwidth, but all of a sudden I'm not getting any messages from any of my lists, including this one which is usually pretty active. If anyone gets this please private email back to me here but also to scruff@big12.metrobbs.com (it may be a problem with my server). Again, sorry for the bandwidth waste, and thanks for any assistance! Scruff Jeff Wheeler (some would call him Scruff) - MIDI composer & sound design _________________________________________________ Midifications by (__ _________________________)CRUFF JKW Productions/Scruff Recording jwheeler@mail.coin.missouri.edu scruff@big12.metrobbs.com ========================================================================= Date: Fri, 28 Apr 1995 10:28:13 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: isor Subject: Re: Ears out for good E-music... In-Reply-To: <950427223417_99024043@aol.com> As far as good music i think a lot of goth and industrial (the dance kind not the chugga chugga guitar thing) are great. Most anything done at "warzone" in chicago or "sanctum sanitorium" in N. Hollywood / LA. I think there are probably a lot of good groups you can hear via a Web browser. I just downloaded some interesting wav files at the "haus" (sp?) homepage. ========================================================================= Date: Fri, 28 Apr 1995 11:58:02 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe Fry Subject: Re: dance and music Somehow I unexpectedly received this, but I'm into this topic, so... Does anybody have any thoughts/related topics about the connection between dance and it ability to have the same effect as, say self-hypnosis or Tai-Chi, in that it's a cathartic (sp?) experience? By pushing the body beyond its everyday postures, stances, etc., through dance and/or heavily beat-oriented music, there's literally a release within the body... Any thoughts? ========================================================================= Date: Fri, 28 Apr 1995 13:12:53 -0400 Reply-To: Irdial-Discs Sender: Electronic Music Discussion List From: Irdial-Discs Subject: Texas Instruments Language Translator Modules Howdy... I am trying to track down modules for the 'Texas Instruments Language Translator', the (then) amazing hand held unit that would accept inputted words/phrases and output spoken tranlstions in a different language. Ive got the French module. I need all of the modules that TI made available. Any help/pointers would be mucho appreciated, including the addresses of other lists that we may find joy on... thanks! --------------- | |/ |) I /\ |_ --------------- http://www.ibmpcug.co.uk/~irdial -----BEGIN PGP PUBLIC KEY BLOCK----- Version: 2.6 mQCNAi5f89wAAAEEAOiU42TYXhzZGB9GyVUPiphK/V549aDA1KDGccxmPY70ynVt EUi0Q/X/sHNj73fKCiv6jeoIlagAiamgQT6cL5FGGGkPApyWqrffEClBX67G+mQK Py+gpGCbDw7FEQPoY4Pfqi0Uf0KMPMBDg1k/djjStVQePNLimYBwiB5FzDvpAAUR tBtpcmRpYWxAaXJkaWFsc3lzLndpbi11ay5uZXSJAJUDBRAvF7csgHCIHkXMO+kB AXUhA/9/KthPVRLH6IpgagPK7lZ5qWYM2lhBSxMv9LDKV7nZVRxnsnO55fpQj1r1 popw6JkYAG0BdRTOwUjPhcItyIbEjFGWkmXxDqAjpoKKcpmrajPB6mGtsrZG948A FxPlPlXqmcg9bGB7x0RYlwZ6baka778MNB8LK15GoUriwUYUPQ== =FP+2 -----END PGP PUBLIC KEY BLOCK----- ========================================================================= Date: Fri, 28 Apr 1995 15:32:00 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tony Cappellini Subject: Re: SILVER APPLES Comments: To: synth-l@american.edu, emusic-l@american.edu Date: Thu, 27 Apr 1995 14:51:16 -0400 From: Michael Carnes Subject: Re: SILVER APPLES ---------- If your looking for Subotnick's Silver Apples on The Moon, You can get it from cd.connection.com That's where I found it. It costs $22 with shipping. ========================================================================= Date: Fri, 28 Apr 1995 15:33:00 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tony Cappellini Subject: Can a vocoder correct your pitch? Comments: To: synth-l@american.edu, emusic-l@american.edu Comments: cc: macbruin@UCLA.EDU Date: Wed, 26 Apr 1995 22:16:18 -0800 From: Ted Johnson Subject: Can a vocoder correct your pitch? Only if it's not a curve ball and it doesn't break on the inside edge of home plate :))) ========================================================================= Date: Sat, 29 Apr 1995 15:56:21 +0900 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Kirk Gale Subject: Re: Dance and Music In-Reply-To: <199504280500.BAA77044@atlanta.american.edu> I like this thread (Nick Rothwell et. al.) as it reminds of my two year full time stint supporting a university dance dept. and the greats that showed up to do master classes once in awhile. As that was essentially a piano playing job (and Moog was the latest rage!) it didn't have too much to do w/ emusic. One part this thread has also focussed on choreographers who don't need/want music as part of the context from which they draw inspiration (adding the music later...using non-matching music, etc.). For better or worse I improve lyrically which better suited those needing the music to support the creative effort (its funny how the assumption is these people are ultimately less creative). Those requesting personalized music in advance of doing their choreography assignments probably numbered around 60%. For daily classes though a much greater majority preferred lyricism (they said it supported their motivation to exercise more rigorously). Its hard to tell into which camp Nick's LXP'ed resonant filter approach will fall since what he's doing could sound pretty lyrical and its hard to tell whether the timing of his sounds will support the movements of the dancers. In either case though, its clear to see that both camps enjoy much improved support from the advent of emusic. ========================================================================= Date: Sat, 29 Apr 1995 12:25:27 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Zimbak Camire Subject: Somebody...Anybody! Pease say something... IF IF IF this thing is recieved by anybody on the emusic list I have to apologize for this: I've set the "Repro" option for my subscription to "yes" and I'm praying it'll work.I think that my postings aren't getting anywhere. Anyway, IF this does get to somebody, just in case the Repro doesn't work, please send me something, ANYTHING, so I could make sure that nothings really wrong. I *DO* get the lists postings also other postings as well. I just want to make sure I can send, as well as recieve. BTW, Know any anonymous ftp sites where one can find dance music GMIDI files? Zimbak Camire AMIRTAAS@Math.Sharif.ac.IR Also Kambiz (?!) Amirtash ========================================================================= Date: Sat, 29 Apr 1995 05:10:53 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Davvid Brooks Subject: Re: Somebody...Anybody! Pease say something... we hear you ok if you have aol goto internet connection you'll find every thing in the world there far as midi files. don't know about the others ========================================================================= Date: Sat, 29 Apr 1995 16:09:32 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: dance and music >When a dancer moves, it is rhythm. Erm, OK. The dancers I've worked with would perhaps refer to that as "pulse". But yes, I agree. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Success can be measured by only one thing: the hairs on the back of your neck." -- Twyla Tharp ========================================================================= Date: Sat, 29 Apr 1995 12:11:55 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Art Joyce Jr." Subject: New thread from Dance&msc/LXP-5? >Its hard to tell into which camp Nick's LXP'ed resonant filter approach >will fall Possibly starting a new subject(on effect processors?), I used to have an LXP-5, and I bet Nick's effect is pretty nifty. I used the LXP-5 (which I don't have anymore) extensively when I scored a CHEAP b-movie retro 50's sci-fi thriller (Kinda like "Forbidden Planet"), and you can get some very WILD sounds outta that little box! But for the most part, I like very natural & transparent effects (when used on instruments/vocals). I tend to mix together two different sounding reverbs (Ensoniq DP-4 and Lexicon PCM-60-great & CHEAP box) along w/ a little 100ms slap and maybe a 400ms or so delay, for one big,but transparent reverb..... I know it sounds weird, but when you put all of that together, It becomes much more transparent and natural sounding...(used in MODERATION). If you guys are interested in discussing the topic of effects further, perhaps someone could call it FX.......? If If you are bored by this subject, nevermind! I have always been fascinated with applications of DSP, etc... Sorry If I am zzzzzzzzing you! Art Joyce Jr. ARTIS1@aol.com ========================================================================= Date: Sat, 29 Apr 1995 21:21:52 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Davvid Brooks Subject: ESI 32 Comments: To: rickk@emu.com, Service@emu.com, mark_camp@qmmac.emu.com once again the folks at Emu showed the reason they are on the earth. the sound disk they sent to registered users is glam city. i think they really sound great thanks for sending them. i also got the EMAX I and EMAX II, disks converted, i think this is a great machine for the money. ========================================================================= Date: Sun, 30 Apr 1995 12:07:44 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Somebody...Anybody! Pease say something... Hello emusicers, it's obvious from the message that Zimbak is not receiving anything from the list. So it's no use sending your acknowledgments to the list address! He/she won't get them. I have sent private mail to Zimbak saying that we hear him/her. Regards, David Rodger musdr@lure.latrobe.edu.au ========================================================================= Date: Sat, 29 Apr 1995 22:13:01 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Stephen P. Lee" Subject: Re: Ears on? Thanks for the reply about Moby! I can't believe the long list of equipment he uses. How can anyone afford that much equipment? Steve ========================================================================= Date: Sun, 30 Apr 1995 15:05:20 +0900 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Kirk Gale Subject: Re: EMUSIC-L Digest - 29 Apr 1995 to 30 Apr 1995 In-Reply-To: <199504300501.BAA110919@atlanta.american.edu> Art Joyce, Jr. offering comment on effect mixing yesterday makes me realize I mix reverbs somewhat indiscriminately and perhaps have too many of them. I'm curious whether there are established guidelines about some reverb effect mixes which by nature don't work well together. Any ideas? ========================================================================= Date: Sun, 30 Apr 1995 11:32:50 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bradley A. Barkett" Subject: Re: Somebody...Anybody! Pease... rest assured, zimbak, that your words have crossed the web. :) Brad Barkett, AOL (amateur online) USA ========================================================================= Date: Sun, 30 Apr 1995 17:35:03 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Dance and Music >For better or >worse I improve lyrically which better suited those needing the music to >support the creative effort Perhaps I don't understand what you mean by "lyrically." It's a term used in dance but not one I've ever really understood (much like "abstract"). Certainly the improvisational element is key here. >(its funny how the assumption is these people >are ultimately less creative). Really? Snobbishness perhaps. I hadn't really thought about the distinction between choreographing-to-music versus choreographing-in-isolation. I know dancers in both camps, and consider them to be of equal merit, if done well (although my suspicion is that working *well* with music is actually harder); I must ask them about the qualitative differences in process. Twyla Tharp's autobiography describes all the pieces she choreographed and performed in total silence in the 1960's. I must dig out some quotes about why; the basic motivation was that audiences can empathise too easily with the structure and emotion of music, and she wanted to emphasise the qualities of the movement instead. >Its hard to tell into which camp Nick's LXP'ed resonant filter approach >will fall since what he's doing could sound pretty lyrical and its hard to >tell whether the timing of his sounds will support the movements of the >dancers. One of the things I'm really interested in is the issue of pulse and timing. The whole point of using MAX-based compositions controlled by a fader box is that I can freely follow the energy of the dance (except on those occasions where the stage is too dark for me to see which fader is which; we live and learn), which cannot be done to a taped score of course (apart from naively by live mixing of multitracks). >In either case though, its clear to see that both camps enjoy >much improved support from the advent of emusic. Oh, I disagree. Emusic is rarely used in any kind of creative way in British dance, and (in my experience) not a great deal in European dance. So far I've had little interest in the kind of thing I'm doing from the rank and file (I choose the term deliberately) of the dance scene. The only truly live electronic score I've ever come across was in a performance by (guess who) Merce Cunningham's company last year. Oh, and I guess Phil Jeck's live improvisation with Dansette record players and DDL's. Every other electronic score I've come across has come off tape. While one might be tempted to criticise choreographers for not taking electronic music more seriously, or making better use of it, I would be contentious and suggest that this is, to a certain extent, the fault of the electronic composers. A choreographer is not going to see much benefit in replacing a pianist with a guy playing an electronic keyboard, not an avant-garde orchestral score on tape with an avant-garde electronic one. The only recent technological innovation that I suspect many dancers would acknowledge is the ghetto-blaster... Anyway, that's where I'm coming from (and, to a large extent, where I'm heading). Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Success can be measured by only one thing: the hairs on the back of your neck." -- Twyla Tharp ========================================================================= Date: Sun, 30 Apr 1995 16:47:31 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bradley A. Barkett" Subject: free tapes for the curious I have some interesting things that I have done in the SSU music lab. For the last three years, I have been creating and producing a wide array of electronic stuff, and I am actually curious as to how people, especially other emusicians, would react to it. If anybody wants a copy of: THE APOLOGIZERS : Fruits of Isolation Volume I (electronic stupidity) OR DAMN THAT'S A BIG BEETLE, I WONDER IF IT'S POISONOUS? (power groove) *then send me your balemail address, and I'll try and send you a copy. I don't have blanks, so I may dub over something like Queensryche or Stryper. Or, if you want to send me a blank, that would work. My Address: Brad Barkett 908 East Church Street Salisbury, MD 21801 +Likewise, if you have any tapes that y'ins want me to hear, send them to me! Unless, of course, there's a charge. Charge the fans, not the critics. Goodbye! DJGROOVES@AOL (amateur online) ========================================================================= Date: Mon, 1 May 1995 01:11:14 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Piet van Oostrum Subject: Midi files/software archives on the Internet There is a list of ftp and mail server archives with MIDI documentation, programs and music on the Internet. Also enclosed is a list of MIDI and electronic music related mailing lists. The latest version of this file can be obtained by ftp from ftp.cs.ruu.nl [131.211.80.17] in pub/MIDI/DOC/archives or by mail from mail-server@cs.ruu.nl (send a message with HELP in the body). From the mail-server the filename without pub/ should be used. The latest monthly version is also available in the various news.answers archives around the world, in music/midi/archives. Version: $Id: archives,v 1.122 1995/04/04 11:03:20 piet Exp $ ========================================================================= Date: Mon, 1 May 1995 01:11:15 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Piet van Oostrum Subject: Computer Music bibliography There is a bibliography on synthesizers, midi, computer and electronic music that I have collected from various sources. I have tried to bring some structure into it, but not all books will fit into a single subject. NOTE: I haven't read these books, and the comments are from other people. The latest version of this file can be obtained by ftp from ftp.cs.ruu.nl [131.211.80.17] in pub/MIDI/DOC/bibliography or by mail from mail-server@cs.ruu.nl (send a message with HELP in the body). From the mail-server the filename without pub/ should be used. The latest monthly version is also available in the various news.answers archives around the world, in music/midi/bibliography. Version: $Id: bibliography.pre,v 1.31 1995/04/11 12:04:33 piet Exp $ ========================================================================= Date: Sun, 30 Apr 1995 18:25:00 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Craig Marks Subject: u-110 Comments: To: emusic-l Comments: cc: synth-l To all that helped me last month with my U-110 problems, I give you a hearty THANK YOU -- You saved my butt! I do, however, have one remaining problem that I would love to solve. The U-110 has 6 outputs -- I have created a full multi-patch with 6 different instruments and I want them to go out the six different outputs on the back -- 1 instrument per output -- so that I can mix on my console instead of in MIDI land. Anybody know how to do this? Right now all 6 voices come out of outputs 1 & 2 in stereo. How can I make the individual instruments come out of the individual outputs in mono?!? Thank you for all of your help and guidance. Craig (izzy2vg@mvs.oac.ucla.edu) ========================================================================= Date: Sun, 30 Apr 1995 22:04:03 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "David B. Hunt" Subject: Performer/Free Midi and Premiere Has anybody out there sucsessfully figured out a way that you can run Adobe Premiere while synced to Performer? I have the midi manager driver installed and I do see FreeMidi in the patchbay of the Apple Midi manager. I have tried every possable configuration that I can think of. Has anybody done it? please let me know how? Peace Dave AFCMidi@aol.com ========================================================================= Date: Sun, 30 Apr 1995 19:10:36 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: dance and music In-Reply-To: from "Nick Rothwell" at Apr 26, 95 02:56:19 pm Nick Rothwell writes-- > >He's also used my CD of Les Voix Bulgaire's hip-hop album "From Bulgaria >with Love", which doesn't even go with *itself*. I recommend this album highly. It really DOESN'T go with itself; it's sort of mentally fractal. Dance music with Bulgarian microtonal howling over the top, looped and sampled. Many bad jokes by people who speak English as, um, a third (?) language, maybe. If you speak Italian, there's an Italian track that is probably the funniest of all, but I can't understand any of it but the references to Disco Duck and Fly Robin Fly. This is the music that the Art of Noise will be forced to listen to when they die and go to Hell. Find it, treasure it. mike -- "If you can carry something that can reproduce a 13 Hz tone, self-defense is the least of your worries." (j. mcmahon) --------------------------------------------------------------------------- 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: Sun, 30 Apr 1995 19:16:25 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: ObEmCon/Jerzy/Odds In-Reply-To: <0098F750.44A61880.15444@physics.american.edu> from "Eric Harnden" at Apr 26, 95 11:20:58 am Eric Harnden writes-- >odds first: >1) Faust! Faust! i can't believe anyone else remembers! tape noise >extraordinaire! if any of you have an ear for dark swirling fantasies in >the old electroacoustic vein, go grab anything by faust. I need to get their stuff on CD. Fortunately that's not hard any more. >"SPK! SPK!" i think the acronym stands for the phrase "screaming ghouls" >in some teutonic language. Actually it's Sterile Penis Klinik. Talk about harshness; their album "Leichenshrei" (Corpse-Shriek) could peel the enamel off your teeth. >3) nin is definitely emusic. although "broken" has too much pure fuzz guitar >for my tastes. "pretty hate machine" is still my favorite, although, like >that album, i find that the louder i turn up the headphones on "downward >spiral" the more unbelievably strange layers i hear. Flood! Flood! I'm partial to the "Head Like a Hole" remix CD and "Fixed" when I just plain want to be mad for an hour. What he did to Queen's "Get Down Make Love" was probably illegal in Utah, too. >ObEmCon: >actually, the metatopic. i take to heart the critique that we tend to get >more than a little far afield, and endorse the recommendation that we keep >the OEC a little closer to the front. (this from the guiy who just spent >the past month nattering about esthetics and semiotics... sheesh. the nerve) >at the same time, being a bit of a chauvinist, i don't feel like shoving >anything that is technical off to synth-l, as i think was suggested recently. >i did just sub to synth-l, but i still think of this as home. I think that the lines and threads will always waver from point to point, and there will always be times when we get waaaaay off topic. As long as we sort of rein ourselves in at times, I think we manage to get back where we're going. Thanks for all the nice letters, but I'm afraid this evening's posts are a brief hiccup in what's going to be a fairly long silence.... >Jerzy: >well, let me tell ya bout jerzy. [...] Eric, this is truly awful of me, but I think you made all that up. I bet I could come up with a better origin for this guy than that.... mike -- "If you can carry something that can reproduce a 13 Hz tone, self-defense is the least of your worries." (j. mcmahon) --------------------------------------------------------------------------- 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: Sun, 30 Apr 1995 19:28:18 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: CULTURAL APPROPRIATION In-Reply-To: <01HPVNGM0REG9GX5B8@LURE.LATROBE.EDU.AU> from "David Rodger" at Apr 28, 95 04:46:00 pm David Rodger writes-- >Joel Stern writes-- >> Although the music is good kicking-and-screaming stuff >> (tip o' the hat to mike) the African samples end up sounding like >> caricatures and lose the dignity of the real thing. > >I have a feeling that, even in death, Mike wouldn't wish to be associated >with this sort of thing. (May he live long, BTW.) Thanks, I'm working on it. To be honest, I bought the Deep Forest album with nary a thought about cultural misappropriation or any other higher thema; I bought it because I thought one or two of the songs sounded pretty. I admit it hasn't held my interest very well, but I'm now wondering if I should be writhing in shame over the shallowness of my political naivete where music is concerned.... Mmmmmnope, can't bring myself to do it. I guess I'd make a rotten musical revolutionary...I'm too good at divorcing timbre from context in my head. mike -- "If you can carry something that can reproduce a 13 Hz tone, self-defense is the least of your worries." (j. mcmahon) --------------------------------------------------------------------------- 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: Sun, 30 Apr 1995 23:03:32 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dan Toneck Subject: Re: Performer/Free Midi and Premiere re; syncing performer and premiere Hi, I'm using Premiere 4.01 and an older version of Digital Performer. I was able to lock the two up after tinkering around some. If you let me know more about your system I may be able to help. I was not happy with Digital Performer running on my old Mac II (w/Audiomedia II card). I was getting timing errors with large MIDI sequences and playing more than 2 tracks of audio really messed things up. I upgraded to a PPC 8100/AV. Here's what I did: 1. Ran Digital Performer on the MacII (no oms or midi mgr, just the seq. program. --I don't have Free Midi, but I don't suppose it would hurt you any) 2. Mac II used a Midi Timepiece II 3. Ran Premiere on PPC w/MidiManager installed 4. PPC used Opcode Studio3 interface 5. ran audio sync cables between the 2 MIDI interfaces I still wasn't happy with the Digital Performer program so I bought Opcode StudioVision AV and Deck 2.2 to do all my power sequencing and digital audio mixing on the PPC. Now I just transfer my finished mixes over to the Mac II over ethernet (localtalk takes forever) and print to video with the Premiere print to video command and the MacII locked up via SMPTE in Deck II 2.1 (I'm running Deck II 2.1 on the MacII, Deck II 2.2 on the PPC). Let me know If I could help. I don't know too many people here in San Diego into this stuff as much as I am. Dan Toneck Dtoneck@aol.com