========================================================================= Date: Mon, 8 May 1995 13:33:39 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Binary to Hex conversion >> Oh, and guineas > >Rothwell, you insensitive son of a bitch. May every Italian imigrant in >Scotland burn grappa on your front lawn... Sorry John, but you've lost me. I haven't the foggiest idea what you're talking about. A guinea is one pound one shilling. 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: Mon, 8 May 1995 08:32:10 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: Cut the crap, John Rossi In-Reply-To: > This is my personal cap on this thread... > > It is clear to me that I insulted Ms. Barineau. In reality, I did so > unintentionally. Those of you who have known me over the years realize > that I would have answered anybody exactly the same as I did Ms. > Barineau. In dealing with disabled people I have learned that, for the > most part, they wish to be treated like everybody else. I respect that > and I don't pull punches because people are disabled. Second of all, John, this is really inexcusable. Please go somewhere and cool off until you're ready to join the human race. Mark Simon mgs2@cornell.edu ========================================================================= Date: Mon, 8 May 1995 11:15:51 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jeff Adkins Subject: Re: Binary to Hex conversion On Wed, 3 May 1995, Joe McMahon wrote: > > A real brouhaha has been raging on K12.chat.teacher newsgroup as regards > > the question "should long division be taught in schools?" There are > > those who maintain that the process is itself instructive and that the > > rigor of learning long division is even more valuable. There are also > > those who have said (I'm NOT kidding) that learning long division is > > harmful to the child and cannot be justified in an age where calculators > > are so easily available. > > > (Pause. Reread. Pause. Reread. Shake head in disbelief.) > Good heavens. I'd feel my hypothetical kid was getting cheated if he didn't > know how to do long division. How are you supposed to do math in your head > without knowing that? I checked out this thread on K12.chat. because I thought someone was probably getting straw man-ed here. . . . I found a skills vs. concepts debate, for the most part. Some said learning a skill such as long division can be harmful because it interferes with learning the underlying concept. If I'm not mistaken, some believe just teaching students to solve a sheet of long division problems teaches a student to be able to do not much more than ... solve a sheet of long-division problems. When confronted with word problems sovable using long division, for example, they're lost as to how to set them up. Conceptual learning, on the other hand, is thought to be more powerful because it enables an individual to create, adapt, and apply a solving skill to given problems or situations as they arise in real life in the real world. I think the biggest problem is it's a heck of alot easier for teachers to drill students with long division problems, since they lack the time, resources, and support necesssary to even think about the far more challenging job of teaching concepts. --jeff Jeff Adkins ================ jadkins@infi.net ========================================================================= Date: Mon, 8 May 1995 09:03:07 PDT Reply-To: dunn@intellicorp.com Sender: Electronic Music Discussion List From: Casey Dunn Subject: Re: A few words on the latest project from Atomic City In-Reply-To: <199505061817.OAA14463@clark.net> Craig Anderson (Anderton? The pesky "hi I'm everywhere" author) once did a book on Vision. It too should be available from mix bookshelves. There are also some tutorial videotapes available... casey ========================================================================= Date: Mon, 8 May 1995 12:37:42 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: john rossi Subject: Re: Binary to Hex conversion In-Reply-To: On Mon, 8 May 1995, Nick Rothwell wrote: > > Sorry John, but you've lost me. I haven't the foggiest idea what you're > talking about. > > A guinea is one pound one shilling. > Sorry about that. Guinea is also unflattering slang for an Italian. It is similar in derogatory use to Wop and Dago. Sarcasm is lost when it isn't understood, I guess. My point was, in relation to the binary -- hex thread, that people's sensitivity level in this group has risen to the point of absurdity. I hope you realize that I am not upset with you. Boy, it seems weird that I would even think I had to type that last sentence. John ========================================================================= Date: Mon, 8 May 1995 12:38:51 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: John Grasett Organization: Sir Sandford Fleming College Subject: Re: Binary to Hex conversion Comments: To: john rossi > > Oh, and guineas > > Rothwell, you insensitive son of a bitch. May every Italian imigrant in > Scotland burn grappa on your front lawn... Sir, a guinea is not only a pejorative term for Italians but a type of "pig" (well, actually a rodent) and, in the context of the post, a unit of currency. Consider the context before you lash out, please. JG John C.S. Grasett - Delivery and Infrastructure Group Information Technology Services Department Sir Sandford Fleming College Frost Campus - Room 180 Lindsay, Ontario, Canada. voice: (705) 324-9144 ext. 3334 fax: (705) 878-9312 Thought for the day: Intuition (n): an uncanny sixth sense which tells people that they are right, whether they are or not. ========================================================================= Date: Mon, 8 May 1995 13:05:20 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: Binary to Hex conversion I think he's refering to the slang term for Italian. ========================================================================= Date: Mon, 8 May 1995 13:35:03 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dave Lynch Subject: Re: Cut the crap, John Rossi John Rossi said: > This is my personal cap on this thread... > > It is clear to me that I insulted Ms. Barineau. In reality, I did so > unintentionally. Those of you who have known me over the years realize > that I would have answered anybody exactly the same as I did Ms. > Barineau. In dealing with disabled people I have learned that, for the > most part, they wish to be treated like everybody else. I respect that > and I don't pull punches because people are disabled. Second of all, To which Mark Simon responded: > John, this is really inexcusable. Please go somewhere and cool off until > you're ready to join the human race. Mark, I don't know if you have read this thread from start to finish (I have, BTW), but John has been quite clear in explaining his viewpoints and opinions that have lead to his postings. He has always been cool headed and rational in his pretty-much-to-the-point (PMTTP perhaps...neah, :-) responses. And, as has been mentioned, he is conversing with Ms. Barineau thru private E-mail about her condition which I think says something positive about both parties. So lets end this thread (as John was trying to do, even though I am still extending it) and the personal attacks and get back to the music... --Dave L Dave Lynch * VISIONS keyboardist * Software Engineer * general beer drinker --------------------------------------------------------------------------- Enfield, CT 06082 * H-203-741-8200 * W-203-654-9257 * lynchda@hsdwl.utc.com ========================================================================= Date: Mon, 8 May 1995 18:10:29 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: If you say so In-Reply-To: <01HQ9F6NVEZ6002NAZ@utrcgw.utc.com> > > Mark, I don't know if you have read this thread from start to finish > (I have, BTW), but John has been quite clear in explaining his viewpoints > and opinions that have lead to his postings. He has always been cool headed > and rational in his pretty-much-to-the-point (PMTTP perhaps...neah, :-) > responses. I'll take your word for it. Mark Simon mgs2@cornell.edu Now *I*, of course, *never* post inflammatory messages on this list. Say, did you hear the one about the 2 academic composers? See, they go into a bar and ... ========================================================================= Date: Tue, 9 May 1995 09:33:16 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Helping and guineas Comments: To: emusic-l@american.edu Hi emusicers, I'm really surprised at this going on so long. I believe that it started with Troy Parsons seeking help. he got no reply. Troy, if no one replies, they either haven't the time, or haven't the knowledge. I like to think it's mostly the latter. I'm certainly not going to waste bandwidth saying I don't know how to help you. All you can do is repeat your plea (as you have done) or perhaps look at your problem and explain it better (if you haven't already explained it as well as possible). As for the all the sh*t that's gone on under the Binary to Hex Conversion thread, please stop it. That's not what I'm here for, and, I suspect, neither are most of you. Frustrated. David musdr@lure.latrobe.edu.au ========================================================================= Date: Mon, 8 May 1995 20:44:38 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Wayne Hatwich Subject: Re: DX7S w/MTPro 5.2 (Mac) Doug Ramsay wrote of his MIDI problem to and from his DX7S and Master Tracks Pro Doug - How old is your MIDI interface? Has it ever worked both ways for you in the past or have you never gotten it up and going? Do you have other devices with which the interface functions well in both ways? I had a vexing problem similar to this and it turned out that the MIDI interface worked fine going from the Mac to the Synth , but failed from the Synth to the Mac. Put another way, just because the MIDI interface works with data going one way does not mean that it will work with data going the other way. (This is my home-cooked deduction from my experience.) It sounds to me like your MIDI problem is the 180 degree opposite of mine. Let me know if this hypothesis proves true. Good Luck! Wayne Hatwich bwv545@aol.com ========================================================================= Date: Tue, 9 May 1995 00:25:40 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Curtis L. Stallins" Subject: Re: Thanx for help... Joe M. Thank you for your response. You realize, of course, that this marks you as one to remember as a source of answers to questions of all colors.... and I've gobs of questions.... Long live Steve Hackett, the finest guitarist this side of Steve Morse Curtis ========================================================================= Date: Tue, 9 May 1995 10:08:42 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: James MacFarlane Subject: MIDI Connections (I missed Doug Ramsay's letter, so I don't know if my problem is similar.) I have a home-built PC with a SoundBlaster 16, a external MidiBlaster sound module, and a Juno-106. I can send from my PC to the MidiBlaster and the Juno-106 (using the special SoundBlaster joystick port to MIDI cable) and send data from my Juno to the MidiBlaster but I *can't* send data from my Juno to the PC. I can work around this by feeding the Juno output into the MidiBlaster using another MIDI cable and connecting the MidiBlaster's THRU socket to the PC via the SoundBlaster MIDI cable. This way the computer receives valid data. If I feed the Juno-106 output straight into the PC it receives garbage (System Resets, Controller changes, aftertouch). I only have one input to the sound module so I can't connect both the PC and the Juno-106 to it. The only thing I have noticed is that the SoundBlaster cable is a little loose when connected to the Juno's OUT but sits firmly in the MidiBlaster's OUT. (But only a *little* loose.) If anyone's got any ideas on this I would be most grateful. TIA James Macfarlane :( >>> bs12@central.napier.ac.uk >>> ========================================================================= Date: Tue, 9 May 1995 11:24:07 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Phillip Djwa Subject: powerbook serial expander?? Sorry for the topic that's a little off the track, but you guys are an aware bunch. I'm aware of the extra serial ports for NUBUS, but anyone got an idea for this? rolnick@rpi.edu sez: >HELP!!! > >Does anyone know about devices which put extra serial ports on a Mac? >Particularly devices which will work for a PowerBook?? (Like, maybe >something which hangs off the SCSI port?) I need to get such a device in >the next few days for a performance project. I keep hearing rumors fo such >devices (the Axiion, for one), but can't seem to get any hard info -- and I >need to order it ASAP!! > >Thanks for any help. You can reply to me or direct to Neil! Thanks for any help, 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: Tue, 9 May 1995 11:45:31 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Concert report: Il Gruppo Live! Comments: To: emusic-l >From the description alone, I knew this was going to be a concert which was right up my alley. I was not disappointed. The experimental Theater is a little bitty one - seating for maybe 100 people in three rows, right up close to the stage. A very intimate setting and an excellent one for this concert. As I'm getting settled in to my seat, I take a look at the stage. Hmmm. Two two-tier synth stands, okay. Drum set and a couple hand drums, okay. Lava lamp, definitely okay. Brass bowls. Hmmmmmm....... Il Gruppo started off cooking and never quit. The songs were segued, so I'm not going to try to do a title-by-title analysis, just give impressions. There was a break between the first piece and the second, which from later conversation I gather wasn't intentional, but which worked nicely anyway, as it gave the band a little better chance to gauge the audience (which was firmly in the hands of the musicians). The first piece made an excellent Kraftwerk-like use of vocal samples ("Raindrop."), and tinkled and popped and chugged along with a lot of momentum, just like a good Kraftwerk piece. A great start. It built well and ended with quite a bang. The JD-800s impressed me - they're quite capable of fillings-loosening bass, just like the D-70. The sequenced rhythm parts were marvelously well-constructed, slowly shifting in timbre, never quite exactly repeating. The timbres were the perhaps the best thing about the pieces - beautiful shifty stuff, which when combined with the cookin' rhythm tracks, the live drumming, and the great vocals, added up to an impressive whole. Jason indeed came up with some up-your-nose noises: ratchety nasty stuff. *Good* stuff. Let's see, octave-double Sprechstimme, check. Oh, and the brass bowls! At one point, all of the players stopped playing and grabbed a brass bowl. They tapped they, scraped them, and waved them at a microphone which was hooked up to a nice long delay line. Whee! Kraftwerk meets Stockhausen. I mentioned the possibility of bowing the bowls afterward, but I came up with another alternative as well: find a joy buzzer and use *that* to excite the bowl. :) This was for me perhaps the coolest thing that they did. Visually interesting, and aurally exciting. A really cool bit. The concert generally reminded me a lot of the stuff that the Team likes to do, with more beat. I wish I had a recording of this. Badly. I'll not go into the after-concert get-together, thiough I will mention that we went to a restaurant and ended up having Domino's deliver pizza there... A rather surreal evening, all told. Viva Il Gruppo! --- Joe M. ========================================================================= Date: Tue, 9 May 1995 10:09:22 GMT Reply-To: Michael_S._Walter@efcom.wolfe.net Sender: Electronic Music Discussion List From: "Michael S. Walter" Organization: efcom Subject: Re: powerbook serial expander?? Comments: To: LISTSERV.AMERICAN.EDU!EMUSIC-L@news1.wolfe.net There Is an adapter kit that costs about $1500.00. You can check with your local Mac Dealer. ========================================================================= Date: Tue, 9 May 1995 13:54:30 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: MIDI Connections I think you should be going from the Juno to the PC, then controlling the MIDIblaster from the PC's MIDI thru, or you'll need a MIDI switcher (not that expensive). ========================================================================= Date: Tue, 9 May 1995 17:56:54 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Angie Revis Subject: Concert: Flute & Electronics Comments: To: flute-m@unixg.ubc.ca In-Reply-To: <950509135429_112462978@aol.com> You are cordially invited to a flute & electronics concert given by Angie Revis, to be held on Tues May 16, 8:00pm, at Peabody Conservatory. (Baltimore, MD) The program will include: Intuition Greg Yasinitsky Narcissus Thea Musgrave Unlikely Conversations Michael Uhrich Rain Dance Mark Phillips VCLISE10 Charles Kim and will conclude with alternative rock-n-roll from Angie`s new band, TERMITE. Admission is FREE, reception to follow. ========================================================================= Date: Tue, 9 May 1995 18:22:35 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Jonathan S. Morris" Subject: Re: MIDI Connections Does the Juno 106 send "active sensing" messages? some synths that are that old send midi messages at regular intervals just to let other midi devices know that they're there. This practice was abandoned, but some machines, like the short lived DX9, will give most midi rigs fits by sending out these messages that other devices don't respond to properly. It could be that by sending the Juno 106 out thru the midiblaster, active sensing is filtered out. Or, I could be totally wrong. Just a guess. Jon ========================================================================= Date: Wed, 10 May 1995 09:46:05 GMT Reply-To: wonnacott@tasc.novell.leeds.ac.uk Sender: Electronic Music Discussion List From: Stu Subject: Re: Midi files/software archives on the Internet > 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 Every time I try to access this site it tells there is somthing wrong with the way our server is setup, please could you give any addresses of the mirrors for this site Thanks in advance. .STU. +-----------------------------------+ | WONNACOTT@TASC.NOVELL.LEEDS.AC.UK | +-----------------------------------+ ========================================================================= Date: Wed, 10 May 1995 11:51:17 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Masato Kamikoriyama." Subject: Re: powerbook serial expander?? Hi! Port Juggleer from momentum inc. increases one serial port to four. Please contact following address; momentum inc. 328 Uluniu Street Ste 207 Kailua, Hawai 96734 tel: 808-263-0088 fax: 808-263-0099 I hope this info is helpful to you. ========================================================================= Date: Wed, 10 May 1995 12:45:50 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: William Albert Davis Subject: Sounds that cause defecation--Summary of Replies Comments: To: Stumper-list , Michael Massey Comments: cc: allmusic@listserv.american.edu I posted a query about the somewhat unpleasant but interesting notion that there is a noise, tone, or sound that would cause the listener to defecate, which I had heard long ago on an old Dick Cavett show. I didn't hear much from STUMPERS, and thankfully got no flames on my bad taste, so I tried posting to some music listservs and other sites. Though no one led me to a authoritative study or source, I did receive some more general replies: FROM DAVID GOLDFAYL: I'll tell you what I remember from my spotty-faced undergrad days as a music student ...The French civil police had developed a dispersal technique post May '68 riots. This was a sound 'cannon' which would emit the frequency at extreme volume. The effect of this was to cause two general responses (apart from the sheer discomfort due to the actual volume). Firstly, expelling waste from the bowel, bladder and stomach. Which, yes, is a nice way of saying you crap yourself, wet yourself and vomit uncontrollably. The second response is a mixture of panic and fear which results in a flight response. It all sounds very messy and unpleasant! Likewise, I remember hearing of a particularly anti-social activity that the CIA had participated in which consisted of emitting similar tones through telephones. This required that the original handset speaker itself be replaced surrepticiously so that it was appropriately robust to the task's needs - which I don't think I mentioned was to addle the "target's" brains for the medium to long-term. This enabled a truly remote assault as all that was required was a phone call to the target's number and, when the right person answered, letting fly with the nasty sounds. FROM BRIAN COATES: I know _of_ what you are talking, but not many specifics. I heard that a 17Hz sine wave played loudly enough would cause that. FROM richm95252@aol.com: Yeah, I remember reading about that. The original ref was, believe it or not, Oui Magazine around 1978 or so. In "Openers" section. The rumor was that very low-frequency sound [around 20Hz or less at a very high amplitude [maybe 140+dB would cause that particular response. The same article suggested that strobing infrared light at 8 Hz [to match alpha rhythm, natch] would cause seizures in the target audience. The goal was riot control. FROM TOM JORDAN: I heard a story about this around 1975-76. It was about chopper pilots being diapered before going out to fly their missions with very low frequency sound systems mounted on the underside of their ships. Demoralizing warfare seems like a rather redundant notion. I've never heard anything about this since then. FROM DANA LEIGHTON: I've heard the frequency is somewhere aroung 5 hz. This is *extremely* low frequency, even inaudible. I don't have any facts to corroborate this, just heresay. FROM PATRICK POWERS: Supposedly very low frequency sounds (less than 16 Hertz, or cycles per second) cause the hearer to defecate. I never believed this, though. FROM BRAD BARKETT: While I am not a musicobiologist, I believe there is a firm possibility that certain tones cause Central Nervous System responses, since the system it self makes sound. In truth, I have no idea if this can happen or not... FROM JERRY L. YOUNG: If [the Dick Cavett interviewee] was an associate of Cage, there is a good chance it was David Tudor, who was his musical assoc. for over 40 years, is an electronics whiz, and wrote a piece called "Rainforest" in which speaker drivers cause large sheets of metal to vibrate -- often at very low frequencies. Perhaps there is a connection there. FROM MARIAN DRABKIN: Perhaps your memory is leading you to a discussion of sympathetic vibrations? FROM CAROLYN AGENJO: About 20 years ago, I heard a Moody Blues (mus. group) interview in which they discussed this same tone and its effect. FROM NINA GILBERT (replying to a direct query): All I could imagine would be that a very low, very loud sound, perhaps with a certain timbre, might have something like that effect on the nervous system. You know that you "feel" certain sounds, especially loud, low ones, almost through your stomach. Imagine exaggerating that. Also, you could probably stimulate certain nerves and muscles with vibrations. -- There is a field called "psychoacoustics." I don't know if you could find anything by tracing that at all. Thanks to all who replied, Bill Davis ****************************************************************************** William A. Davis * wmadavis@iglou.com * P.O.Box 337 * Ghent * KY * 41045 ****************************************************************************** ========================================================================= Date: Thu, 11 May 1995 09:29:19 +0930 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter Mcilwain Subject: CV to MIDI converters? In-Reply-To: I am looking for information about where I can get a hold of CV to MIDI converters. I know several years ago there where a few companies around which where making them but I have not been able to find any information on them. I need this this info rather quickly, so if you can help I'd appreciate it if you could email me. Thanks Peter Mc Adelaide Aust. ========================================================================= Date: Thu, 11 May 1995 00:39:10 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Masato Kamikoriyama." Subject: Re: CV to MIDI converters? Hi! Roland released CV/Gate to MIDI convertor called MPU-101. However it was discontinued. So loolking for second hand market is the only way to find. Masato Kamikoriyama ========================================================================= Date: Thu, 11 May 1995 00:44:19 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Art Joyce Jr." Subject: Re: New thread from Dance&msc/LXP-5? In a message dated 95-05-03 21:47:31 EDT, Nick wrote: >(iii) the LXP-5 is a little flakey. I had mine serviced a couple of months >ago, with new front panel encoders put in. Just yesterday (three days >before some important live work) it looks like it's started to go again... I must agree Nick. I had an LXP-5 flip out, had to have it replaced (warranty). The MRC I had also flipped once, as did a friend's that lives here... Perhaps in Lexicon's first attempt at good sounding fx w/ a price closer to Terra Firma they let their quality control slip a bit..? I had several probs. w/ my MRC especially, and finally got rid of all three in favor of an Ensoniq DP-4... (which I LOVE!) ARTIS1@aol.com ========================================================================= Date: Thu, 11 May 1995 01:03:40 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Art Joyce Jr." Subject: Re: FX On 5/01 (sorry, I've been lacking in checking my mail lately!), Bill Fox wrote: >Art, when you say that you, "mix together two different sounding reverbs >along w/ a little 100ms slap and maybe a 400ms or so delay, for one big >but transparent reverb," how do you mean this? Are you using multiple >effect sends and returns in parallel? Or are any of your effects in series? Hi Bill! I have a Tascam M-3500. It has 6 seperate sends on it. On the many of elements in a mix, I will often use the above effects on seperate sends, emphasizing, for instance, a little more of the slap on a lead vocal or more of the long delay on a lead guitar, etc. but usually have at least a 'taste' of each fx on most of the tracks. This allows for a very controllable and coherent 'environment' that I can usually get together quickly. Then I have two (or three) sends left that I will often use on those instruments that are turning that great mix into MUSH. A particular favorite: If an acoustic guitar or other plucked sound is crowding your song (simple but effective, and fast): Pan the original sound all the way right. Add no other effects except a 10 to 15 ms. delay and pan all the way left. Balance with your ears. (the meters won't look right because your ears are getting fooled...). What makes music, in my opinion? (Not that I'M the answer man! haha...) Modesty Unity Sincerity Intelligence Craftiness ARTIS1@aol.com ========================================================================= Date: Thu, 11 May 1995 02:00:14 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Jonathan S. Morris" Subject: Re: CV to MIDI converters? The Ensoniq ESQ-1 has an expression pedal input which is basically a CV in, which is assignable to either the mod wheel or midi volume controller. Depending on what other devices you're using, you could then map that controller information to whatever controller number you want. If you can find one, you could probably get it pretty cheap, and you would also be getting a multitimbral synth (although its only got 8 voices), and an on-board sequencer. I don't know what kind of CV source you're using, but here are the specs for the CV input on the ESQ-1 as they are given in the manual: 3-conductor (tip=control voltage input, Ring=2KOhm resistor to +12 Volts, Sleeve=ground) 500 Kohm input impedance, DC coupled. Input voltage range= 0 to 10 volts DC. Scan rate = 5mS (maximum recommended modulation input= 25Hz). For use with an external control voltage, use a 2-conductor cable with the voltage on the tip and the sleeve grounded. If you need any other info about the ESQ, let me know. Jon jonmorris@aol.com ========================================================================= Date: Thu, 11 May 1995 16:25:18 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Powerbook plea Comments: To: max@vm1.mcgill.ca, emusic-l@american.edu Hello maxers and emusicians, my apologies to anyone on AND who will receive this twice. Some friends of mine are having MIDI trouble on their PB520. Since there was some recent discussion (Dec-Jan) on PBs on the MAX list and because there are very knowledgable folks on EMUSIC-L, I'm hoping I can get some help for them. Thanks if you can help (by sending to me or sending to Tom and Amelia whose intransigent PB it is!) ======================================================================= Date: Wed, 10 May 1995 19:41:15 +0200 From: barfry@xs4all.nl (Tom Fryer & Amelia Barden) Subject: More help.!! [other headers removed] Hi David ,We can't get our News reader happening yet so could you please post the following on rec.music.synth ( I think that's right) [But I can't access this newsgroup so these lists will have to do.] >>We recently purchased a powerbook 520 in Australia so that we could keep >>working whilst in Europe.Stupidly we trusted the salesmans advice as to MIDI >>compatability, we tested our applications to see if they ran but not the MIDI >>side.Everything was fine on the surface.Now here in Amsterdam away from our >>help network we find that there's a problem with the shared modem/printer >>port.No-one here is able to help!?Does anybody know of any problems using >>this powerbook and MIDI?We've tried using Patchbay but this doesn't seem to >>be working properly either.The applications we use are Max,Pro5,Alchemy and >>Encore.Please Email us at barfry@xs4all.nl if you can shed any light on our >>problem.Thanks.Tom Fryer & Amelia Barden Thanks Davey ========================================================================= Once again, that e-mail address is and the owners of the address are Tom and Amelia. Or you can mail to me and I'll transfer it to them. Regards and thanks, David Rodger musdr@lure.latrobe.edu.au ========================================================================= Date: Thu, 11 May 1995 07:32:37 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Doug Ramsay Subject: Resetting DX7S system Comments: To: rec.music.makers.synth.usenet@cs.utexas.edu, synth-l@listserv.american.edu, xeno@iastate.edu, emusic-l@american.edu Hi all: It's me again. I've had problems using my DX7S with both my sequencers (MTPro 5.2, Mac) and Yamaha QX5FD. No sound upon playback. Other than checking to see if one of my MIDI cables are bad, someone suggested yesterday that I reboot the DX7S system - the manual doesn't explain how to do that or how to get diagnostic screens, does anyone know how to perform these tasks? Thanks, all help is greatly appreciated. Doug ========================================================================= Date: Thu, 11 May 1995 12:22:20 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Jon M." Subject: String quartet on ASR10 I have an Ensoniq ASR10 stereo-sampler and I have the intention to form the sound of a string quartet, (two violins, viola and cello), in a way that comes as close as possible to the flexibillity in expression that thoose instruments have. Using different layers, multisampling and all of the 8 instrument-positions, (instrument-buttons), that the Ensoniq provide I would like to be able to use the whole quartet simultaneously, from an external sequencer. I'm be very interested in any ideas, comments, advice or samplings that anyone might have concerning this matter and I'd be very thankful if you'd mail this to the list or to me personally. Jon M. Stoppy@aol.com ========================================================================= Date: Thu, 11 May 1995 16:09:00 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Craig Marks Subject: playback Comments: To: emusic-l Comments: cc: synth-l Hi. I'm thinking about subscribing to Recording Magazine's new "Playback" CD series. Anyone who is currently getting it have any reviews? Is it worth the money? What comes on it? Examples? Programs? Thanks in advance for any input. -Craig ========================================================================= Date: Fri, 12 May 1995 03:50:28 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Hoon Kim Subject: Re: playback It may be. Personally I didn;t find it too amazing. 1. Big section on reader's tape? 2. If you use sampler, it will definitely help, as long as you don't use your music commercially. 3. There are some helpful things in it though. Politely suggest you to grab a copy and review first. more q? e-mail at Qusic@aol.com ========================================================================= Date: Fri, 12 May 1995 10:00:53 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: MIDI Connections >Does the Juno 106 send "active sensing" messages? some synths that are that >old send midi messages at regular intervals just to let other midi devices >know that they're there. This practice was abandoned, Absolutely not. My PC-200, R-8II and (!) Wavestation A/D all send it. The D-70 might as well; I don't remember, 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: Fri, 12 May 1995 08:52:59 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: playback Comments: To: emusic-l@american.edu Craig asked: > Hi. I'm thinking about subscribing to Recording Magazine's new > "Playback" CD series. Anyone who is currently getting it have any > reviews? Is it worth the money? What comes on it? Examples? > Programs? Thanks in advance for any input. The first CD came free with the April issue of Recording. Before it arrived, I had already subscribed because (1) at $3 per CD, I felt it was a good deal and (2) I'd be able to hear examples of readers' tapes and finally judge the "goodness" of the reviews. The next CD, due out any day now, will have my best friend on it in the Reader's Tapes section. The CDs are supposed to be audio and CD-ROM simultaneously. The audio portion will have samples, readers' tapes, reviewed product examples, and whatever else that will compliment the magazine. The CD-ROM portion is supposed to contain samples (in specific sampler formats), software, and whatever else that will compliment the magazine. Bill Fox wbf@aloft.att.com ========================================================================= Date: Fri, 12 May 1995 14:56:34 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: RonG225zt@AOL.COM Subject: Re: Powerbook plea I have no problem running Encore or other midi apps on my PowerBook 520c. I have an internal modem installed and use the shared port for midi. I'm running OMS which automatically checks the ports for midi interfaces, since you have MAX, I'll assume you've got it too. Try entering your OMS studio set up and choose "interfaces" from the "studio" menu. If none show up in the diagram then your interface may be broken. You should make sure that appletalk is turned off in the chooser. Also, I have had some weird problems with the MOTU Midi timepieces and PowerBooks when running Encore, MastrerTrax 4 and Vision. Finally, I have heard from one person that MAX wont work on a 520, but I haven't been able to try this out myself. Good Luck Ron RonG225zt@aol.com ========================================================================= Date: Sat, 13 May 1995 12:00:22 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Deved Smith Subject: Re: MIDI Connections >Does the Juno 106 send "active sensing" messages? some synths that are that >old send midi messages at regular intervals just to let other midi devices >know that they're there. This practice was abandoned, Absolutely not. My PC-200, R-8II and (!) Wavestation A/D all send it. The D-70 might as well; I don't remember The D-70 and D-50, according to Roland, do not send active sensing. Roland started it with the J series. deved@AOL.com ========================================================================= Date: Sat, 13 May 1995 15:10:34 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Gence Soysal Subject: Fractal Music Is anyone out there involved in fractal music? I am planning on working with fractals to generate pieces, but my current knowledge is too little to accomplish such a thing. I was wondering what type of algorithms can be used to translate fractals into music, as well as what programming language and midi system would be most suitable to actually convert fractals into a music piece. If you are working on fractals and have a lot to say/share, you can respond by private e-mail, I would be very thankful. Gence Soysal. ========================================================================= Date: Sat, 13 May 1995 17:04:35 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: HELP with Soundblaster AWE32 I have a problem with my AWE32 soundblaster board. It was working fine, then when I put 2) 1-mb SIMMS in the slots, I suddenly lost output on one channel. I took the board back and got another (they exchanged no prob) and I STILL only get one channel. With or without SIMMS. Tried different cables. checked jumpers. Any ideas? Very frustrating. ========================================================================= Date: Sat, 13 May 1995 18:42:55 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: CV to MIDI converters? I think Korg also made one for a while - should be findable at swap meets and junk shops. ========================================================================= Date: Sat, 13 May 1995 19:26:06 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Help with AWE32 It 's working. I ran the SB diagnose utility and it seems to have reset SOMETHING such that now I get both channels. At least I hope that was the problem. :) ========================================================================= Date: Sun, 14 May 1995 14:20:33 +0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Phirodom Rodsawaddi Subject: Where is there to find WS A/D's sample patch? Anybody know exactly where to find Korg Wavestation A/D's patch? I tried several places including ftp.ucsd.EDU, Wavestation WWW, and so on and never find any there. Another question is that is there any way to make my WS A/D to sound like buzzing FM Sound Blaster? I read in Synthesizer Technique (by Keyboard Magazine) about the real FM and understand that it must take a modular system to do FM synthesis. ========================================================================= Date: Sun, 14 May 1995 11:27:42 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Martin Russ Subject: Administative FAQs Comments: To: SYNTH-L@LISTSERV.AMERICAN.EDU The document which follows is the result of private mail with Mike Metlay and Joe McMahon. I asked lots of questions and have assembled the answers into this format. Joe has okayed it. This is the first mailing. --------------------------------------------------------------------------- Warning: Long Document (326 lines, 2555 words, about 5 pages)-------------- EMUSIC-L and SYNTH-L Frequently Asked Questions: Administration This document is posted approximately every two weeks. It is intended that this document should answer many of the questions asked by newcomers to the lists. Comments and corrections should be sent to the maintainer, Martin Russ, at: mruss@midi.dungeon.com This is Issue 1.0. 14 May 1995. --------------------------------------------------------------------------- "What are the EMUSIC-L and SYNTH-L lists for?"***************************** EMUSIC-L and SYNTH-L are for the discussion of electronic music in general: its history, practitioners past and present, equipment, techniques, trends, research, development, resources, you name it. They exist as a 'post-moderated' alternative to the rec.music.makers.synth newsgroup. (post-moderated means that the moderators monitor what is posted, and sometimes remind posters about the 'rules': see below for the 'rules'). A digest is also available for each list. This collects all the postings for a day into one e-mailing. "Who are the moderators?"************************************************** Joe McMahon and Mike Metlay have been on here for over seven years, and Joe has been moderator for six of them. The aim is to keep the mail flowing and the illegal and blatantly out-of-line traffic to a minimum. Joe can be contacted at: mcmahon@clark.net Mike is currently taking a well-deserved rest from moderating the list after the birth of his first child, Julia. "So, can I post anything I feel like?"************************************* Well, no. There are some RULES. The basic thrust of EMUSIC-L is to provide a forum for the discussion of music made by electronic means. The actual means is secondary (and more the subject of SYNTH-L). What we are concerned with on EMUSIC-L is the music, composing, and related topics. Therefore: 1) Ads are not permitted on EMUSIC-L. Advising someone as to whether they are getting ripped off *if they ask the list* is permissible; otherwise, use private mail. Requests for addresses of mail-order firms, etc. are OK. Cutting deals on your own personal equipment is not OK. Please do it privately, or subscribe to SYNTH-L, where you'll reach a more responsive audience. Requests for advice as to whether a price is good or not are marginally OK, but would probably reach a more knowledgeable audience on SYNTH-L. Prices really aren't so much of interest unless either the entire world (literally) should know about this great deal, or you have inside information on a new product or upgrade. Exception: if someone has gone through the trouble of composing, recording, and pressing a CD or tape, submitting an article describing the process and their experiences and mentioning that the tape or CD is available for purchase is OK. Posting repeated ads for the CD is not. (A single mention is marginally acceptable; a 1-line mention in a signature file is fine.) 2) Discussions as to the relative merits of hardware/software/etc. are permissible, as long as the reviewers state evidence supporting their opinions. Ad hominem attacks will not be tolerated. Arguments based solely on personal taste are not acceptable. It is preferable to request private mailings, which you can summarize and post back to the list. Reviews are useful. Mutual admiration societies are not. 3) All members *will* be treated with kindness and respect. There is no such thing as a dumb question on this list. If you can answer, answer, and be nice about it. Otherwise, say nothing. If you've got a problem with what someone has had to say, discuss it in a civil manner. If you can't do that, take it to e-mail, or just forget about it. 4) EMUSIC-L is meant to be for the discussion of electronic music, in the studio, the classroom, in performance, and on recordings, including techniques, resources, user reviews and experiences, and speculation on futures. Some divagations will be tolerated, as it's rather nice to have a little humor on the list; however, the list owner(s) (Joe McMahon at the moment) will maintain the final say as to the subject matter on the list and will move to terminate off-topic, pointless, and (especially) rancorous discussions. 5) Please refrain from adding to the noise level by commenting about accidental private posts to the list or the accidental sendings of SUBSCRIBE requests or suchlike to the list. That is the administrators' job. If you must pour out your wounded feelings ;-), either to Joe, or to the offender, use private mail. 6) The listowner(s) are permitted to be as arbitrary as they please. We have only once had to take action against a member of the list for breaking these rules, even when they hadn't been stated explicitly. We will notify offenders via private mail and will wait for a response. But we don't have time to play Politeness and Germaneness Monitors. We will remove users from the list only if we must, and we always give people the benefit of the doubt when possible. But be assured that we will act to preserve the quality of discussion on this list. "How did EMUSIC-L and SYNTH-L start?"************************************** Perhaps a bit of ancient history is in order here, to show where these lists come from and why they are the way they are.... Many moons ago, when there was for all practical purposes no such thing as the Internet (and there were certainly few or no commercial online services), people had access to cyberspace only through a set of large but mutually exclusive network protocols, generally provided by and germane to their place of education or work. One of these was the USENET hierarchy of UNIX machines at universities and laboratories and a few commercial sites; another was BITNET, an international mail system for mainframe computers used by scientists. Communication between the two systems was possible only in a crude and roundabout manner, so they developed separate systems for dealing with the same needs. In a rough, very general sense, USENET developed the news hierarchy and BITNET developed list servers and mailing lists; in the subfield of electronic music, USENET had the once-quite-small newsgroup rec.music.synth and BITNET had EMUSIC-L. The 'feel' of these groups was in concert with the sort of people using them; rec.music.synth was more open, with college students and commercial users, whereas EMUSIC-L tended toward academic users. This tended to shape the level of discussion and the topics covered, but keep in mind that early on, the overlap between the two groups was relatively small. Some time later, as reliable gateways between BITNET and the rest of the growing Internet allowed for the redistribution of newsgroups as mailing lists, SYNTH-L was launched as a gateway of rec.music.synth posts, so BITNET users without USENET access could enjoy the news there. It was a short, hard-learned lesson; the lack of moderation and the huge number of news articles delivered as email (!) knocked many prospective users for a loop. It wasn't all that long before the USENET feed was cut and the gateways to the news hierarchy were removed, isolating SYNTH-L and effectively removing its reason for existence. At that point, with Joe's blessing, Mike stepped in as conceptual 'parent' of SYNTH-L, and began to promote it as a nice middle ground between EMUSIC-L's often rarified discussions and the daily mayhem on rec.music.synth (now rec.music.makers.s). It was semi-moderated, so postings stayed (by and large) polite and focussed, but long discussions of gear, software, technical problems, and so forth that were considered a waste of time by many EMUSIC-L readers were encouraged, and over the years since then a de facto division between the two groups, and a healthy relationship, has settled into place. It's true that the divisions between topics for the two groups are occasionally blurry, but that's something most folks simply learn to live with and get a feel for. "Is SYNTH-L supposed to be technical discussion of synthesizers?"********** "Does EMUSIC-L cover electronic music in general?"************************* Very roughly, SYNTH-L is for the detailed technical talk, like gear for sale, where to download patches, whether synth A is better than synth B (whatever 'better' means), technical problems and solutions, and so on. SYNTH-L is the stuff that people on EMUSIC-L don't want to have to wade through to discuss electronic music. Conversely, EMUSIC-L is for all the serious (and sometimes not so serious) philosophical discussion on electronic music in its widest sense. EMUSIC-L is the stuff that people on SYNTH-L don't want to have to wade through to discuss gear. In both cases, one could say that this sort of discussion has its place, but people sometimes like to see it, and sometimes don't. All the EMUSIC-L/SYNTH-L division purports to do is allow an approximate separation between the snobs and the plebs. Where people take that is up to them. It's true that there seems to be no set focus or set of aims in these lists. That's deliberate. We are like-minded individuals looking for someone intelligent and knowledgeable to talk to, and the topics range all over the place, as well they should in such a forum. One shouldn't expect any kind of focus in an environment where anything is a potential topic for discussion. "What's the point? It's not what I expected!"****************************** The point is that we don't want you to have unreasonable expectations of what EMUSIC-L and SYNTH-L are 'for'; they are what they are, and most people seem content to enjoy them as they are or guide them elsewhere, either for a while or for good... A good starting point for finding out what the electronic music of EMUSIC-L and SYNTH-L is all about is the EMUSIC-L World Wide Web page at: http://sunsite.unc.edu/emusic-l. "What is MAX, anyway?"***************************************************** MAX is a software toolkit which gives a real-time, interactive, graphical development environment for multimedia, music (and more). Programs are 'written' by connecting together graphical objects, rather than typing text. Typical applications for MAX include: Editors and Librarians for MIDI equipment; Compositional Tools; Utilities for analysing musical performance; and much more. MAX is often mentioned in these lists. It currently exists in variants for the Unix environment and on the Apple Macintosh, although a petition has been mentioned within these lists for a Windows version - contact JOEL STERN on stern@email.loc.gov or j.stern11@geis.genie.com for details. For more information on the Macintosh version, you should try contacting your nearest Opcode dealer. (Opcode distribute MAX for the Mac). Opcode also have a World Wide Web page at : http://www.rahul.net/opcode/index.html. There is also a MAX listserv. Send a message to listserv@vm1.mcgill.ca with a Subject of: Subscribe Max, and the message text: SUBSCRIBE MAX You will then receive daily digests of postings to the MAX list. "Where do I find information on Soundcards?"******************************* Information on soundcards for personal computers can be found in the following Usenet newsgroup(s)" comp.sys.ibm.pc.soundcard.GUS. "Anyone know a good MUSIC discussion group on ?"********* The best place for discussion of almost any group, band, artiste, performer, musician (you get the idea), is the Usenet newsgroups. Try: alt.fan. "Should I respond to a message on the list?"******************************* The whole point of this list is that we attract people who are smart enough to make these decisions for themselves, and do. You can be one of them, if you let yourself. Think and decide for yourself, make mistakes, correct them, learn, move on, and enjoy the trip. Or, if you're paralyzed by fear of doing or saying something wrong, you can choose to lurk forever. Please also read the "So, can I post anything I feel like?" 'Rules' section of this document before posting anything to the list. "How do I send a message to the list?"************************************* For EMUSIC-L, you send your posting to emusic-l@american.edu. It will be automatically sent to all of the other subscribers. You will not receive a copy of your own mail; LISTSERV does this to decrease mail traffic. For SYNTH-L, you send your posting to synth-l@american.edu. "Where is the archive of FAQs kept?"*************************************** This is a new document (as of May 1995). As the maintainer adds new questions this document will be revised, and some questions and answers may be removed. You will be able to ftp the full FAQ file from the Internet. "How do I unsubscribe?"**************************************************** For EMUSIC-L, you send mail to listserv@american.edu with the text UNSUB EMUSIC-L as the body. No special subject is required. For SYNTH-L, you send mail to listserv@american.edu with the text UNSUB SYNTH-L as the body. Again, no special subject is required. If this does not work, you will get a message saying that no entry was found for your ID. Please contact Joe McMahon (mcmahon@CLARK.NET) directly. Do *NOT* post unsubscribe messages to the list. They don't help, and simply irritate other readers. "How do I subscribe?"****************************************************** To join the discussion group on a message-by-message basis, send a mail message to listserv@american.edu with the text SUB EMUSIC-L where "" is your actual first and last name (at a minimum; LISTSERV insists on at least two blank-separated words here). Do not send subscription requests to the list address, as they only serve to annoy the other list members. For SYNTH-L, you do exactly the same, but replace the text 'EMUSIC-L' with 'SYNTH-L'. "How do I subscribe to the daily digest?"********************************** If you would like to get daily digests of the mail to EMUSIC-L, send the following mail to listserv@american.edu: SUB EMUSIC-L SET EMUSIC-L DIGEST where "" should be replaced by your first and last name (at a minimum; LISTSERV insists on at least two blank-separated words here). Note that these two commands should be on separate lines: SUB EMUSIC-L SET EMUSIC-L DIGEST so that the listserv will interpret them correctly. Do not send subscription requests to the list address, as they only serve to annoy the otherlist members. For SYNTH-L, you do exactly the same, but replace the text 'EMUSIC-L' with 'SYNTH-L'. "How do I unsubscribe from the full list and subscribe to the digest?"***** If you would like to get daily digests of the mail to EMUSIC-L instead of the message-by-message form, just send the following mail to listserv@american.edu: SET EMUSIC-L DIGEST You will then get one message per day, which consists of a list of topics, followed by all the messages which have been posted in the previous 24 hours. For SYNTH-L, you do exactly the same, but replace the text 'EMUSIC-L' with 'SYNTH-L'. --------------------------------------------------------------------------- Martin Russ EMUSIC-L & SYNTH-L FAQ maintainer mruss@midi.dungeon.com ========================================================================= Date: Sun, 14 May 1995 13:41:18 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Alex Sanielevici Subject: Re: Where is there to find WS A/D's sample patch? Phirodom Rodsawaddi wrote: > Anybody know exactly where to find Korg Wavestation A/D's patch? > I tried several places including ftp.ucsd.EDU, Wavestation WWW, and so on > and never find any there. You can find a few Wavestation banks (containing perfs, patches and wavesquences) by FTP'ing to WOZZECK.TFO.ARIZONA.EDU. If anyone knows of other good ones, please tell! ///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\ 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 \\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\/// My karma just ran over your dogma. ========================================================================= Date: Sun, 14 May 1995 09:58:21 GMT Reply-To: jetman@tunanet.com Sender: Electronic Music Discussion List From: jetman Organization: tunanet Subject: KeyDisk Terminator Hi, Has anyone worked with Sydney Urshan Music's KeyDisk Terminator? It was advertised in the April issue of Electronic Musician. Supposedly it allows you to run original copy-protected master key disk applications without using the master key disk. Allows user to copy applications to the hard drive where app can be copied unlimited times and launched without installs or authorizations. Am curious to know if it works. Thanks. Jeff Talman jetman@tunanet.com ========================================================================= Date: Mon, 15 May 1995 17:16:04 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Neal Sievwright Subject: Re: Wall Warts Comments: To: EMUSIC-L@LISTSERV.NET, SYNTH-L@LISTSERV.NET I hate wall warts, and I love wall warts !! From A users point of view ! We know we dont like transformers outside the box but that that the way designers work. From an Engineers point of view ! External transformers and supplies simplify our designs - no shielding required. - no space used in our chassis design. - country independant design. - no earth loops or other return loops for induced noise. - no earthing to design, the line side of the supply is already double insulated. - no management complaints about complex designs. - simpler power regulator design - etc. What to do 1. The one transformer replacement This option has two ways to implement it (i) the single secondary transformer - one step down transformer is used to power all equipment from one secondary winding; This is NOT a good idea it's too easy to introduce a signal return path (feedback, noise, ...) into the equipment we want sound not noise from. (ii) the multiple secondary transformer - multiple secondary windings used to power multiple devices - not a bad method to power your rack of equipment but it means having a purpose made supply constructed, and sometimes cutting the leads from our beloved warts (OK now but what about resale), the transformer required may also require to be of a special construct. Attention to earthing still needs to be addressed. 2. The power strip - we all know about power socket strips and homebrew power socket looms by know (if you've being following the treatise so far by the amount of mail generated) 3. All the warts in one box - My solution to mess in the bottom of my rack. Sorry this a Technical solution as well although a little simpler than most. I took a rackmount enclosure purchased from a electronics supplier and uncased my warts, that's right I cut the plastic enclosure off - using a sharp knife and a razor saw {from a hobby shop}, and then mounted the power supply boards, and transformers in the rack case. I also bolted aluminium separators between the supplies. The case was earthed through a common point - the IEC socket mounted on the rack case and power was supplied to the transformers from this common point. The Warts cases were cut along their seams so that they could be glued back together for resale if neccessary (because of the tools used) and so that special plugs moulded onto leads would not be damaged. This method can also use the common transformer method. Hope this helps - cleaner racks for all Neal Sievwright sievwrn@agric.nsw.gov.au >From the Downunder (other) side of the World - aaargh !!!!! ========================================================================= Date: Mon, 15 May 1995 12:34:24 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: John O'Connor Subject: Choosing a keyboard I'd like some advice on choosing a keyboard. I've not really touched a keyboard for several years but I used to be reasonably competant. Mostly classical stuff. My work moves me round a lot so a real piano is not an option. (I had one but last time I tried to move it, I dropped it and it broke.) However, one fairly constant companion is a PC with a soundcard so I started to wonder about a keyboard. The PC has an OAK soundcard with an OPL4 chip, MIDI and a 2MB, 24 voice wave table. Somebody advised me to look in a mag called future music so I bought a copy and phoned up some advertisers. I was told that I could buy a MIDI control keyboard which I could connect to the PC and use the piano voice in the PC. This would then give me an electronic piano. However, nobody could sell me a full size keyboard. This was no help as a short keyboard would not allow me to play the music that I want to play. Also, the only advice on offer was that I could buy a keyboard and then (as if by magic) connect it to the PC and start playing. Nobody could help me with info about connecting things up or what software to use. My card came with some software that plays MIDI files. When I listened to one of the piano pieces, the piano voice sounded rather dirty and distorted. The card itself is capable of sounding a lot better that that. I wondered if alternative software would improve this. I need something that I can shift around myself. It must also be pretty robust. As for budget, $1500 would be tops. That would also imply waiting a while. :-( A lower cost would mean that I could buy it that much sooner. Since a lower price would also allow me to buy some other (unrelated) toys, I would accept reduced features though I would still want a full sized keyboard. (What I mean is that a $500 keyboard and a second hand boat might be more fun that a $1500 keyboard.) I'm a bit limited in information sources as UK & US music mags are hard to find here in Germany. Browsing in shops is also pretty hard for similar reasons. So, trying to distill the above into a set of questions: Is a "MIDI control keyboard" the right thing for me to look for? Can I get a full sized one? Is my OAK OPL4 sound card up to the job? How do I connect it all up? What software do I need? Can I improve the sound with an alternative paiano voice? Should I give up on this approach and buy a self contained electronic piano? Will a weighted keyboard be too much for me to lift and carry? Would it be easily damaged by airline baggage handlers? Do I need to worry about polyphony or multi-timbre features or is that a non issue with a pure MIDI keyboard? How close to a piano equivalent will this get me? What about pedals? What do I need to pay? Is second hand worth trying for? If so, where might I look? (In the UK or, perhaps by mail order from a dealer elsewhere.) Thanks in advance John O'Connor ========================================================================= Date: Mon, 15 May 1995 08:12:21 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "David B. Hunt" Subject: Re: Choosing a keyboard Choosing a keyboard is really not as hard as you are making it to be. Your questions are many but not difficult ones, but instead of anwering ALL of the many questions you have. I can give you a toll free telephone number to a place that can and will answer all of you questions and the also they also have a mail order business so there for you can get everything from one source. the place is: Computers and Music 647 Mission Street San Francisco, CA 94105 telephone # 1-800-767-6161 Fax: 1-415-543-6792 hope this helps Peace Dave ========================================================================= Date: Mon, 15 May 1995 13:42:53 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: john rossi Subject: Re: Choosing a keyboard In-Reply-To: <9505151034.AA08682@gecko.cpn_nis> On Mon, 15 May 1995, John O'Connor wrote: > > I was told that I could buy a MIDI control keyboard which > I could connect to the PC and use the piano voice in the > PC. This would then give me an electronic piano. > Technically, it would give you a complete General MIDI Keyboard unit > However, nobody could sell me a full size keyboard. This > was no help as a short keyboard would not allow me to play > the music that I want to play. > I'm assuming that you mean 88 keys. 61 key units are the standard and there are a number of 72-76 key units out there. > Also, the only advice on offer was that I could buy a > keyboard and then (as if by magic) connect it to the PC and > start playing. Well, you would need to add the MIDI connector to the card, assuming that it needs a Soundblaster type MIDI cable attachment. > > Nobody could help me with info about connecting things up > or what software to use. Sounds like you were trying to deal with morons. > > My card came with some software that plays MIDI files. When > I listened to one of the piano pieces, the piano voice > sounded rather dirty and distorted. The card itself is Most wavetable pianos are not that bad. It sounds like you were getting a 4-OP FM piano not the wavetable piano. > > I need something that I can shift around myself. It must > also be pretty robust. Id go with a 76 key synth-touch keyboard. Get a Roland A-50 if you can find one. This is an excellent controller keyboard, has 76 keys, and allows most kinds of MIDI controllers, including polyphonic aftertouch. > > Is a "MIDI control keyboard" the right thing for me to look > for? It would work but you would probably be happier with a 'synth' instrad of depending on your PC soundcard. > > Can I get a full sized one? I'm not aware of an 88-key synth weight keyboard. > > Is my OAK OPL4 sound card up to the job? > It depends on what the job is. > How do I connect it all up? With MIDI cables > > What software do I need? Again, it depends on what you want to do. > > Can I improve the sound with an alternative paiano voice? No, I don't believe that that card supports downloading samples > > Should I give up on this approach and buy a self contained > electronic piano? Probably, but I wouldn't get a 'piano' per se. I'd look for a sample playback synth with a decent piano sound. > > Will a weighted keyboard be too much for me to lift and > carry? Would it be easily damaged by airline baggage handlers? Weighted keyboards are pretty much useless for anything other than piano, clav, and to some degree vibes sounds. It is hard to articulate brass, woodwind, string, and synth sounds with a piano keyboard. In other words, I believe it will be easier for you to play piano sounds with a synth-weight keyboard than synth sounds with a piano-weight keyboard. However, if it is piano that you are primarily interested in, get a piano-weight keyboard. > > Do I need to worry about polyphony or multi-timbre features > or is that a non issue with a pure MIDI keyboard? Most control keyboards will give you what you want. Most synthesizers made today also allow for quite extensive use as a control keyboard. Most also provide local-off functions. > > How close to a piano equivalent will this get me? > Only as close as the samples you are playing. > What about pedals? > Most control keyboards allow for at least 2 on/off pedals for things like damper and at least one CV pedal for things like volume. > What do I need to pay? In $US terms you should be able to find something satisfactory for about $1500 for a synth. Yous should be able to find an A-50 for that money also. > > Is second hand worth trying for? If so, where might I look? (In > the UK or, perhaps by mail order from a dealer elsewhere.) By all means. In your case a good used piece of equipment would probably better suit your needs than a lesser quality piece of new gear. John 3 ========================================================================= Date: Mon, 15 May 1995 13:49:12 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Steinkamp Subject: Nightingale The Jr. High in my district is considering purchasing Nightengale for the Macintosh. The major advantage, in their eyes, is the OCR scanning capabilities. Any comments? Thanks in advance. Mike Steinkamp Musician, Educator http://unitravel.com/mstein/ DeSoto Public Schools/Jefferson College vdd001@mail.connect.more.net "Education is the art of explanation." ========================================================================= Date: Mon, 15 May 1995 14:10:30 CDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Kevan L. Moore" Subject: any full-size 5-octave keyboard manufacturers? i recently had occassion to hold a dx7 up to an 88-key keyboard and was not surprised to find that 5 octaves on the dx7 more than a keywidth shorter than the same 5 octaves on the 88 key keyboard. this confirmed a suspicion i had had all along. 5-octave keyboards are usually not 'full size' as they claim to be. does anyone know of a FULL SIZE 5-octave keyboard manufacturer? kevan l moore ========================================================================= Date: Mon, 15 May 1995 18:52:03 -0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: damian keller Subject: sound blaster Does anybody know of a list concerned with Sound Blaster or soundcards in general? Any hints will serve. Damian ========================================================================= Date: Mon, 15 May 1995 23:41:16 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: john rossi Subject: Re: any full-size 5-octave keyboard manufacturers? In-Reply-To: <9505151910.AA07578@mx6.msfc.nasa.gov> On Mon, 15 May 1995, Kevan L. Moore wrote: > > this confirmed a suspicion i had had all > along. 5-octave keyboards are usually > not 'full size' as they claim to be. > Actually, this statement isn't really correct, either. When manufacturers are talking about full size, they are contrasting that to mid size (short nearly as fat), or micro like on $49 Casio synths. The 'full size' is approximately (there are small variences among manufacturers and this was covered in a review by Keyboard a few years back). The 'full size' keyboard to which these boards are being compared is really an organ keyboard, not an 88 key piano keyboard. Specifically, the key widths are comparable to the original Pratt-Reed designs which were used for almost all analog synths in the 70s and early 80s. I have a MiniMoog mounted on a three tier rack just above a Wavestation. The keys on the Mini line up exactly with the wavestation keys. The Wavestation, K2000, and Obi Xk all allign almost perfectly, as well. I would be very surprised if Roland and Yamaha keyboards were very different. I believe the standard 'full size' keyboard in synth-weight has the key spacing of those earlier organ keyboards. John 3