========================================================================= Date: Wed, 24 May 1995 03:02:37 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Khaled I. Elsayed" Subject: Emagic sequencer help Comments: To: EMUSIC-L@american.edu Hello. I need to get a hold of the tutorial manual for the Emajic LOGIC sequencer program which I recently purchased. It is a very powerful and complicated little program, so finding my way without a guide is difficult. Thanx. DooberK@aol.com. ========================================================================= Date: Wed, 24 May 1995 13:50:51 +0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Uri Bruck Subject: Re: Emagic sequencer help Comments: To: Electronic Music Discussion List In-Reply-To: <950524030237_10405229@aol.com> On Wed, 24 May 1995, Khaled I. Elsayed wrote: > Hello. I need to get a hold of the tutorial manual for the Emajic LOGIC > sequencer program which I recently purchased. It is a very powerful and > complicated little program, so finding my way without a guide is difficult. > Thanx. DooberK@aol.com. > I tried this sequencer for a couple of days, and returned it. It is certainly complex, but I found it lacking. First of all it refused to deal with anything that has changing tempo. Another interesting thing was a message "Midi file too complex" I got when I tried to load a sequence prepared with another program. The entire installtion procedure is a bit weird too. Can't help you with the manual. I returned it with the rest of the package. Uri BTW, once you send in your registation card (or diskette) you can probably get another copy of the manual from the manufacturer. ========================================================================= Date: Wed, 24 May 1995 14:56:42 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ferdinando Villa Subject: Re: TG 500 In-Reply-To: <950523222208_10151889@aol.com> from "Davvid Brooks" at May 23, 95 10:22:09 pm > > HAS ANYONE SENT A SDS FILE TO THE TG 500? CAN THIS BE DONE WITHOUT $$$? > If you mean "without buying the extra sample RAM" the answer is NO. The menu pages for SDS won't even appear if you don't have the RAM installed. And, of course, 1M of that RAM is worth a used sampler. I bought the TG because of the RAM, and the reseller did not tell me that it had to be bought extra. If I had followed my istinct, there would be one more dead reseller in Italy. -- Ferdinando Villa, dr. Institute of Ecology Direct phone: +39-521-905615 University of Parma FAX: +39-521-905665 Viale delle Scienze e.mail: villa@eagle.bio.unipr.it 43100 Parma, Italy villa@sparrow.bio.unipr.it ========================================================================= Date: Wed, 24 May 1995 09:45:47 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter Elsea Subject: Looking for UCSC Alumni Comments: To: EMUSIC-L@AMERICAN.EDU The University of California, Santa Cruz, Electroninc Music Studios are celebrating their 25th year with a concert on June 11. (3 PM at the UCSC Concert Hall). I would like to include a "Where are they now?" section in the program mentioning the current activities of past participants in the program. If you are or know such a person, plese send me a note: elsea@CATS.ucsc.edu I promise not to sic the fundraisers on you. Peter Elsea UCSC ========================================================================= Date: Wed, 24 May 1995 14:41:00 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Craig Marks Subject: 'net research Comments: To: emusic-l Comments: cc: synth-l I'm starting a "new" business -- rather, making my music business official, and I was wondering if anybody knows if I can use the internet to verify that my business name will not infringe on a previously existing copyright or trademark. I imagine that this would be possible via a connection to the Library of Congress, but I don't really know. Any input, ideas, suggestions? Thanks. -Craig ========================================================================= Date: Thu, 25 May 1995 13:33:49 -0700 Reply-To: bc492@scn.org Sender: Electronic Music Discussion List From: SCN User Subject: EMAGIC LOGIC Comments: To: EMUSIC-L@AMERICAN.EDU Dear Uri and Other Subscribers, I'm checkin' out the market for sequencers, found Logic's specs attractive, but was dismayed to read negative comments regarding this program. Have any of you out there had any firsthand experience with it that you'd care to share with the rest of us? Thanks, folks! -- --=[ E r i c I a n S l u y t e r ]=-- 2021 4th Avenue #405, Seattle, WA 98121-2421 email: bc492@scn.org telephone: (206)728-7145 ========================================================================= Date: Fri, 26 May 1995 00:42:14 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Davvid Brooks Subject: Re: TG 500 Comments: To: EMUSIC-L@american.edu, villa@sparrow.bio.unipr.it i think from now on i will take the maual home and read it before i buy any thing, thanks for the info dave ========================================================================= Date: Fri, 26 May 1995 11:13:34 +0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Uri Bruck Subject: Re: EMAGIC LOGIC Comments: To: SCN User In-Reply-To: <199505252033.NAA24840@scn.org> I have had first hand experince for only two days, about a month ago. So my impressions should be considered in this light (meaning - as first impressions) technical programs - weird installtion takes over windows: emagic is not compatible with virtual memory (swap files), so it disables your swap files, whether you use temporary or permanent the result is detrimental to the performance of the rest of your windows, unless you either install a seperate copy of windows just for that program, or have multiple win.ini files and you don't mind switching between them. Either way, you need 8MB to use this program, even though it says 4 (don't all windows applications) Other things I found unappealing to my needs, and may not be relevant to you: can't use changing tempo, if you do a load a MIDI file with chaniging tempo, it is played with a fixed tempo, the first one found in the file. Some MIDI files it couldn't load at all, gave a message:"MIDI file too complex" I was using version 1.5, which I needed to install in two stages, first version 1.0 and then the update diskette. I have no idea what a MIDI file too complex, and these may have been fixed, or will be in the future. For my use, the program's good features can hardly make up for its disadvantages. Uri On Thu, 25 May 1995, SCN User wrote: > Dear Uri and Other Subscribers, > > I'm checkin' out the market for sequencers, found Logic's specs > attractive, but was dismayed to read negative comments regarding this > program. Have any of you out there had any firsthand experience with it > that you'd care to share with the rest of us? > > Thanks, folks! > > -- > --=[ E r i c I a n S l u y t e r ]=-- > > 2021 4th Avenue #405, Seattle, WA 98121-2421 > email: bc492@scn.org telephone: (206)728-7145 > ========================================================================= Date: Fri, 26 May 1995 01:18:55 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: diode@CONNECTNET.COM Subject: TRANSFER YOUR MUSIC TO CD Comments: To: INFOCD@CISCO.NOSC.MIL, Consumable@pilot.njin.net, EMUSIC-L@AMERICAN.EDU, DEAD-FLAMES@VIRGINIA.EDU, GRUNGE-L@UBVM.CC.BUFFALO.EDU, MAX@VM1.MCGILL.CA, LATAMMUS@ASUVM.INRE.ASU.EDU, middle-eastern-music@nic.funet.fi, RMUSIC-L@GITVM1.BITNET, IAML-L@NRM.SE, allmusic@AMERICAN.EDU, Network-Audio-Bits@Maine.BITNET, MUS-L@VM.MARIST.EDU, soundtracks@ifi.unizh.ch, SYNTH-L@AMERICAN.EDU I will transfer up to one hour of music from any source onto cd for $40. Highest quality, lowest price anywhere. email me for details. ========================================================================= Date: Fri, 26 May 1995 11:37:22 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter Stone Subject: S-COM Virtual Music Workshop discount available! Comments: To: audio-l@itesmvf1.bitnet, csound@noether.ex.ac.uk, daw-mac@netcom.com, emusic-l@american.edu, icma@umich.edu, max@mcgill1.bitnet, mla-l@iubvm.ucs.indiana.edu, mto-list@husc.harvard.edu, music-research@comlab.ox.ac.uk, musprf-l@cmsuvmb.bitnet, nextmusic@eecs.umich.edu, notmus-l@ubvm.cc.buffalo.edu, semla-l@uga.cc.uga.edu, sound@acm.org, synth-l@american.edu, ubmut-l@ubvm.cc.buffalo.edu Virtual Music Workshop in Amsterdam Discount on Symbolic Composer Gaian timespace is alive with algorithms commonly known as nature. The growth of plants, the pulsing rhythms of night and day, the equations of gravity, the turbulent flow of water, the chaotic tides of weather, the physics of light & sound. Dr. Iggy presents Symbolic Composer, which one of the leading high-level music languages in the world, used by music researchers and sophisticated composers in 22 countries. Explore the creative possibilities of Symbolic Composer's huge library of non-linear music algorithms. During the workshop we have a reduced price available for $495 (list price $595). This special price is also available for everyone around the globe. So, if you'd like to jump into the nano-music bandwagon where rocket science meets classic music mastery, it would now be the right moment. As a bonus you will also get a free membership in the S-COM Developers Network. What is S-COM? In shortly S-COM covers a vast library of functions that can be freely combined, extended and applied to any musical parameter. Besides fractal mathematics S-COM includes formalisation of classic composing methods, scales, chords and tunings. There's nothing hard-wired. You maintain a total control on all details. And the new enhanced version traps typical errors and enables learning the system in few days. * Object-Oriented Class System * 350 non-linear music algorithms * Apply algorithms on tempos, zones, tonalities, lengths, symbols, velocities, channels, programs, controllers, durations, grooves and tunings * Section & orchestral hierarchies * Inheritance mechanism * Motives & user-programmable methods * Equal-tempered tunings (n-TET octaves, like 53-tone octave, 21, 24.5 etc.) * Historical and world-music tunings, 300 tunings included * Flexible section timesheets for modelling pop-music * Harmonisation * Dynamics, rhythms and variation processing * Performance fields * Modular expansion * High-resolution MIDI Playback * 256 MIDI channels * Export MIDI files to your sequencer * OMS-friendly * Email support & composer network * For the Mac Consider these advantages * Use models to generate CDs in few hours * "What-if" changes on any parameters * Evolutionary composition by mutation/variation/selection * Quick restructuring of material Ideal for * Contemporary composition * High-end music production * Nano-Music research * Education Powerful Standard * Flexibility that no other music system can match * De facto standard composition modelling language * Fast and compact Macintosh Common Lisp implementation * High-resolution MIDI output developed by GRAME Institute, Lyon, France * Perfect companion for the top-range sequencers and scorewriters If you think it is time to take a quantum leap to the frontiers of new music (r)evolution, Symbolic Composer Pro will be the perfect choice for the serious composers who feel sequencers and scorewriters limiting. To get more information on S-COM you are free to visit Fractal Music WWW pages in Stuttgart http://www-ks.rus.uni-stuttgart.de/people/schulz/fmusic/ Or directly: http://www-ks.rus.uni-stuttgart.de/people/schulz/fmusic/symbolic/mainpage.html Virtual Music Workshop location: MySTer 2000, Lijnbaansgracht 92, Amsterdam, Friday 9 June, time 19.30 A4-size printable (Mac) slide file is available on request. more: psto@xs4all.nl ========================================================================= Date: Fri, 26 May 1995 10:23:17 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Robin Sayer <" Subject: Re: TRANSFER YOUR MUSIC TO CD Comments: To: EMUSIC-L@american.edu In-Reply-To: from "diode@connectnet.com" at May 26, 95 01:18:55 am > > I will transfer up to one hour of music from any source onto cd for $40. > Highest quality, lowest price anywhere. email me for details. > > Yep - Some details please Robin rsay@wimpol.demon.co.uk ========================================================================= Date: Fri, 26 May 1995 06:06:24 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "of the orange county bells..." Subject: Re: TRANSFER YOUR MUSIC TO CD Comments: To: EMUSIC-L@american.edu > I will transfer up to one hour of music from any source onto cd for $40. and then details are... jbell jcb2@rc3a.mdc.com ========================================================================= Date: Fri, 26 May 1995 12:51:02 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Returning in fire and brimstone... Comments: To: emusic-l I somehow myself got knocked off the list in the past few days. I do think I saw an ad going by in the bounced mail (which was still coming to me). Let me take the opportunity to put my listowner hat on and remind everyone that SYNTH-L is available for ads, and EMUSIC-L is not. Thanks. --- Joe M. ========================================================================= Date: Fri, 26 May 1995 16:17:14 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Alexander Valoczki Subject: Re: TRANSFER YOUR MUSIC TO CD Comments: To: EMUSIC-L@american.edu In-Reply-To: from "diode@CONNECTNET.COM" at May 26, 95 01:18:55 am > > I will transfer up to one hour of music from any source onto cd for $40. Highe st quality, lowest price anywhere. email me for details. > ***** NOT FROM THE SERVER GROUP DIRECT REPLY******** Hi my name is Alex and I need a CDR master done from DAT. I was going to do it myself, but your price sounds good to me. Can I have your number so we can talk about this? Mine is 517-482-4792 I need to know a few specifics about your capablities.. Thanks. Alex ========================================================================= Date: Fri, 26 May 1995 16:50:59 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: TRANSFER YOUR MUSIC TO CD In-Reply-To: <9505262017.AA43997@student5.cl.msu.edu> from "Alexander Valoczki" at May 26, 95 04:17:14 pm > > Hi my name is Alex and I need a CDR master done from DAT. > I was going to do it myself, but your price sounds good to me. > > Thanks. > Alex > First: Your mail went to the list and not to the original poster. Please, don't reply to ads here. We try to discourage them. I will be writing to the originator about this. From the look of the original note, this person is not a reader of the list. Second: If you want a one-off, this is probably fine. If this is preliminary to pressing an album, I'd recommend getting Cyberdisk in New York to do it. They might not be as cheap, but you'd be in position to go ahead and press the CD if you decided you wanted to, and their prices are good. --- Joe M. ========================================================================= Date: Fri, 26 May 1995 17:26:12 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Harold C Cowherd Subject: Re: TRANSFER YOUR MUSIC TO CD Comments: To: EMUSIC-L@american.edu In-Reply-To: from "diode@CONNECTNET.COM" at May 26, 95 01:18:55 am More info please. Hal > > I will transfer up to one hour of music from any source onto cd for $40. Highe st quality, lowest price anywhere. email me for details. > ========================================================================= Date: Fri, 26 May 1995 23:40:18 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Davvid Brooks Subject: hey, Comments: To: mark_camp@qmmac.emu.com, EMUSIC-L@american.edu, Service@emu.com, rickk@emu.com i don't really like to first on the block, know the pain. but i would have liked to know about the esi 64, before i commited to the 32. not a real whine i guess. wheres the rom update ? i really found the dsp disk useful and yes musical. let me know if i can buy it somewhere. dave ========================================================================= Date: Sat, 27 May 1995 19:19:10 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Khaled I. Elsayed" Subject: Re: TRANSFER YOUR MUSIC TO CD Comments: To: EMUSIC-L@american.edu I am definitely interested. Call me at 916 442 3553. or email me at DooberK@aol.com ========================================================================= Date: Sat, 27 May 1995 23:14:11 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ryan Lee Withop Subject: Software I have a question about electronic music. Actually, a few. My main interest is, I am looking for some good software for my PC. I have little idea of what good programs are out there and I am seeking advice on which to purchase. What I want is something that already has hundreds of samples that can be played at any note or duration and placed anywhere in the song containing many tracks. I want to produce songs without necessarily going through a synthesizer. On a different note, I want something that I can record into and manipulate. Something that will display the notes I have played and let me edit it. If you can help me out or find someone else who can I would greatly appreciate it. Thank you. Ryan Withop --------End of Unsent Message ========================================================================= Date: Sun, 28 May 1995 04:40:46 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: Software Comments: To: EMUSIC-L@american.edu Why not just buy a nice CD player and a box of CDs? ========================================================================= Date: Sun, 28 May 1995 07:47:24 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: TRANSFER YOUR MUSIC TO CD In-Reply-To: <950527191908_14791433@aol.com> from "Khaled I. Elsayed" at May 27, 95 07:19:10 pm > > I am definitely interested. Call me at 916 442 3553. or email me at > DooberK@aol.com > Once again, with feeling: The original poster is not a member of this list. Sending mail back to EMUSIC-L about it does nothing but make me crazy. You have to go back to the original message, find the address it was sent from, and reply to that. And no, I am not going to help anyone find it out. A "no ads" policy means no ads, and I will not tacitly support them. --- Joe M. ========================================================================= Date: Sun, 28 May 1995 08:49:38 -0400 Reply-To: martino@kolga.edu.ee Sender: Electronic Music Discussion List From: Martin Kernumees Subject: midi and mac and muisc Comments: To: EMUSIC-L@american.edu helo ! I wan to ask how is most better way to connect Macintosh to the midi and synth to the macintosh and which music program is the best for me ??? /.martino ========================================================================= Date: Sun, 28 May 1995 11:43:02 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ian Tilbury Subject: Re: Trnsfr Yr Msc/ DAT Tapes. Comments: To: Electronic Music Discussion List At 7:47 AM 5/28/95, Joe McMahon wrote: >> >> I am definitely interested. Call me at 916 442 3553. or email me at >> DooberK@aol.com >> >Once again, with feeling: > >The original poster ets etc. I agree about not encouraging ads in a discussion environment. This original posting came up in all music related lists. I hope you people get some sort of references before you send your creativity out into the unknown. Somebody remind me. Am I right or wrong in my assumption that 120 DAT's have thinner tape? regards, Ian Tilbury. ========================================================================= Date: Sun, 28 May 1995 17:26:49 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Martin Russ Subject: Administrative FAQs Comments: To: SYNTH-L@LISTSERV.AMERICAN.EDU This is a repeat mailing of the fortnightly Administrative FAQs. --------------------------------------------------------------------------- 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 ------------------------------------------------------------------------------ Martin Russ Reviewer & Columnist for Sound On Sound Magazine (UK) mruss@midi.dungeon.com Hi-Tech Music Technical Author & MIDI Consultant http://www.dungeon.com/~midi Macintosh & Synthesizer Programmer ========================================================================= Date: Sun, 28 May 1995 12:30:35 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ian Tilbury Subject: Re: Trnsfr Yr Msc/ DAT Tapes. Comments: To: Electronic Music Discussion List I agree about not encouraging ads in a discussion environment. The original posting came up in all music related lists. I hope you people get some sort of references before you send your creativity out into the unknown. Somebody remind me. Am I right or wrong in my assumption that 120 DAT's have thinner tape? regards, Ian Tilbury. At 7:47 AM 5/28/95, Joe McMahon wrote: >> >> I am definitely interested. Call me at 916 442 3553. or email me at >> DooberK@aol.com >> >Once again, with feeling: > >The original poster etc etc. ========================================================================= Date: Sun, 28 May 1995 18:36:43 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Davvid Brooks Subject: Re: midi and mac and muisc Comments: To: martino@kolga.edu.ee I use a standard midi interface to the printer port and plug the midi in to the out of the synth. now plug the in of the synth to the inteface and presto!(if you have passport's pro 5, or 6. welcome to the land of sequencing. good luck. from chicago il. david ========================================================================= Date: Sun, 28 May 1995 19:33:02 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: JCernig9@AOL.COM Subject: *** Nobody Wants You *** Comments: To: EMUSIC-L@AMERICAN.EDU Nobody In Particular Magazine and Tape Club is dedicated to all of you, the unsung heroes and common folk whose creativity and accomplishments would otherwise go unnoticed. Possible publication, distribution, and future cash prizes will be offered in many catagories, such as Photography, Song Writing, Art, Poetry, Creative Writing, Cartooning, Jokes, and a variety of others. Your creative works can be submitted on Amateur or Professional levels. Only You can make this happen! With your help, we can create a pool of resources, devoid of commercialism, censorship and hype; a vehicle of self expression open to everyone. For more information, please check out our webpage at http://www.mind.net/nobody ========================================================================= Date: Mon, 29 May 1995 08:01:56 GT-003 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Hermann H. Rauth" Organization: PUC/PR Subject: Casio CZ-2000S Comments: To: EMUSIC-L@american.edu Does anyone could give _any_ info on the Casio CZ-2000S synth? What is the synth method, number of channels, polyphony, and so on... I just found one for a good price, but - guess what - no user's manual provided... TIA Hermann Rauth hermann@rla01.pucpr.br LIFO industrial band ========================================================================= Date: Mon, 29 May 1995 17:03:00 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark W Young Subject: Shareware Sequencers Hi, anybody out there got a shareware sequencing package for an IBM DOS or WINDOWS that reads and writes .MID files? Thanks in advance. Mark ========================================================================= Date: Mon, 29 May 1995 15:11:03 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: Shareware Sequencers Comments: To: EMUSIC-L@american.edu You'll find several in the software library. Go to Keyword "Music" ========================================================================= Date: Mon, 29 May 1995 23:45:07 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Doug Ramsay Organization: digitalnation@dca Subject: Success (was: QX5FD sequences - help!) Comments: To: comp.music.usenet@cs.utexas.edu Thanks to all who responded to the subject. I was able to record the sequences from my QX to MTPro with no problem! Appreciate all the help. Doug - sent via an evaluation copy of BulkRate (unregistered). -- -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Sent via digitalNATION the premier FirstClass System (703) 642.0453 digitalNATION access provided by Computer Services Group, Inc. a World Wide Web and Internet Access Provider Phone: (703) 642.2800 or email sales@csgi.com for info -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ========================================================================= Date: Tue, 30 May 1995 10:25:55 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: James Wintle Subject: other composition servers Comments: To: emusic-l@american.edu I'm new to this service and am enjoying it very much. I would like also to subscribe to a general composition server, but have no addresses. Please send. James Wintle Southeastern Oklahoma State Univ. wintle@marcie.sosu.edu Thanks. ========================================================================= Date: Tue, 30 May 1995 01:15:15 PM Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Stephen Travis Pope Subject: Sound Anthology--"Computer Music Journal" Volume 19 Compact Disc Comments: To: Music-Research@comlab.ox.ac.uk, sound@acm.org, audio-l%itesmvf1.BITNET@jade.Berkeley.EDU, csound@noether.ex.ac.uk, daw-mac@netcom.com, emusic-l@american.edu, icma@umich.edu, max%mcgill1.BITNET@jade.Berkeley.EDU, mla-l@iubvm.ucs.indiana.edu, mto-editor@boethius.music.ucsb.edu, ross@ohm.york.ac.uk, mto-talk@husc.harvard.edu, musprf-l%cmsuvmb.BITNET@jade.Berkeley.EDU, nextmusic@eecs.umich.edu, notmus-l@ubvm.cc.buffalo.edu, semla-l@uga.cc.uga.edu, synth-l@american.edu, ubmut-l@ubvm.cc.buffalo.edu Comments: cc: 100407.574@compuserve.com, Thom@musclefish.com, Doug@musclefish.com, users@cnmat.CNMAT.Berkeley.EDU, timbre!js@moon.nbn.com, SSys@netcom.com, amnon@music.nwu.edu, DGL@netcom.com, harri067@maroon.tc.umn.edu, hans@groucho.imp.med.uni-muenchen.de, loon@hyperparallel.com, mari@cnmat.CNMAT.Berkeley.EDU -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- PLEASE POST and DISTRIBUTE -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Sound Anthology--"Computer Music Journal" Volume 19 Compact Disc The first-ever Computer Music Journal CD--Sound Anthology--has appeared! It includes in its 20 selections over 60 minutes of compositions and sound examples from composers such as Clarence Barlow, Ludger Bruemmer, Paul Lansky, D. Gareth Loy, Mari Kimura, Jean-Claude Risset, Neil B. Rolnick, Denis Smalley, Rick Taube, James Tenney, Barry Truax, Tamas Ungvary, and Amnon Wolman, and researchers of the likes of James Beauchamp, Perry Cook, Lippold Haken, Andrew Horner, Peter Langston, Xavier Serra, and Julius Smith. The complete contents are below and are also stored on the Computer Music Journal WWW site and ftp archive under the URL http://www-mitpress.mit.edu/Computer-Music-Journal/Contents/19.CD.toc. The Sound Anthology costs US$ 15.00, with US$ 5.00 shipping to addresses outside the USA, and 7% GST for Canadian residents. To order the Sound Anthology CD, contact: Computer Music Journal CD MIT Press Journals 55 Hayward St. Cambridge, Massachusetts, 02142 USA Tel: (+1-617) 253-2889 Fax: (+1-627) 258-6779 Electronic mail: journals-orders@mit.edu (include credit card information) (WWW journals-orders@mit.edu) Computer Music Journal subscriptions and the CD can also be ordered through various on-line services such as CompuServe's CompuBooks, or the MIT Press on-line book-store. -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- SOUND ANTHOLOGY CD CONTENTS CMJ Volume 19 1. Rick Taube: Gloriette for John Cage--4:20 2. Tamas Ungvary: Fingerprint #2--3:11 3. Ludger Bruemmer: Excerpt from La cloche sans vallees--3:00 4. Mari Kimura: Performance excerpts--3:00 CMJ Volume 18 5. D. Gareth Loy: Blood from a Stone--4:30 6. Barry Truax: Granular Time-shifting and Transposition Composition Examples--6:10 7. Andrew Horner, James Beauchamp, and Lippold Haken: FM Matching Sound Examples--2:10 CMJ Volume 17 8. Perry R. Cook: SPASM/LECTOR Sound Examples--2:54 9. James Tenney: Collage #1 ("Blue Suede")--3:22 10. Neil B. Rolnick: Macedonian AirDrumming (excerpt)--3:00 11. Denis Smalley: Wind Chimes (excerpt)--3:40 CMJ Volume 16 12. Amnon Wolman: FORJOHN (excerpt)--3:30 13. Jean-Claude Risset: Echo--3:15 14. Paul Lansky: The Sound of Two Hands (excerpt)--3:50 15. Clarence Barlow: OTOdeBLU--3:30 CMJ Volume 15 16. Charles R. Sullivan: Extended Electric Guitar Timbres--2:42 17. Xavier Serra and Julius O. Smith, III: Spectral Modeling Synthesis Examples--3:32 18. Peter S. Langston: Composition Examples: Incidental Music--3:26 19. Michael Gogins: Composition Examples: Iterated Functions Systems--3:00 20. Peter S. Langston: Reprise--0:30 -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- SOUND ANTHOLOGY CD PROGRAM NOTES Index 1--4:20 Heinrich K. Taube: Gloriette for John Cage Gloriette for John Cage is a four minute algorithmic composition for mechanical organ written in honor of John Cage, who died in 1992. The work was composed for the "Busy Drone" organ at the Stedelijk Museum in Amsterdam. This organ reads a large cardboard score similar in some respects to a piano roll. Though the physical properties of the score limit both the length and texture of a work, the opportunity to combine modern digital algorithmic composition with the ancient organ (itself a technological wonder) was simply too inviting to pass up. In keeping with the late composer's interest in aleatoric music, the main algorithm in the work uses chance processes in which the likelihood of the musical notes C A G E occurring out of a background of G dorian gradually increases as a function of time, causing the composer's name to slowly emerge to the forefront. The rhythmic mensuration and number of voices are similarly inspired by the composer's name. Index 2--3:11 Tamas Ungvary: Fingerprint No. 2 Fingerprint No. 2 is one of a number of impromptus created out of enthusiasm when Roel Vertegaal and Tamas Ungvary got together in August 1993 in Vienna to try out a beta version of the Intuitive Sound Editing Environment (ISEE), discussed on pages 21-29 of Computer Music Journal 18:2. In these impromptus the border between the church organ and computer music domains seems to fade. This piece was edited out of several spontaneous recording sessions. During those recording sessions, two Sentographs (isometric joysticks with 3 degrees of freedom, developed out of Clynes' 2-D version by the University of Uppsala in Sweden with Alf Gabrielsson and Tamas Ungvary) were connected via a FaderMaster to an Apple Macintosh IIci running Max and ISEE, which were connected by Apple's MIDI Manager to one another and to a Yamaha SY99 synthesizer. Max was running an existing composition environment by Tamas, using one Sentograph output to generate notes and chords according to a selection of scales, a second for dynamics and a third for pitch bend control. The remaining three Sentograph outputs were used to change the Overtones, Brightness and Articulation parameters of a selection of Open Labial, Lingual and Compound organ instrument spaces created by Ernst Bonis. These organ instrument spaces were implemented on the SY99, respectively using waveshaping, FM and complex waveform additive synthesis. The most important ISEE parameter, Overtones, altered the phase of the waveshaping transfer function in the Open Labial spaces, the c:m ratio in the Lingual spaces and the complex waveforms used in the Compound space. Brightness controlled the input function amplitude and the pitch of the inharmonic organ 'spook' in the Open Labial spaces, the modulation index in the Lingual spaces and the low-pass filter cutoff frequency in the Compound space. Articulation controlled the harshness of the attack by changing the 'spook' level and the envelope attack rates. All parameter information was processed in real-time by the SY99. The various instrument spaces could instantly be accessed at random from the keyboard. Fingerprint No. 2 exemplifies what two finger tips, moving together in 6 degrees of freedom, can get up to, in a well-structured way controlling over 30 parameters at once in real-time. We hope it also demonstrates what regular MIDI hardware is capable of, given the right tools. Index 3--3:00 Ludger Bruemmer: La cloches sans vallees (excerpt) The idea of a "cantus firmus" using an Gregorian melody as a bass line for a new composition is the model for "La cloche sans vallees." In the same way that the cantus firmus uses an already existing melody the piece "La vallee des cloches" from the cycle "Miroir" composed by Maurice Ravel is used as the source for the new composition. It is the intention to put a new structure above the source piece so that an interaction between the original piece and the algorithmically determined parameters of the composition is developed. This results in a mixture between different time concepts; the listener switches in the process of perception between the algorithmic level and the level of the source piece depending of what is more significant. For example in the case that sound grains are long enough and not heavily processed, the listener recognizes the source sound. But if there would be a ritardando of short grains he would perceive the structure of the algorithm instead. The most important algorithmical structure is the ritardando and accelerando (slowing down and speeding up). The first 560 seconds of the piece were completely transposed up 7 times until this time-window, the transposition, collapses into a click. Beginning with this click a ritardando which opens up the small time window is performed exploring its new contents. In the middle of the piece a quote appears as a mirror (original plus a cancer, reflecting the time continuity) referring to the cycle "Miroir" and to the symmetric formal structure of the source piece. The signal processing techniques applied to the source sounds are reduced to simple processes: pointer operations, forward backward reading and sampling rate conversion. The piece was composed 1993 as the last one of a trilogy using compositions of Maurice Ravel. It was generated at the NeXT net of the Center for Computer Research in Music and Acoustics (CCRMA) at the Stanford University with William Schottstaedt's Common-Lisp-Music and Rick Taube's Common-Music as well as with Paul Lansky's RT mixing program. Index 4--3:00 Mari Kimura: Two Composition Examples U (The Cormorant) by Mari Kimura (excerpt) In January of 1991, I saw pictures of cormorants in the Persian Gulf trying to shake the oil off their bodies. A constant feeling of urgency about the global environment, anzd probably my reflections on the subject effected the piece. I imagine kinds of sounds that I usually do not identify with myself playing the violin. I try to merge the timbre and the movement of the sounds of my violin with the electronic sounds very carefully. Electronic sounds are created using YAMAHA TG77. Synchronisms No.9 for violin and tape by Mario Davidovsky (excerpt) In this work, the violin part makes use of instrumental gestures reminiscent of Romantic, heroic violinistic virtuosity, although the work's rhythmic, harmonic, and melodic language are very much consistent with the composer's own characteristic Rcontemporary languageS. Davidovsky was the director of Columbia University's Electronic Music Center from 1981-1994. Synchronisms No.9 was commissioned by the Massachusetts Council of the Arts and Humanities, and the tape part was realized at the MIT Media Laboratory and Columbia University's Electronic Music Center. Index 5--4:30 D. Gareth Loy: Excerpt from Blood from a Stone for Mathews electronic violin and interactive computer-controlled synthesis system (1982-1992), violin performed by Janos Negyesy. Blood from a Stone is a live-performance piece for violin and interactive computer-controlled synthesis. It began a decade ago with the building--from scratch--of an interactive performance system around a Mathews electronic violin, including a custom-built violin pitch-detector. This was in the days before MIDI. At a formal level, it is an exploration of a taxonomy of relationships between composer, performer, and interactive, real-time computer system. The synthesizer accompaniment is generated live during performance by transforming musical gestures captured from the electronic violin. The piece is dedicated to Janos Negyesy, my friend--and through his consummate artistry, the most eloquent spokesman for my music. The title is dedicated to my brother, T. H. Loy, whose recent work includes extracting Neanderthal DNA from the blood on ancient stone tools. Blood from a Stone appears on the CDCM CD The Virtuoso in the Computer Age II; it was reviewed in the previous issue of Computer Music Journal and was the inspiration for the drawing on the cover of this issue. Index 6--6:10 Barry Truax: Examples of pitch and time transformations using real-time granular synthesis techniques These sound examples accompany the article "Discovering Inner Complexity: Time-shifting and Transposition with a Real-time Granulation Technique" that will appear in Computer Music Journal 18:2. (1) Excerpt from the opening of The Wings of Nike (1987) using fixed granulation of two pairs of phonemes from male and female voices--0:30 minutes. (2) Material for the "Ocean" movement of Pacific (1990); original ocean waves cross-faded with a time-stretched version that is gradually low-pass filtered--1:15 minutes. (3) Excerpt from Dominion (1991); a time-stretched train whistle leading to three blasts from a ferry horn (the last of which is stretched), mixed with a stretched steam whistle--0:30 minutes. (4) Source material for Basilica (1992) and the opening of the work using both time stretching and harmonization (adding versions one octave lower and a twelfth higher than the original)--0:12 and 1:23 minutes. (5) Material for Song of Songs (1992); the text "I am the rose of Sharon" is transposed down by a fourth, an octave, and two octaves, first with a slight degree of time-stretching, followed by a sudden jump to a 50:1 stretching ratio--0:45 minutes. (6) Excerpt from the "Evening" movement of Song of Songs (1992) showing granulation and time-stretching of male and female voices accompanied by the granulated sound of a fire crackling and a time-stretched monastery bell--0:53 minutes. Index 7--2:20 Andrew Horner, James Beauchamp, and Lippold Haken: Sound examples of FM parameter matching using genetic algorithms These sound examples accompany the article "Machine Tongues XVI: Genetic Algorithms and their Application to FM Matching Synthesis" that appeared in Computer Music Journal 17:4. Using this technique, the "optimal" parameters for FM synthesis are derived to match a given source sound iteratively using so-called genetic algorithms. For each instrument used here as an example, the orginal tone is played first, followed by the FM reconstructions using one, three, and five FM carriers, respectively. The test instruments demonstrated here are trumpet, oboe, tenor voice, viola, and guitar. Index 8--2:54 Perry R. Cook: Sound examples from the Spasm, Lector and Singer programs These sound examples accompany Perry Cook's article in this issue of Computer Music Journal describing his Spasm, Lector and Singer physical model based speech and singing synthesis systems. Example 1. Phoneme synthesis: "ahh eee ooo" (repeated). Example 2. What happens if there's no pitch deviation (played once). Example 2. Fricative consonants: "fff, sss, shh, xxx" (played twice). Example 4. Diphone synthesis: "yah yoo ooee lah rah" (played twice). Example 5. Nasal diphones: "mah nah ngah mee noo" (played once). Example 6. Voiced plosives: "bah dah gah bee goo" (played twice). Example 7. Glottal interpolation: crescendo Example (played twice). Example 8. Singer code: "Sheila" (played twice). Example 9. Lector: "requiem" spoken (played twice). Example 10. Lector: "requiem" sung (played twice). Example 11. Connected singing: vocal exercise (played once). Example 12. Voice quality example: yodeling (played once). Example 13. Putting it all in context--a duet for the original (1959) Kelly-Lochbaum-Mathews "Daisy" and Singer (played once). Index 9--3:22 James Tenney: Collage #1 ("Blue Suede") (1961) This piece, long regarded as one of the "classics" of American musique concrete, was realized in the electronic music studio at the University of Illinois at Urbana-Champaign in April of 1961 using a recording of Elvis Presley's rendition of Blue Suede Shoes. It was first released on Musicworks cassette number 36 and is taken here from the CD James Tenney: Selected Works 1961-1969 reviewed in this issue of Computer Music Journal. This version is a remastering of the original analog tape master. The CD is available as ART 1007 from Artifact Records, 1374 Francisco Street, Berkeley, California 94702 USA. Copyright (c) 1992 by James Tenney. Used by permission. Index 10--3:00 Neil B. Rolnick: Excerpt from Macedonian AirDrumming for MIDI performance system and Palmtree AirDrums (1990). Performed by Neil B. Rolnick. Macedonian AirDrumming is solo performance piece using musical sources from the Balkan peninsula. While on a trip to Yugoslavia in 1989 my interest in the traditional music of the region, which I had earlier explored in the composition Balkanization, was rekindled and deepened. The samples used in Macedonian AirDrumming include rhythmic patterns and melodic fragments played by a Macedonian drum (tapan), flute (duduk), and fiddle (cemene). The AirDrum MIDI controllers provide me with a whole new set of physical gestures to transduce into musical gestures. The problem of composing physical gestures which make sense as a performer led me to design a number of different combinations of sounds and movements which have evolved as I have toured and performed the piece. This excerpt is taken from the CD Macedonian AirDrumming, reviewed in this issue of Computer Music Journal. A complete recording of Macedonian AirDrumming is available on the CD BCD 9030 from Bridge Records, Inc. GPO Box 1864, New York, New York 10116 USA. Copyright (c) 1992 Bridge Records, Inc. Used by permission. Index 11--3:40 Denis Smalley: Excerpt from Wind Chimes Wind Chimes was commissioned by the South Bay Center in London and realized at the studios of the Groupe de Recherches Musicales in Paris and the University of East Anglia in the UK, being completed in 1987. The piece is based on the chance find of a set of ceramic wind chimes whose harmonies and timbres attracted the composer. The sounds of these chimes were processed and combined with various other natural and synthesized sounds into what the composer calls "a strongly expressive narrative built around energies and gestures, materials made up of different substances, and different types of motions in space." This excerpt is taken from the CD Computer Music Currents 5, Wergo CD WER 2025-2, reviewed in this issue of Computer Music Journal and distributed through Wergo and Harmonia Mundi. Wind Chimes is also released (together with several other pieces of Mr. Smalley's), on the CD Impacts Interieurs, which is available as CD IMED 9209 on the emprientes DIGITALes label distributed by Diffusion i Midia, 4487, rue Adam, Montreal Quebec H1V 1T9 Canada. Volume 16:1 Four Compositions in Honor of John Pierce The soundsheet contains four new compositions written for John Pierce. See Computer Music Journal 15:4 "Dream Machines for Computer Music: In Honor of John Pierce's 80th Birthday," Winter, 1991. These program notes were provided by the composers. Index 12--3:30 Amnon Wolman: FORJOHN (excerpt) FORJOHN is based onfive short excerpts of the sounds of the ud playing and the singing of several Egyptian singers and performers. These were manipulated and processed using the Studer/Editech Dyaxis digital mixer at the Northwestern Computer Music Studio. FORJOHN represents my ongoing interest in the use of folk material in stylized environment. It was written for John Pierce celebrating our friendship. Index 13--3:15 Jean-Claude Risset: Echo Echo is dedicated to John Pierce. The title alludes to the first communication satellite-a vision which John Pierce turned into a milestone in the history communication. The sounds have been processed by adding delayed echoes. If the echoes are very close in time, the process yields acomb filter effect. In the piece, the "echoes" are often transposed in frequency. At the end, a clarinet motive is reverberated into a series of echoes going into nothingness. One could also say that the clarinet like sounds echo the harp-like sounds, and vice-versa. Last, the title alludes to the nymph Echo from Greek mythology, who, initially too talkative and distracting, was deprived of speech; she could then only repeat, reverberate, echo. Echo-a symbol of sound reflection-fell in love with Narcissus-fond of his own reflected image. Echo was realized in the Equipe d'Informatique Musicale of the Laboratoire de Mecanique et d'Acoustique in Marseille. The sounds of the piece were developed from three kinds of sound material: clarinet, Celtic harp, and sounds synthesized by computer using the Music-5 program (as adapted for IBM PC-compatible computers by my colleague Daniel Arfib). Thus, shortly after the beginning of the piece, clarinet sounds have been transformed by sharp resonant filtering, adding a harp-like echo, and by slowing down without pitch transposition. Next, one hears synthetic trembling sounds and ascending harmonic arpeggii-the latter generated with the help of a simple compositional subroutine. The last section, where a host of echoes dwindle away, was also realized with Music-5 (used as a processing and mixing program). Most of the sounds in the piece were transformed using the SYTER, a real-time digital audio processor designed by Jean-Francois Allouis in the Groupe de Recherches Musicales in Paris. Index 14--3:50 Paul Lansky: The Sound of Two Hands (excerpt) In my continuing interest in applying the power of high technology to the simple sounds of the world around us, I decided to make a computer percussion piece from the simplest of our carbon-based percussion instruments, the sound of two hands clapping. I used this source to create lots of different kinds of percussive sounds, emulating the sounds of hands hitting lots of different kinds of resonant objects (mostly those found in our kitchen). These sounds were processed and mixed using the cmix software package on a NeXT computer at my home and the studios of Princeton University. Index 15--3:30 Clarence Barlow: OTOdeBLU My friend and former student Georg Hajdu has done a lot of research into equal temperaments of various kinds, his particular favorite being the division of the octave into 17 equal parts. When Amnon Wolman contacted me about making a contribution to celebrate John Pierce's 80th birthday, I found the impulse to sit down and write a collection of short pieces for two interleaved pianos tuned to this 17-tone scale (with the same white keys and different black keys). It took me eight hours with my program AUTOBUSK, not counting a couple of days preparation and post-processing. At first I wanted to create a harmonic grammar involving the 7th and 11th partials, but decided for lack of time to leave it for a later l7-tone piece. The grammar here is Grameanus-based (= Glareanus + Rameau). Also, it only uses ten of the 17 tones, all available on one of the two pianos. The title is odd-could it be a reference to the computer program that was used in the generation of the piece (everything but a very short quote from the song "16 Ton[e]s" is algorithmic in origin), or perhaps to the month of its completion (October), or to the brand new octogenarian in whose honor it was written? In any case otode blu is Japanese, I am told, for "colored blue by sound" and simply came to me "out of the blue!" This recording was realized using an Akai sampler and Atari computer at the Institute for Sonology in The Hague, The Netherlands. The editors wish to thank Amnon Wolman for his co-production, and the staffs of the CCRMA Center in Stanford, California, and Anckarstrvm Records in Gothenburg, Sweden for the use of their production facilities in the preparation of the soundsheet master. Index 16--2:42 Charles R. Sullivan: Sound examples to accompany the article "Extending the Karplus-Strong Algorithm to Synthesize Electric Guitar Timbres with Distortion and Feedback" in Computer Music Journal 14(3): 26-37, 1990. These examples demonstrate the power and flexibility of the author's extensions to the well-known Karplus-Strong plucked string synthesis algorithm. Example 1. The Star Spangled Banner (1:28) (for a score example, see Computer Music Journal 14(3) pp. 70). Example 2. Two string tones from simplified versions of the algorithm-one with no decay, and one with frequency-independent decay (0:08). Example 3. Seven string tones using the full algorithm and varying parameters (0:32). Example 4. String tone demonstrating the effect of changing the delay line length during the duration of a note (0:04). Example 5. Demonstration of glissando on a bass guitar theme (0:12). Index 17--3:32 Xavier Serra and Julius O. Smith III: Sound examples to accompany the article "Spectral Modeling Synthesis: A Sound Analysis/Synthesis System based on Deterministic plus Stochastic Decomposition" in Computer Music Journal 14(4) 1990. The three parts of the examples illustrate the use of the SMS technique on string, voice and percussion timbres. Part 1. Guitar passage (1:24). Example 1. Original sound. Example 2. Deterministic component. Example 3. Stochastic component. Example 4. Deterministic plus stochastic components. Example 5. Frequency transposition by a factor of 0.3. Example 6. Frequency transposition by a factor of 0.7 with a stretching of the partials. Example 7. Time-varying glissando with a stretching of the partials. Example 8. Time-varying time scale. Example 9. Time compression by a factor of 2 with time-varying time scale and a stretching of the partials. Example 10. Time compression by a factor of 2 and frequency transposition by a factor of 0.4. Example 11. Time compression by a factor of 2 with a glissando down. Part 2. Speech phrase (1:08). Example 1. Original sound. Example 2. Deterministic component. Example 3. Stochastic component. Example 4. Deterministic plus stochastic components. Example 5. Frequency transposition by a factor of 0.6. Example 6. Compression of the frequency evolution and frequency transposition by a factor of 0.4. Example 7. Frequency transposition by a factor of 0.4 with a stretching of the partials. Example 8. Cross-fade from the deterministic to the stochastic component during the phrase. Example 9. Time compression by a factor of 3, compression of the frequency evolution and frequency transposition by a factor of 0.4. Example 10. Time compression by a factor of 3 and compression of the frequency evolution. Example 11. Time expansion by a factor of 3 of the stochastic component with a time-varying time scale. Part 3. Conga phrase (0:54). Example 1. Original sound. Example 2. Deterministic component. Example 3. Stochastic component. Example 4. Deterministic plus stochastic components. Example 5. Compression of the frequency evolution. Example 6. Compression of the frequency evolution and frequency transposition by a factor of 0.3. Example 7. Compression of the frequency evolution and frequency transposition by a factor of 2. Example 8. Stretching of the partials. Example 9. Glissando down. Example 10. Glissandoup. Example 11. Time-varying mix of noise component. Example 12. Time-varying time scale. Example 13. Time-varying time scale (inverse of Example 12). Example 14. Time-varying time scale with a time-varying stretching of the partials. Example 15. Manipulation of the frequency evolution. Example 16. Manipulation of the frequency evolution (inverse of Example 15). Example 17. Time expansion by a factor of 3. Index 18--3:26 Peter S. Langston: Music examples to accompany the article "IMG/1: An Incidental Music Generator" These sound examples are taken from the CD supplement to Computing Systems, The Journal of the USENIX Association, 3(2), Spring 1990, where they are described in the article "Little Languages for Music" by Peter S. Langston. They are used here by permission of the author. The sounds were generated by commercial MIDI equipment (synthesizers, samplers and drum machines)-with the exception of the "voice" on Example 6, which was produced by a DECTalk DTC01 speech synthesizer-all driven by the author's improvisation software running on a Sun Microsystems workstation. Example 1. Samba Batucada, a classic variation of the samba generated using the DP drum pattern description language (0:12). Example 2. Empty Bed Blues, the accompaniment was generated automatically from cc-format chord charts; the lead (MIDI) vibraphone voice was played by the author (0:30). Example 3. Two Reggae Vamps, the results of executing the same MUT language script twice (0:32) Example 4. Boogie woogie, samba and bluegrass accompaniments of the same chord chart. The chord chart was generated by IMG/1 for a boogie woogie improvisation, and subsequently re-labeled (with a text editor) for samba and then bluegrass styles and re-interpreted by IMG/1. The harmonic structure of the boogie woogie is luckily appropriate for the other styles (1:02). Example 5. Drum part generated by the DDM program using the technique of stochastic binary subdivision (0:28). Example 6. Scat singing in an Indian scale, the drone was played by the author and the voice part generated using DDM (and stochastic binary subdivision) for melody improvisation (0:42). Index 19--3:00 Michael Gogins: Music examples to accompany the article "Iterated Functions Systems Music" This composition was generated using the author's software on a IBM PC-compatible personal computer and commercial wavetable MIDI synthesizer. Example 1. HEX7, this first selection is the opening two minutes of the seventh of the hexagonally symmetrical IFS systems described in the article (1:52) Example 2. SQUARE5, this is the final minute of the rectangularly symmetrical IFS system described in the article text. (1:10). Index 20--0:30 Peter S. Langston: Reprise -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ___Stephen Travis Pope, Editor--Computer Music Journal, MIT Press (and) ___Research Associate--Center for New Music and Audio Technologies, UCB ___email: stp@CNMAT.Berkeley.edu; telephone: (+1-510) 644-3881 ___http://www.cnmat.berkeley.edu/~stp/ (personal WWW home page) ___http://www-mitpress.mit.edu/Computer-Music-Journal/CMJ.html (CMJ home) ========================================================================= Date: Tue, 30 May 1995 17:09:08 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Art Joyce Jr." Subject: Re: Trnsfr Yr Msc/-(tape thknss) Comments: To: EMUSIC-L@american.edu Ian Tilbury queried: >Somebody remind me. Am I right or wrong in my assumption that >120 DAT's have thinner tape? Indeed they are, and many DAT machin manufacturers advise againd using anything londer than a 90... ========================================================================= Date: Tue, 30 May 1995 23:11:49 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Kai Schwirzke Subject: KlangArt '95 Comments: To: emusic-L@american.edu Hello everybody, attached to this short introduction you'll find the final festival program of the third KlangArt in Osnabrueck, Germany. For those of you who don't know what KlangArt is all about: its a biennial event focussing on the topic "music and electronics". Besides the festival I've already mentioned (with lots of concerts and performances), there's a scientific congress with more than 40 lecturers from all over the world and the Musitec, a kind of music fair presenting the latest developments in music electronics such as harddisk recording, sampling, physical modeling and so on. There are still tickets available as well as the so called KlangCards, allowing you to visit all KlangArt events without any further admission fees. KlangCards are available for 88,- DM (55,- for students etc.). The KlangArt takes place from June 7-10th. For further information please feel free to call: - info-line: +49 541 24960 - Ticket service: +49 541 349024 - BBS: +49 541 323 4153 or contact me via email. Alright, here comes the festival program: WEDNESDAY, JUNE 7TH ------------------- 20:00 KlangStart (25,-/13,- DM) - Lydia Kavina (Thereminvox) - Thomas Kessler ("Studio f|r Elektronische Musik, Basel") - Elisabeth Chojnacka (Harpsichord) - Vinko Globokar (Trombone) - Marc Ainger & Theresa Jarvis 21:30 KlangNacht I (20,-/11,- DM) - Hans-Joachim Roedelius & Carsten Schnell THURSDAY, JUNE 8TH ------------------ 17:00, 18:30 Stars'n'Bytes (14,-/8,- DM) - Wolfgang Martin Stroh, "Das MIDI-Planetarium" 20:00 Les Haut-parleurs (25,-/16,- DM) - Groupe de Recherches Musicales (GRM), Paris Bernard Parmegiani, Francois Bayle, Daniel Teruggi, Francois Donato, Jean Schwarz, the "Acousmonium" 22:00 KlangNacht II (23,-/16,- DM) - The Human Component Show (Edgar Hellwig, keyb) - Aparis (Simon Stockhausenkwyb, sx; Markus Stockhausen, tr; Jo Thvnes, dr) FRIDAY, JUNE 9TH ---------------- 20:00 KlangNacht III (23,-/16,- DM) - Artlive (Niels Knolle, keyb; Axel Weidenfeld, git) - Fred Frith (git) & Bob Ostertag (electronics) 22.00 Rave In, The Bassment Experience (20,- DM) - Laurent Garnier - Kenny Larkin - Sun Electric - + local support Saturday, June 10th 15:30 ArtHouse RatHaus (free admission) - "Spdter Schall" by Roland Pfrengle spacial audio-visual performance commissioned by KlangArt 17:00 Open Air (free admission) - Victory of the Better Man - Franck Band feat. Wolfgang Mitterer - Dissidenten 22:00 Access All Areas (20,-/13,- DM) Tapes, Dance & Live Performance - Helmut Denker, Hans Ulrich Humpert, John Duesenberry; Tapes - Henning Berg, Das Blaue Palais, Christian Banasick, Live - Granulare Synthesen; Video Performance (live!) - Michael Matthews & Therese Costes; dance - Laser ambience support by Lightline Showlaser ========================================================================= Date: Tue, 30 May 1995 20:46:36 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Diane Y. Hennessy" Subject: Re: TRANSFER YOUR MUSIC TO CD Comments: To: Joe McMahon In-Reply-To: <199505281147.HAA03484@clark.net> Been off the list for a while. Am enjoying joing again. Keep off them ads. Not wanted or useful. Diane Y. Hennessy Hennessy Music 1729 W. Broadway Columbia, MO 65203 314-445-6111 Fax:314-446-2138 dhenness@mail.coin.missouri.edu ========================================================================= Date: Tue, 30 May 1995 23:17:09 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Alfred A. Scudiero" Subject: Re: *** Nobody Wants You *** Comments: To: EMUSIC-L@american.edu >Nobody In Particular Magazine and Tape Club is dedicated to all of >you, the unsung heroes and common folk whose creativity and >accomplishments would otherwise go unnoticed. Possible publication, >distribution, and future cash prizes will be offered in many >catagories, such as Photography, Song Writing, Art, Poetry, Creative >Writing, Cartooning, Jokes, and a variety of others. Your creative >works can be submitted on Amateur or Professional levels. And who retains the copyrights???? Folks, be very very cautious about signing over your masterpeices to others! Personally, I prefer tape sales and royalties to "CASH PRIZES". Compilation scams are an old trick, used by others to Rip Off the hard work of amatures! Be Veerrryyy Carefull! Al ========================================================================= Date: Wed, 31 May 1995 08:48:19 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: *** Nobody Wants You *** Comments: To: Electronic Music Discussion List >Only You can make this happen! With your help, we can create a pool >of resources, devoid of commercialism, censorship and hype; ...but pretty rigid and inappropriate when it comes to categories of music. But thanks anyway. Oh, and the flowery borders are lovely. 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: Thu, 1 Jun 1995 01:11:16 +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,v 1.34 1995/05/23 14:14:27 piet Exp $ ========================================================================= Date: Thu, 1 Jun 1995 01:11:15 +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 1.125 1995/05/30 13:46:06 piet Exp $