========================================================================= Date: Thu, 8 Jun 1995 12:03:39 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Simon McGuire Subject: Sampling on a budget Comments: To: EMUSIC-L@american.edu Hi All, Is there a _cheap_ way to convert a 386/486 PC into a sampler that would give me the capability of :- 1) Recording sound grabs from TV/Radio etc (< 30 secs) 2) Seamlessly looping grooves 3) Syncing the samples to a MIDI stream I would not need to sample melodic instuments that woud require mapping to a keyboard range. I suppose what I am after is entry level hard disk recording. let me know if I am off target for this list but I a recent participant. Sincerely Simon ========================================================================= Date: Wed, 7 Jun 1995 17:26:30 -1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul LaVigne Subject: Re: 20,000 Shareware programs to download! Comments: To: EMUSIC-L@american.edu In-Reply-To: <9506062258.D8342qB@djsabbs.uu.holonet.net> If it looks like a spam, smells like a spam, and quacks like a spam, then.... On Tue, 6 Jun 1995 jonathan@DJSA.COM wrote: > Call 305-749-6458 and download over 20,000 shareware computer programs! > it must be a spam. ========================================================================= Date: Thu, 8 Jun 1995 10:10:14 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: stephane letz Subject: MidiShare infos Comments: To: Music-Research@comlab.ox.ac.uk, smallmusic@xcf.berkeley.edu, smt-list@husc.harvard.ed, emusic-l@american.edu, synth-l@american.edu MidiShare 1.68 - OVERVIEW - MidiShare is a real-time multi-tasks Midi operating system specially devised for the development of musical applications. Its innovative features and careful design, result of 6 years of research and development, provide developers with a powerful and efficient toolbox for developing professional Midi applications. MidiShare is based on a client/server model. It is composed of four main components : an event manager, a time manager, a task manager and a communication manager. The event manager provides an uniform way to process and store midi events. The time manager and the task manager control the real-time behavior of applications. The communication manager is in charge of both inter-applications and midi communications. The system can be delivered for Apple Macintosh or Atari computers. MidiShare version 1.68 for the Macintosh support up to 64 client applications, 256 Midi ports, Midi TimePiece interface and Ethernet Midi communications. An application provided with the kit allows MidiShare and MidiManager applications to communicate. Interfaces are available for MPW-Pascal, MPW-C, Think-C, Common Lisp. - TECHNICAL CONSIDERATIONS - MidiShare offers several advantages to developers in terms of code efficiency, portability and easiness of developing sophisticated real time Midi applications. It avoids many complexities and limitations of other Midi operating systems. Communications are based on high level events instead of packets of midi bytes. These events are easier and faster to process than packets of Midi bytes. For example large system exclusive messages never need to be splitted into multiple packets. They are sent, received and processed as a whole like any other Midi events. Events are not limited to strict Midi messages. MidiShare offers full support for Midi File 1.0 events and future versions will provide additional events for multimedia. The communication manager allows multi-ports configurations (up to 256 physical ports) to be easily handled. All MidiShare events are stamped with a full Midi device address defined by a physical port number and a Midi channel. Client applications just need one input point and one output point to communicate with all the Midi devices (up to 4096 devices). Connections between applications are easier for users. Application code is simpler and the full device address of an event is never lost during inter-application communications. MidiShare includes its own dynamic memory manager, specially designed for real-time operations at interrupt level. This provides applications with a convenient and efficient way for storing, copying and deleting Midi events without using the host memory manager. All MidiShare internal buffers and queues are dynamically sized avoiding overflow problems encountered in other systems. Several mechanisms are proposed to control the real time behavior of Midi applications. The time manager offers 1ms resolution and supports accurate SMPTE synchronization in a transparent way. Application functions called "alarms" can be installed to deal with incoming events in real time at interrupt level. The heart of MidiShare is a real time scheduler. It allows events to be sent in the future as well as delayed function calls (functions to be called in the future). Delayed function call is a very fast and powerful mechanism for complex multi-tasking applications when multiple computing need to be done in parallel. A proprietary scheduling algorithm ensures a very low constant time scheduling costs per event, even when the scheduler is heavily loaded. - MIDISHARE and other Midi Systems - We have developped software solutions to allow several Midi operating systems to be used together on a single machine. Our current solution is an application named OPEN SHARE. Open Share is a software module which aim is to share between different Midi operating systems. The current version (beta version) allows to use MidiShare applications and OMS applications (we have tried it with Studio Vision Pro , Max, Notator Logic and Galaxy). Open Share is available on the ftp site. MidiShare is a public domain product. It has been developped at GRAME. GRAME Research laboratory 6 quai Jean Moulin BP 1185 69202 LYON CEDEX 01 FRANCE For any additionnal information: Grame WWW server : http://www.grame.fr Grame FTP server : ftp.grame.fr e-mail : grame@rd.grame.fr - -------------- GRAME 6 quai Jean Moulin BP 1185 69202 LYON CEDEX 01 Ph (33) 72.07.37.00 Fax (33) 72.07.37.01 e-mail : letz@rd.grame.fr ========================================================================= Date: Thu, 8 Jun 1995 10:09:15 MET-1METDST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: PUK2-10@WODNIK.IIS.PW.EDU.PL Organization: ISIS PW Subject: lot of music progs !!! Comments: To: EMUSIC-L%LISTSERV.AMERICAN.EDU@plearn.edu.pl Few days ago i found houndread of music progs and applications in ftp.uwp.edu on track: cd pub/music/programs (or something like this). +----------------------------------------+ | chwilowo i goscinnie, ale to nieszkodzi| | ADRIAN = puk2-10@wodnik.iis.pw.edu.pl | +----------------------------------------+ ========================================================================= Date: Thu, 8 Jun 1995 01:28:30 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Brian Coates Subject: Re: guitar synths Comments: To: EMUSIC-L@american.edu >Panie Adrianie, > Gitary sa dostatecznie dobrze opisane w czasopismie >"Muzyk", wydawanym w Poznaniu. Polecam artykuly >w nastepujacych numerach tego czasopisma: >"Muzyk" 1993 nr 4 s.15-16 > 1994 nr 1 s.32-33 > nr 2 s.28-29 > nr 4 s.21-22, 46-47 > nr 6 s.38 > nr 10 s.9-28 (tabela) >Oprocz tego jest wydawane w Polsce czasopismo poswiecone >wylacznie gitarom. You took the words right out of my mouth. ========================================================================= Date: Thu, 8 Jun 1995 16:08:10 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Simon McGuire Subject: Tablatronics Comments: To: EMUSIC-L@american.edu Hi All, Heres a curve ball! Talvin Singh is touring with Massiva Attack with his 'Tablatronics' - or Electric Tablas. Any ideas on how one would mic a pair of tablas internally? ie pickup etc? Ta Simon ========================================================================= Date: Thu, 8 Jun 1995 14:28:27 +0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Uri Bruck Subject: Re: Sampling on a budget Comments: To: Electronic Music Discussion List In-Reply-To: <9506080233.AA13943@cascade.santos.com.au> 1.Most soundcards give you the ability to record(sample) sounds if you don't the sounds formt he card itself you can even use a soundblaster PRO, just make sure when you read the specs that the 44KHz sampling rate refers to both recording and play back, with some cheaper cards it's only for playback. 2 & 3 would depend on software 3. many sequencers have the ability to include WAV (waveform) files (read:samples) as part of the MIDI sequence. I use Ballade for windows and it's possible. On Thu, 8 Jun 1995, Simon McGuire wrote: > Hi All, > > Is there a _cheap_ way to convert a 386/486 PC into a sampler that would > give me the capability of :- > > 1) Recording sound grabs from TV/Radio etc (< 30 secs) > 2) Seamlessly looping grooves > 3) Syncing the samples to a MIDI stream > > I would not need to sample melodic instuments that woud require mapping to > a keyboard range. I suppose what I am after is entry level hard disk recording. > > let me know if I am off target for this list but I a recent participant. > > Sincerely > Simon > ========================================================================= Date: Thu, 8 Jun 1995 14:39:39 +0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Uri Bruck Subject: Re: Sampling on a budget (fwd) Comments: To: emusic-l@american.edu ---------- Forwarded message ---------- 1.Most soundcards give you the ability to record(sample) sounds if you don't the sounds formt he card itself you can even use a soundblaster PRO, just make sure when you read the specs that the 44KHz sampling rate refers to both recording and play back, with some cheaper cards it's only for playback. 2 & 3 would depend on software 3. many sequencers have the ability to include WAV (waveform) files (read:samples) as part of the MIDI sequence. I use Ballade for windows and it's possible. On Thu, 8 Jun 1995, Simon McGuire wrote: > Hi All, > > Is there a _cheap_ way to convert a 386/486 PC into a sampler that would > give me the capability of :- > > 1) Recording sound grabs from TV/Radio etc (< 30 secs) > 2) Seamlessly looping grooves > 3) Syncing the samples to a MIDI stream > > > Sincerely > Simon > ========================================================================= Date: Thu, 8 Jun 1995 14:46:35 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Marc Resibois Subject: Re: Sampling on a budget Comments: To: EMUSIC-L@american.edu Hi ! | 3. many sequencers have the ability to include WAV (waveform) files | (read:samples) as part of the MIDI sequence. I use Ballade for windows | and it's possible. | What many sequencer let you do is to synchronize _ONE_ wave file with midi stream. Forget about any idea of polyphony. The only low-cost cards that would allow you to turn a PC into a small sampler are the sb AWE32 / Gravis Ultrasound MAX / Turtle beach ( which one ? ). Cheers, Marc. ========================================================================= Date: Thu, 8 Jun 1995 12:21:15 +0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Teemu Korpipaa Subject: Re: Tablatronics In-Reply-To: <9506080638.AA11810@cascade.santos.com.au> On Thu, 8 Jun 1995, Simon McGuire wrote: > Hi All, > Talvin Singh is touring with Massiva Attack with his 'Tablatronics' - or > Electric Tablas. > Any ideas on how one would mic a pair of tablas internally? ie pickup etc? > Ta > Simon I've had some experience miking percussions with internal/instrument-mounted mikes. A friend of mine uses a small AKG mike inside a toy tambourine (don't laught) and it works fine. To those interested, she loosens the skin quite loose and uses her one hand to hit it with various ways and the other to loosen and tighten the skin by pressing it from one side. Very effective. (The thing was copped from a swedish percussion player, Bjorn Tollin, who plays in Hedningarna.) In this case, thought, the purpose is NOT a true acoustic sound of tambourine (thank god!). In most percussion instruments, if you put the mike INSIDE the instrument the bass will propably be pronounced, ie. the sound will be 'boomy'. It's up to you if this is desireable. Most of the time, a good mini-consender-mike mounted outside the instrument should work just fine. I've never miked tablas, but it's my best guess that the last method should work best. from Teemu ---> tkorpi@convex.csc.fi -------------------------------------------------------------- 'Ship! Sun! Wham bang!', he cried. 'I mean, forget lasers and stuff, you guys are into solar flares and real sunburn! Oh, and terrible songs.' - Douglas Adams: Restaurant At The End Of The Universe - ========================================================================= Date: Thu, 8 Jun 1995 10:05:23 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark Hughes Subject: Re: cfp - ASSETS'96 Comments: To: emusic-l@AMERICAN.EDU, synth-l@american.edu Greetings, I apologize for my complaint to one of these lists (I don't know which since I didn't receive a copy) that included the full text of the article referenced in the subject. The intended recipients were the two people named in the article. They did, in fact, receive my message. I have no idea how my message ended up on one of the lists. I have correctly responded to the posters of off-topic articles to mailing lists many times. I don't know how I managed to forward this particular article to both the posters _and_ the mailing list. Seeing someone complain about an off-topic post and include the whole stinkin' article is one of my many pet peaves :-) I am _so_ ashamed at having done it myself. One of the people named in the article (Mr. Jaffe) replied to my first complaint (which I don't think appeard on the list) with a thoughtful message that convinced me that the posting of the article to many music-related mailing lists was purposeful, and not the spamming that it appeard to be. To him, I retracted my objection to the article and apologized for bothering him. The other person named in the article also replied to my complaint. He was, to be polite, not so helpful. Sorry for the screw-up, Mark ========================================================================= Date: Thu, 8 Jun 1995 09:28:03 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Lorne Hammond Subject: Re: Tablatronics Comments: To: Electronic Music Discussion List In-Reply-To: <9506080638.AA11810@cascade.santos.com.au> On Thu, 8 Jun 1995, Simon McGuire wrote: > Hi All, > Heres a curve ball! > > Talvin Singh is touring with Massiva Attack with his 'Tablatronics' - or > Electric Tablas. > > Any ideas on how one would mic a pair of tablas internally? ie pickup etc? > Years ago I did sound for one night for Ralph Towner and Oregon. The tablas were miked from above, 6". Internal might do for triggers, but the audio signature is from the skin for the attack, followed by the resonance of the container. If it is just a trigger thing then treat it like any other drum, but you might just as well tap a microphone, Octapad, etc. Lorne Hammond ========================================================================= Date: Thu, 8 Jun 1995 22:55:04 +0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Uri Bruck Subject: Re: Sampling on a budget Comments: To: Electronic Music Discussion List In-Reply-To: <9506081246.AA13807@nit.be> I stand corrected then On Thu, 8 Jun 1995, Marc Resibois wrote: > | 3. many sequencers have the ability to include WAV (waveform) files > | (read:samples) as part of the MIDI sequence. I use Ballade for windows > | and it's possible. > | > > What many sequencer let you do is to synchronize _ONE_ wave file with midi >stream. Forget about any idea of polyphony. The only low-cost cards that >would allow you to turn a PC into a small sampler are the sb AWE32 / Gravis >Ultrasound MAX / Turtle beach ( which one ? ). > I could add to the list the ensoniq soundscape,which I am using, it records at 44KHz samplingrate and goesfor $300, comparable price to the sbAWE32 and Gravis Ultrasound. Turtle Beach is certainly considered the top as far as MIDI - soundcards are concerned, even when sampling it gives a better response over the entire frequency range, according to PC-magazine charts, but it's quite that low cost, last time I looked it was over $500, closing in $600 (this could include local tax, so better look it up) > Cheers, > > Marc. > ========================================================================= Date: Thu, 8 Jun 1995 16:26:30 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Sampling on a budget In-Reply-To: from "Uri Bruck" at Jun 8, 95 10:55:04 pm > I could add to the list the ensoniq soundscape,which I am using, it records > at 44KHz samplingrate and goesfor $300, comparable price to the > sbAWE32 and Gravis Ultrasound. Turtle Beach is certainly considered > the top as far as MIDI - soundcards are concerned, even when sampling > it gives a better response over the entire frequency range, according to > PC-magazine charts, but it's quite that low cost, last time I looked it was > over $500, closing in $600 (this could include local tax, so better look > it up) > Y'know, unless you just don't want a sampler at all, there's always the odd Mirage floating around. Okay, so the OS sucks, and it 8-bit, but it's also about $300 and probably comes with a huge sample library (most Mirage owners ended up with a LOT of diskettes, one way or another). And it has a keyboard, and understands MIDI, as I recall. --- Joe M. ========================================================================= Date: Thu, 8 Jun 1995 18:47:55 -0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: damian keller Subject: Re: psychoacoustics Comments: To: EMUSIC-L@american.edu In-Reply-To: <950606190702_88334373@aol.com> from "Mark Phillips" at Jun 6, 95 07:07:22 pm S S Have you done anything in neural network training? That looks like a extreme case but generally it is thought that our responces to music depend on patterns of activation acquired through exposure. Any suggestions? Damian UnB - Brasilia ========================================================================= Date: Thu, 8 Jun 1995 23:18:06 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: XP-50 Comments: To: Electronic Music Discussion List >I will be getting the Roland XP-50 this week.....Anyone care to share their >opinion on it....Also what else would I need to make a demo tape complete >with vocals? Er... vocals? 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, 8 Jun 1995 19:00:32 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: THEODOREC@VAXVMSX.BABSON.EDU Subject: Demagnetizing tape heads. Could somebody give me some advice here...? I own a Tascam 424 4-track recorder. I clean the heads on a fairly regular basis, but I'm in the dark about demagnetizing the heads. I believe the Tascam manual states that the heads should be demagnetized after every ten hours of use. I've read this before in other manuals, so this is not unusual, but... An independent audio technician told me that "you don't have to do that anymore...it [the unit] doesn't need it." This all started when I was trying to figure out which brand of wand-type demagnetizer to buy. Now I'm wondering if I even need one. What gives? Confused in Wellesley, MA, - Chris theodorec@vaxvmsx.babson.edu ========================================================================= Date: Thu, 8 Jun 1995 21:50:47 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Richard Hunter Subject: Re: Demagnetizing tape heads. Comments: To: EMUSIC-L@american.edu chris, buy a demagnetizer, buy it now, use regularly with caution (follow tascam's instructions). Radio Shack has decent wands for about 20.00 bucks. oh yeah, never let that 'technician' work on your multitrack. happy recording, Richie ========================================================================= Date: Fri, 9 Jun 1995 01:53:00 -0400 Reply-To: ROSCO Sender: Electronic Music Discussion List From: ROSCO Organization: Media Spectrum: Montreal, Quebec - (514)366-0670 Subject: Omega > Date: Wed, 7 Jun 1995 13:02:17 +0300 > From: Teemu Korpipaa > Subject: Anyone using Dr.T's KCS Omega II > I've been using Omega on an Atari for a few years. It's a very powerful package...not as easy to use as Cubase (for example) but lots of features specifically for algorhythmic compositions. It is extremely easy to use in a live situation. Tracks can be controlled by the keyboard (on/off, transpose, number of loops, call control track ie for panning or volume, etc. etc.) or tracks can be programmed to play in random order with the amount of randomness predetermined). The whole system is open-ended. You can load/unload modules as needed for graphic editing of synths or sequences, or samples. I can't tell you about about the song module as I've never used it, but it's possible to have many different songs in memory using only the track function. As for Atari...you can pick one up really cheap these days, but go for a STE model. It's easier to add memory to, and there are other enhanced features. For Omega you would want to have 4 megs of RAM, although you can get by with 1 meg if you don't add too many modules. As you say, the MIDI ports are built in, and there is tons of good software available. There is not a lot of recent stuff, as Atari seems to be dying a slow death, but packages like Omega are plentiful and as powerful as what you will find on other platforms. If you've got some extra bucks you could pick up a TT model, or the latest Atari is the Falcon which can be used for digital recording. A Mega STE is a nice compromise, and you could pick up a complete system for about $500 US. Ross MacIver ross.maciver@medspec.com --- * Kivi (unregistered) 1.16 * --- * Kivi (unregistered) 1.16 * ========================================================================= Date: Fri, 9 Jun 1995 09:48:38 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Carnes Subject: Re: Demagnetizing tape heads Comments: To: EMUSIC-L@american.edu In-Reply-To: <199506090500.BAA46034@atlanta.american.edu> ---------- X-Sun-Data-Type: text X-Sun-Data-Description: text X-Sun-Data-Name: text X-Sun-Content-Lines: 2 X-Sun-Content-Length: 212 Yes you still need to do it. Most any wand demagnetizer will do fine as long as it can reach the heads. You might want to make sure the wand has a soft plastic or rubber coating so it doesn't scratch the heads. ========================================================================= Date: Fri, 9 Jun 1995 16:38:16 +0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Kari Lauren Subject: Soundman Wave card Comments: To: EMUSIC-L@american.edu Hi, does anybody have a Soundman Wave soundcard with Midisoft Recording Session, and a keyboard he/she uses to record sound? I have recently bought one, and would like to contact someone who has some (more) experience in this field. kari.lauren@kuressaar.green.fido.ee Kari, Estonia * _ * ========================================================================= Date: Fri, 9 Jun 1995 10:49:01 U Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: John Lamar Subject: Berklee College of Music-Mu Comments: To: "algo-comp@kahless.music.uiowa.e" , daw-mac@best.com, JON C NELSON , Neil Leonard , Mary Simoni , Max post , Chuck Menoche , opcode-users@portal.com, PETER ROTHBART , "Robb E. Lovell" , Colleen Wheeler , Todd Winkler Comments: cc: Don Puluse Please post or pass on to interested parties. Please do not respond by phone or email to me. Thanks John P. Lamar Computer Systems Coordinator Music Synthesis Department Berklee College of Music 617-266-1400 ext. 484 jlamar@it.berklee.edu ----------------------------------------------------------------------------------------------------- BERKLEE COLLEGE OF MUSIC Department Chair, Music Synthesis Department. Would you like to help shape the future of education in music technology? Berklee, the world's premier institution for the study of contemporary music, is accepting applications for Chair of the Music Synthesis Department. The Chair's primary responsibility is management of the department, faculty, and facilities, as well as setting the direction for this dynamic, trend-setting department. You will establish and assess department goals annually, formulate department policy, oversee the development of curriculum, as well as the hiring, assignment, development of faculty and staff. The chair will manage the budget and maintain the department's relations with the industry. Other responsibilities may include teaching and student advising. This is a permanent, year-round administrative position. The Music Synthesis Department at Berklee has 150 student majors, 8 faculty, and 10 staff. The Chair oversees three music synthesis laboratories, with full MIDI and hard-disk recording support, a lecture/performance hall, and MIDI-equipped ensemble rooms. Our goal is to equip our students with all the tools necessary to succeed in a variety of careers, including multimedia, performance, production, and sound design. Our alumni can be found in every facet of the popular and contemporary music business, worldwide. Berklee is the world's largest college of music, with an enrollment of more than 2,600 students, nearly 40 percent of them international. We're looking for someone who has a Master's degree and/or equivalent professional experience, with a background in teaching and college or music industry administration. A thorough knowledge of current practices and technological advances in Music Synthesis is required. Starting date is January 1, 1996. Please send us all of the following: your resume; a disc or tape of recent productions or performances; two letters of recommendation; and other appropriate documentation; along with your letter of application, by October 1, 1995. Send all materials to: Music Synthesis Chair Search Committee, Office of the Technology Division Chair, Box #288, Berklee College of Music, 1140 Boylston St., Boston, MA 02215. Berklee College of Music is an Equal Opportunity Employer. ========================================================================= Date: Fri, 9 Jun 1995 11:24:20 -0400 Reply-To: Mark G Simon Sender: Electronic Music Discussion List From: Mark G Simon Subject: Something of a music review Comments: To: Electronic Music Discussion List In-Reply-To: Within the past couple of weeks I received my copies of two CDs, "Band of Fire" by Mike Metlay, and "Shatterday" by Joe Macmahon. (I was about to type "Ring of fire" until I realized I was thinking of an old song sung by Johny Cash. If anything in the following sentences strikes anyone as odd, consider that I'm a bit distracted right now and can't tell the difference between new emusic and old C&W) Mike has several records out and I chose this one under the assumption (wrong, as I found out) that it was his latest. I should have chosen one with multiple selections on it to get a broader sampling of what he does. Band of Fire is a single work, about 17 minutes in length, although it was Mike's intention to have the thing repeat over and over for as long as the listener cared to keep it going. I found that a single run through, with the last sound returning to the first, was sufficient to suggest a circular form, where a nebulous sound coalesces into clearly defined patterns, then disintigrates back into nebulousness, presumably to recoalesce and disintigrate again. The piece starts with some very low frequency pulsations with filter sweeps going up and down. After a couple of minutes a rhythmic pattern begins to emerge. As this percussive pattern begins to assume a stable form, the first melodic elements come into play. There is something of a "cantus firmus", that is, a melodic pattern in long note values that runs throughout the rest of the composition, built mostly in 4ths and 5ths. It goes something like this: c' g' f' c" c' g bflat f; c' g' f' c" c' bflat g eflat (where c' = middle c, c" = the octave above, and c = the octave below) Eventually more active melodic figures are added. All of the pitch material was drawn exclusively from the c natural minor scale. I don't think I heard a single c#, e, f#, a, or b in the whole piece. It percolates like this for quite a while, then dissolves into filter sweeps, such as was heard at the beginning, and finally, those low frequency pulsations. I was thinking that the ideal venue for this music would be an art installation at a large gallery, where the sound images would complement large abstract canvases or sculptures. Also, the 3D effects that are supposed to be engineered into the music could possibly be more vividly realized in a large room than they were over my stereo (I did listen to it with headphones once). In a gallery, the music could repeat and people could enter and leave at any point they chose. ****** The photograph of Joe that accompanies his CD shows a face that looks exactly like what I would have expected the author of his postings to this list to look like, and the music as well reflects the personality of the list moderator as shown in his postings: even-handed, mild-tempered, open to all points of view, eager not to offend. Actually I expected more jazz in his record, though there was some of that. Most of his pieces proceed as follows: A background pattern is established, including a rhythmic/percussive element and a harmonic element. This runs, with only minor variations for the length of a piece. Over this he puts some improvised or quasi-improvised solos. In the first selection (I don't have the titles with me here) the solo instrument is a kind of "steam flute". It plays the main theme (which returns somewhere in the middle and then at the end). Later there's a kind of electric piano. At the end the steam flute and piano play together, and then the piece ends. The second selection has an extended introduction full of echoey pads and xylophone like tappings. Then a rock beat starts up with a background pattern in d minor. It repeats for a fair amount of time, with minor variations and some occasional alternations between tonic and subdominant. Eventually the long-expected solo instrument comes in and improvises for the rest of the piece. The 3rd selection is quiet, pretty, sort of new age-ish. Its background pattern is played by a kind of marimba-harp and the melodic solos are played by an English horn-oboe, with lots of LFO vibrato on the aftertouch. There's a very noticeable keyboard split at c" (the c above middle c) where, I assume, the English horn sample gives way to the oboe sample. I didn't make notes on the other selections. Perhaps in another post... Both discs were recorded with a very clean and clear sound, to a degree I'm unaccustomed to hearing on any classical recording. Both records have some attractive stuff on them. One clue that the music was engaging my attention was that I kept thinking about what I would have done if I was writing the music. The single-key aspect of all the selections on both records struck me as odd, and I think the music would have seemed more multi-dimensional to me had they ventured into other key areas, varied the textures within each selection and cut, stretched, compressed and otherwise tampered with the thematic material so as to acheive maximum variety with a minimum of material. In other words, of course, I'm saying that had I been writing this music I would have taken their basic material and developed it the way a classical composer would. Can't help it. That's just the way I think. Anyway, it was a pleasure to hear what 2 emusic list members, whose words I've been reading on a daily basis for several years, have been up to in their music studios. Keep it up, even if you have to squeeze it in between diaper changes. Mark Simon mgs2@cornell.edu ========================================================================= Date: Fri, 9 Jun 1995 15:13:57 MET-1METDST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: PUK2-10@WODNIK.IIS.PW.EDU.PL Organization: ISIS PW Subject: Re: guitar synths Comments: To: EMUSIC-L%LISTSERV.AMERICAN.EDU@plearn.edu.pl > >Panie Adrianie, > > Gitary sa dostatecznie dobrze opisane w czasopismie > >"Muzyk", wydawanym w Poznaniu. Polecam artykuly > >w nastepujacych numerach tego czasopisma: > >"Muzyk" 1993 nr 4 s.15-16 > > 1994 nr 1 s.32-33 > > nr 2 s.28-29 > > nr 4 s.21-22, 46-47 > > nr 6 s.38 > > nr 10 s.9-28 (tabela) > >Oprocz tego jest wydawane w Polsce czasopismo poswiecone > >wylacznie gitarom. > > > You took the words right out of my mouth. > this sentences was written in Polish language. there are not only Americans and English in the world. +----------------------------------------+ | chwilowo i goscinnie, ale to nieszkodzi| | ADRIAN = puk2-10@wodnik.iis.pw.edu.pl | +----------------------------------------+ ========================================================================= Date: Fri, 9 Jun 1995 19:07:47 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: GILL Subject: Laurie Anderson During the interval at the Laurie Anderson date on 7 June at the Royal Festival Hall I was waiting in the drink que listeningto the people's conversation about the first half. It struck me that it would have been interesting to tape it and get Laurie Anderson to play it back during the second half (I'm sure she wouldn't mind). Does anyone know of anything like this being done in the past? In house surveillance? Graeme Gill - e-mail - graeme.gill@bbsrc.ac.uk xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx " The only avant garde artist left is the terrorist as they are the only one's who can still truly surprise " - Laurie Anderson comment at the above gig. xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx ========================================================================= Date: Fri, 9 Jun 1995 12:37:28 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Lorne Hammond Subject: Re: Laurie Anderson Comments: To: Electronic Music Discussion List In-Reply-To: <0026071809061995/A00403/NVRS/11964C712000*@MHS> I was at an experimental video event in the Ed Sullivan theatre, just before it closed (Pre-David Letterman). As we went in we were stopped before being seated and the host said some odd phrase like "Good evening, avacado." and paused. Then we sat down and saw a mix of performers interact with what at the time was the largest hi-resloution video screen SONY made. At the end of the evening the performers sat in the crowd and cheered as fireworks and synths went off and our entrances appeared on the screen, mixed in with clips from the performance. The idea is that we are the performance and the performers become the audience. It was "very new york". I believe the ticket included some surrender of our copyright and privacy rights. Lorne Hammond Victoria, Canada ========================================================================= Date: Sat, 10 Jun 1995 07:24:41 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Davvid Brooks Subject: commercial advertising Comments: To: DRHANA@aol.com, EMUSIC-L@american.edu I have an opportunity to do a local radio spot. so what do i charge? i think lots but being my second time around. i want to be careful. i wrote the music/played the instruments/sequenced it on master tracks pro 6. put it on dat. the backgound music is from one of my songs do i lose the right to release the song in the original version ?,Can i charge per intrument?Ideas welcome. DavidB10 ========================================================================= Date: Sat, 10 Jun 1995 11:17:53 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jennifer Suzanne Barton <66466@EF.GC.MARICOPA.EDU> Subject: Re: commercial advertising Comments: To: EMUSIC-L@AMERICAN.EDU I think that is a great oppurtunity!! Losing the rights it definetely not what you want to do. I think you should charge per instrument... *************************************************** * * * Jennifer Barton 66466@ef.gc.maricopa.edu * * "You chose this so you better enjoy it" * *************************************************** ========================================================================= Date: Sat, 10 Jun 1995 19:29:53 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: commercial advertising In-Reply-To: <950610072439_67909314@aol.com> from "Davvid Brooks" at Jun 10, 95 07:24:41 am > > I have an opportunity to do a local radio spot. > so what do i charge? > i think lots but being my second time around. i want to be careful. > i wrote the music/played the instruments/sequenced it on master tracks pro 6. > put it on dat. the backgound music is from one of my songs do i lose the > right to release the song in the original version ?,Can i charge per > intrument?Ideas welcome. DavidB10 You always retain your copyright unless the contract you write up with the station specifically sells them the rights. If they want you to do that, tell 'em it'll cost a lot more. This is usually called a "work for hire", so if that's what they're talking about, tell 'em to forget it. Otherwise, you should charge on the basis of the amount of music (in seconds) that they'll be using, multiplied by the number of times they use it. The frequency of use should be determined by (most likely) the station log plus a list of the commercial or commercials your music is to be used in. The station log is required to be accurate by law, so they can't fake that. As far as the use in commercials goes, either license your music for use in one commercial and renegotiate for use in others, or negotiate use in a specific set of commercials, which must be named when the contract is signed. I wouldn't recommend trying to charge by instrument; if they have a lawyer go over it (and they no doubt will), the lawyer might well argue that the sounds were all produced by one or two instruments (regardless of the actual polyphony). Stick to something simple, and find *yourself* a local entertainment lawyer to help you draw up the contract. He or she should know how much is charged locally, and will help keep you from getting taken. If you intend to do more of this, I recommend highly that you join ASCAP or BMI; they'll be of help in protecting your music. I'm no lawyer, and I can't give you any advice based on experience. Call the local bar association, and see if there is a pro bono (free) legal advice organization around. There is one in the DC area, I know. --- Joe M. ========================================================================= Date: Sat, 10 Jun 1995 23:06:17 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Laurie Anderson Comments: To: Electronic Music Discussion List >Does anyone know of anything like this being done in the past? During the last Rosemary Butcher dance performance I saw (a couple of tears ago), the music score contained audio material sampled from the audience coming at the beginning. Very Cunninghamesque, I thought. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Success can be measured by only one thing: the hairs on the back of your neck." -- Twyla Tharp ========================================================================= Date: Sun, 11 Jun 1995 11:00:28 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Martin Russ Subject: New V1.1 of Admin FAQs (minor changes) Comments: To: SYNTH-L@LISTSERV.AMERICAN.EDU This is the third mailing of the fortnightly Administrative FAQs. Only minor changes have been made from V1.0. --------------------------------------------------------------------------- Warning: Long Document (344 lines, 2680 words, about 6 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 1.1. 11 June 1995. --------------------------------------------------------------------------- Added since issue 1.0. 14 May 1995: - AOL subscriber problems with unsubscribing and digest changes - Contributor list --------------------------------------------------------------------------- "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. AOL subscribers may experience some problems with unsubscribing from the listserv. This may be a communications problem or an incompatibility... If you cannot unsubscribe then please save any messages that you may receive from the listserv and send them to Joe McMahon (mcmahon@CLARK.NET). "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'. AOL subscribers may experience some problems in changing their subscription details via the listserv. This may be a communications problem or an incompatibility... If you cannot change to a digest then please save any messages that you may receive from the listserv and send them to Joe McMahon (mcmahon@CLARK.NET). Contributors:************************************************************** Mike Metlay, Joe McMahon, Ned Kartchner, Clive McFarland and others --------------------------------------------------------------------------- Martin Russ, EMUSIC-L & SYNTH-L Admin FAQ maintainer, FAQ@midi.dungeon.com ========================================================================= Date: Sun, 11 Jun 1995 09:53:46 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Steven Murray Subject: D-20 Battery Change Does anyone out there know how to change the memory backup battery in a Roland D-20? I know how to reinitialize the unit as well as restore patches after the job is done. I don't how to locate the battery nor what type it is. Roland will not share this info--neither via its telephone so-called customer support line nor its manual. They also insist that after re-initializing, one MUST have the original factory 3.5 floppy in order to restore banks etc. at $12. This was not true, so I assume that it's not all that hard to change a battery either. ========================================================================= Date: Sun, 11 Jun 1995 10:01:06 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Jane Q. Gayle Kinsey" Subject: Re: Patricia Herdman Comments: To: emusic-l@american.edu Is there a place on-line to order albums or get info on Patricia Herdman - does anyone know? ========================================================================= Date: Sun, 11 Jun 1995 12:53:02 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Robert Gibson Subject: Re: commercial advertising Comments: To: Electronic Music Discussion List >You always retain your copyright unless the contract you write up with the >station specifically sells them the rights. If they want you to do that, >tell 'em it'll cost a lot more. This is usually called a "work for hire", >so if that's what they're talking about, tell 'em to forget it. > >Otherwise, you should charge on the basis of the amount of music (in seconds) >that they'll be using, multiplied by the number of times they use it. The >frequency of use should be determined by (most likely) the station log >plus a list of the commercial or commercials your music is to be used in. >The station log is required to be accurate by law, so they can't fake that. >As far as the use in commercials goes, either license your music for use in >one commercial and renegotiate for use in others, or negotiate use in a >specific set of commercials, which must be named when the contract is >signed. > >I wouldn't recommend trying to charge by instrument; if they have a >lawyer go over it (and they no doubt will), the lawyer might well argue >that the sounds were all produced by one or two instruments (regardless >of the actual polyphony). Stick to something simple, and find *yourself* >a local entertainment lawyer to help you draw up the contract. He or she >should know how much is charged locally, and will help keep you from getting >taken. > >If you intend to do more of this, I recommend highly that you join >ASCAP or BMI; they'll be of help in protecting your music. I'm no lawyer, >and I can't give you any advice based on experience. Call the local bar >association, and see if there is a pro bono (free) legal advice organization >around. There is one in the DC area, I know. All the above is excellent advice (again, no lawyer speaking, but I do have some commercial experience). If you're going to do this more than once, call ASCAP and BMI and join one or the other. The main issues with this work center around licensing and performing rights, and that is the business of these organizations. Bob Gibson ========================================================================= Date: Sun, 11 Jun 1995 21:35:24 +0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Kari Lauren Subject: Soundman Wave sound card Hi, has anyone recently bought or used a Soundman Wave sound card, also a keyboard for Midisoft Recording Session?? (runs under Windows 3.1) I would like to know which keyboard suits best, and maybe some more advice later on Extended and General Midi. Write to Kari Lauren, Estonia Kari.Lauren@kuressaar.green.fido.ee ========================================================================= Date: Sun, 11 Jun 1995 16:35:31 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Deved Smith Subject: Re: D-20 Battery Change Comments: To: emusic-l@american.edu Well, if you're privy to electronic components, I would just grab a screwdriver and go for it. I had to do that on my D-50 a couple of years ago. As for the battery itself, I was able to pick one up at the local electronics part shop. The whole process, except the trip to the store for the battery, took about an hour and was very simple. DevedS2@AOL.COM ========================================================================= Date: Sun, 11 Jun 1995 18:09:28 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: D-20 Battery Change Comments: To: EMUSIC-L@american.edu I'd caution you though -- if there's only ONE battery, you could lose memory (if there is any) when you change it. If there's more than one, changing them one at a time will keep you from losing anything (usually). ========================================================================= Date: Mon, 12 Jun 1995 00:18:16 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: colby leider Subject: Theremin question Comments: To: EMUSIC-L@american.edu I'm building the Theremin that's in the 1976 Popular Electronics magazine. I just have a quick question to ask and would greatly appreciate talking to someone who has built it. Thanks a bunch, Colby Leider UT Austin ========================================================================= Date: Mon, 12 Jun 1995 07:28:54 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Laurie Anderson Comments: To: Electronic Music Discussion List >During the last Rosemary Butcher dance performance I saw (a couple of tears >ago), Or a couple of years, even. 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, 12 Jun 1995 08:05:57 MET Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: daw-mac@BEST.COM Subject: Berklee College of Music-Mu Comments: To: algo-comp@kahless.music.uiowa.edu, NELSONJ@servax.fiu.edu, nleonard@ecn.mass.edu, msimoni@umich.edu, max@vm1.mcgill.ca, menoche@ccwf.cc.utexas.edu, opcode-users@portal.com, ROTHBART@ithaca.edu, lovell@isa.fa.asu.edu, ColleenW@mcet.edu, Todd_Winkler@brown.edu Comments: cc: dpuluse@it.berklee.edu >From sun4nl!best.com!owner-daw-mac@uniface.uniface.nl X-Envelope-From: sun4nl!best.com!owner-daw-mac@uniface.uniface.nl Received: from sun4nl.UUCP (uucp@localhost) by uniface.uniface.nl (8.6.9/1.1b-TJL ) with UUCP id RAA01682 for uniface.nl!Paping.Marc; Fri, 9 Jun 1995 17:19:23 +020 0 Received: from blob.best.net by sun4nl.NL.net with SMTP id AA24406 (5.65b/CWI-3.3); Fri, 9 Jun 1995 17:08:10 +0200 Received: from shell1.best.com (shell1.best.com [204.156.128.10]) by blob.best.ne t (8.6.12/8.6.5) with ESMTP id HAA17936; Fri, 9 Jun 1995 07:57:24 -0700 Received: (majordom@localhost) by shell1.best.com (8.6.12/8.6.5) id HAA07312 for daw-mac-outgoing; Fri, 9 Jun 1995 07:51:49 -0701 Message-Id: Date: 9 Jun 1995 10:49:01 U From: John Lamar Subject: Berklee College of Music-Mu To: "algo-comp@kahless.music.uiowa.e" , daw-mac@best.com, Electronic Music Discussion Li , JON C NELSON , Neil Leonard , Mary Simoni , Max post , Chuck Menoche , opcode-users@portal.com, PETER ROTHBART , "Robb E. Lovell" , Colleen Wheeler , Todd Winkler Cc: Don Puluse X-Mailer: Mail*Link SMTP-QM 3.0.2 Sender: owner-daw-mac@best.com Precedence: bulk Reply-To: daw-mac@best.com Please post or pass on to interested parties. Please do not respond by phone or email to me. Thanks John P. Lamar Computer Systems Coordinator Music Synthesis Department Berklee College of Music 617-266-1400 ext. 484 jlamar@it.berklee.edu --------------------------------------------------------------------------------- -------------------- BERKLEE COLLEGE OF MUSIC Department Chair, Music Synthesis Department. Would you like to help shape the future of education in music technology? Berklee, the world's premier institution for the study of contemporary music, is accepting applications for Chair of the Music Synthesis Department. The Chair's primary responsibility is management of the department, faculty, and facilities, as well as setting the direction for this dynamic, trend-setting department. You will establish and assess department goals annually, formulate department policy, oversee the development of curriculum, as well as the hiring, assignment, development of faculty and staff. The chair will manage the budget and maintain the department's relations with the industry. Other responsibilities may include teaching and student advising. This is a permanent, year-round administrative position. The Music Synthesis Department at Berklee has 150 student majors, 8 faculty, and 10 staff. The Chair oversees three music synthesis laboratories, with full MIDI and hard-disk recording support, a lecture/performance hall, and MIDI-equipped ensemble rooms. Our goal is to equip our students with all the tools necessary to succeed in a variety of careers, including multimedia, performance, production, and sound design. Our alumni can be found in every facet of the popular and contemporary music business, worldwide. Berklee is the world's largest college of music, with an enrollment of more than 2,600 students, nearly 40 percent of them international. We're looking for someone who has a Master's degree and/or equivalent professional experience, with a background in teaching and college or music industry administration. A thorough knowledge of current practices and technological advances in Music Synthesis is required. Starting date is January 1, 1996. Please send us all of the following: your resume; a disc or tape of recent productions or performances; two letters of recommendation; and other appropriate documentation; along with your letter of application, by October 1, 1995. Send all materials to: Music Synthesis Chair Search Committee, Office of the Technology Division Chair, Box #288, Berklee College of Music, 1140 Boylston St., Boston, MA 02215. Berklee College of Music is an Equal Opportunity Employer. ========================================================================= Date: Mon, 12 Jun 1995 13:31:31 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: including the audience Comments: To: eml@physics.american.edu there is a classic performance piece that i erroneously attribute to john cage, in which a telephone is placed on a stool, in a spotlight, on a stage, in a bar. the patrons wnader in, begin to drink, etc. a person walks from offstage, lifts the receiver and places it on the stool next to the phone, and walks off. the patrons wonder for a moment just what happened, then go back to their drinking and talking. the room is covertly both miked and speakered, with transducers of both kinds scattered about the place. behind stage sits an engineer, who mixes and sends parts of the sound of the room to other parts, under direction of a score. i'm sure you've noticed the ebb and flow of volume level in restaurants? some group will get a little noisy, perhaps laughing heratily over a story told about work that day, and surrounding groups will get a little louder to compensate. then pockets of quiet will intrude, and some people, not wishing their conversation to actually be overheard, will lower their tones. the engineer behind the stage directs this activity for about an hour. the audience, their interaction with each other individually and with the larger group, is the performance, conducted by the engineer. the stage manager returns to the stage, puts the receiver back on the hook, does or does not explain what's just happened to the audience, and leaves. the light dims. <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 ========================================================================= Date: Mon, 12 Jun 1995 11:28:00 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Craig Marks Subject: Quadrasynth editor/librarian Comments: To: emusic-l Comments: cc: synth-l Well, I just got my s4 and I'm pretty happy with it. I'm going to upgrade to the + as soon as it is available in a few weeks. Does anybody know of a editor or librarian for the Quadrasynth for macintosh (pref. shareware or inexpensive)? I currently use galaxy for my M1, is a new template available? I'd appreciate any help anyone can give. Thnaks again. -Craig ========================================================================= Date: Mon, 12 Jun 1995 13:54:47 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul Braunbehrens Subject: Re: Berklee College of Music-Mu Comments: To: algo-comp@kahless.music.uiowa.edu, NELSONJ@servax.fiu.edu, nleonard@ecn.mass.edu, msimoni@umich.edu, max@vm1.mcgill.ca, menoche@ccwf.cc.utexas.edu, opcode-users@portal.com, ROTHBART@ithaca.edu, lovell@isa.fa.asu.edu, ColleenW@mcet.edu, Todd_Winkler@brown.edu Comments: cc: dpuluse@it.berklee.edu Sorry about the spam, there is a problem with my list and it does that right now...I'm working on it. Cheers, --------------------------------------------------- Bakalite@bakalite.com (Paul Braunbehrens) Administrator Daw-Mac Owner Bakalite Sound http://www.bakalite.com ftp://ftp.bakalite.com --------------------------------------------------- ========================================================================= Date: Mon, 12 Jun 1995 18:40:04 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Top Ten things an electronic musician needs to know Comments: To: emusic-l Keyboard Magazine's "20 Things Every Electronic Musician Must Know" last month left out several important, no, essential items. From the home office in Cheesequake, New Jersey, we bring you the "Top Ten Essential Facts Neglected by Keyboard": 10. Adhesive tape not a suitable substitute for DAT tape 9. Background music in factories not considered "industrial" 7. Bucket-brigade devices not required to pass water test 6. Mastering tapes does not require whips and chains in most cases 5. Hall passes unnecessary for studio monitors 8. Referring to concert security as "bandpass filters" only confuses them 4. Whitman's sampler not multitimbral 3. Head cleaning required for tape decks, recommended for musicians 2. Making lewd gestures while playing theremin frowned on in most circles And the number one essential fact neglected by Keyboard: 1. Black and white things on top, facing you --- Joe M. ========================================================================= Date: Tue, 13 Jun 1995 09:54:09 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re: Top Ten things an electronic musician needs to know Comments: To: Electronic Music Discussion List Joe wrote-- ....[SNIP}... >And the number one essential fact neglected by Keyboard: > 1. Black and white things on top, facing you > NOW he tells me... Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Tue, 13 Jun 1995 10:00:12 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re: Laurie Anderson Comments: To: Electronic Music Discussion List Nick wrote-- >>During the last Rosemary Butcher dance performance I saw (a couple of tears >>ago), > >Or a couple of years, even. > I preferred the original version: it had that wistful, sadly haunting quality. Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Tue, 13 Jun 1995 13:41:38 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Simon McGuire Subject: Audio->MIDI Comments: To: emusic-l@american.edu Hi All, I know that the Roland Octopad has some audio to MIDI converters/ triggers. Has anyone heard of another (cheap) way of doing this sort of thing? Simion ========================================================================= Date: Tue, 13 Jun 1995 09:18:08 MET-1METDST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: PUK2-10@WODNIK.IIS.PW.EDU.PL Organization: ISIS PW Subject: Encore software Comments: To: EMUSIC-L%LISTSERV.AMERICAN.EDU@plearn.edu.pl Do you know, how to get Encore software (comp. sequencer), licence isn't neccesary. J AAA DDD III J AAAAAA DDD III J AAA AAA DDD N AAA AAA DDD N AAA AAA DDD DDD III N AAA AAA DDD DDD IIII L AAA AAAAAAAAA DDD DDD II III L AAA AAAAAAAAAA DDDDDDDDDDD IIIIIII q / PUK2-10@WODNIK.IIS.PW.EDU.PL \ ========================================================================= Date: Mon, 12 Jun 1995 16:31:20 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Macalester College Music Department Subject: Re: including the audience Comments: To: Electronic Music Discussion List In-Reply-To: Your message dated "Mon, 12 Jun 1995 13:31:31 -0400 (EDT)" <00991C51.4AFF3BA0.16500@physics.american.edu> Eric Harnden Can you tell more about the telephone piece. You mention the performance is controlled according to a score. Who wrote it, where is it available? I am very interested in this and would like to program it next year. Has anyone else on this list done it? sincerely... +-----------------------------------------------------------------------+ + Ed Forner Macalester College Music Department + + forner@macalstr.edu voice (612) 696-6189 + +-----------------------------------------------------------------------+ ========================================================================= Date: Tue, 13 Jun 1995 08:08:43 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Don Newcomer Subject: Re: Top Ten things an electronic musician needs to know Comments: To: Electronic Music Discussion List In-Reply-To: <199506122240.SAA25557@clark.net> On Mon, 12 Jun 1995, Joe McMahon wrote: > And the number one essential fact neglected by Keyboard: > 1. Black and white things on top, facing you > > --- Joe M. > Not a Keith Emerson fan, eh? He plays Bach's "Toccata and Fugue in D Minor" better from behind the organ than I do in front! =============================================================================== Don Newcomer Dickinson College newcomer@dickinson.edu P.O. Box 1773 newcomer@dickinsn.bitnet Carlisle, PA 17013 "If God is your co-pilot, switch seats!" ========================================================================= Date: Tue, 13 Jun 1995 09:57:00 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Encore software In-Reply-To: from "PUK2-10@WODNIK.IIS.PW.EDU.PL" at Jun 13, 95 09:18:08 am > > Do you know, how to get Encore software (comp. sequencer), > licence isn't neccesary. The EMUSIC-L management does not condone copyright violation. What you do somewhere else is your business, but please don't discuss doing anything illegal on this list. Thanks. --- Joe M. (in listowner mode) ========================================================================= Date: Tue, 13 Jun 1995 15:54:49 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: isor Subject: That Wedding March Song Comments: To: Electronic Music Discussion List In-Reply-To: <199506131357.JAA01178@clark.net> Hey you! what is the name of the song that almost everyone plays at his/her wedding. Can i get it anywhere as a MIDI file? please help me! Eric Allen Seale of ISOR magazine \ Br. Box 1566 \ Edwardsville, IL ========================================================================= Date: Tue, 13 Jun 1995 17:05:46 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: john rossi Subject: Re: Top Ten things an electronic musician needs to know Comments: To: Electronic Music Discussion List In-Reply-To: <199506122240.SAA25557@clark.net> On Mon, 12 Jun 1995, Joe McMahon wrote: > 1. Black and white things on top, facing you > Except when Kieth Emmerson is playing upside down, or as in the photo in the _Bandwidth_ insert, when Dean Swan is playing from the back... John ========================================================================= Date: Wed, 14 Jun 1995 00:46:55 +0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Uri Bruck Subject: Re: That Wedding March Song Comments: To: Electronic Music Discussion List In-Reply-To: On Tue, 13 Jun 1995, isor wrote: > Hey you! what is the name of the song that almost everyone plays at > his/her wedding. Can i get it anywhere as a MIDI file? please help me! > > Eric Allen Seale of ISOR magazine \ Br. Box 1566 \ Edwardsville, IL > I believe it's an excerpt from a Wagner piece, the name eludes me at the moment, but I will look it up. (posting so as not to leave completely on the lurch) Uri Bruck ========================================================================= Date: Tue, 13 Jun 1995 17:59:28 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "ANNA P. MCCURRY" Subject: Re: That Wedding March Song Comments: To: EMUSIC-L@american.edu The song is Felix Mendelssohn-Bartholdy's "Wedding March" from _A Midsummer Night's Dream_. I have no idea of where it exists as a MIDI file. Patrick ++++++++++++++++++++++++++++++++++++++++++++ Hey you! what is the name of the song that almost everyone plays at his/her wedding. Can i get it anywhere as a MIDI file? please help me! Eric Allen Seale of ISOR magazine \ Br. Box 1566 \ Edwardsville, IL ========================================================================= Date: Tue, 13 Jun 1995 18:40:03 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: That Wedding March Song Comments: To: EMUSIC-L@american.edu Perhaps "The Wedding March" by Mendelssohn? ========================================================================= Date: Tue, 13 Jun 1995 18:53:34 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pete Schoenhoff Subject: Re: That Wedding March Song Comments: To: EMUSIC-L@american.edu In-Reply-To: ; from "isor" at Jun 13, 95 3:54 pm These are the graceful words of isor: ->Hey you! what is the name of the song that almost everyone plays at ->his/her wedding. Can i get it anywhere as a MIDI file? please help me! Two come readily to mind: Felix Mendelssohn's "Wedding March" from "A Midsummer Night's Dream" is often used as a recessional. Also, ever since the queen used it several years ago as a processional in her wedding, Henry Purcell's "Trumpet Voluntary in D Major" has been in somewhat in vogue. As for that silly "Here Comes the Bride" tune, I have no idea. -Pete Schoenhoff _\|/_ pschoenh@pen.k12.va.us ========================================================================= Date: Tue, 13 Jun 1995 21:50:33 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacki Barineau Subject: Re: That Wedding March Song Comments: To: Electronic Music Discussion List At 3:54 PM 6/13/95, isor wrote: >Hey you! what is the name of the song that almost everyone plays at >his/her wedding. Can i get it anywhere as a MIDI file? please help me! Hi, Eric! The march they play during the processional is called "Bridal Chorus" by Richard Wagner (from "Lohengrin"). The one during the recessional is called "Wedding March" by Mendelssohn (from "A Midsummer Night's Dream"). You can find the sheet music at most any music store in their wedding books. ***************************************************** Jacki Barineau :) Music Composition and Production via/MIDI Chronic Fatigue Syndrome, Type II Diabetes ***************************************************** ========================================================================= Date: Tue, 13 Jun 1995 22:00:09 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: PATRICK MCCURRY Subject: Re: That Wedding March Song Comments: To: EMUSIC-L@american.edu > As for that silly "Here Comes the Bride" tune, I have no idea. That's the "Bridal Chorus" from Richard Wagner's opera, _Lohengrin_. Again, I know not where to find a midi file, though I have duets that I've written for both the Mendelssohn-Bartholdy and the Wagner. I could make MIDI files out of them. Let me know if you want them. Best if you email me at my wife's account, apmccurr@hamlet.uncg.edu. I have to move in with her since I graduated. Patrick ========================================================================= Date: Tue, 13 Jun 1995 22:17:32 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: john rossi Subject: Re: Top Ten things an electronic musician needs to know Comments: To: Electronic Music Discussion List In-Reply-To: On Tue, 13 Jun 1995, john rossi wrote: > Except when Kieth Emmerson is playing upside down, or as in the photo in > the _Bandwidth_ insert, when Dean Swan is playing from the back... > Kieth Emmerson is no relation to Keith Emerson of EPL fame, BTW :-) John 3 ========================================================================= Date: Tue, 13 Jun 1995 22:14:54 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bruce Edwards Subject: audience as parameter Comments: To: emusic-l@american.edu On: Fri, 9 Jun 1995 19:07:47 +0100 GILL wrote: " It struck me that it would have been interesting to tape it ...to play it back during the second half. . .Does anyone know of anything like this being done in the past?" During one of our incarnations several years ago it was not uncommon during parts of a performance (particularly the third set) to use "samples" drawn from audience response as the basis for percussion voices. The samples at times, with varying degrees of success, where also used as "harmonic" colour. In addition at times we would mic the audience looking for the breathing, talking, glassware, silver ware clank compress it fairly severely then use that "wave" via a CV-MIDI trigger to DSP to control an effects parameter (delay for example). While always fun for the musicians the results were at times musical . . . ========================================================================= Date: Wed, 14 Jun 1995 03:56:50 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Toby Hrycek-Robinson Subject: Re: Audio->MIDI Comments: To: Electronic Music Discussion List >Hi All, > I know that the Roland Octopad has some audio to MIDI converters/ >triggers. Has anyone heard of another (cheap) way of doing this sort of >thing? > >Simion I own & run a pro 24-track studio, and have used a large range of audio to midi converters, but currently we are using the triggers in the Alesis D4 drum module - they are far more flexible than our Akai ME35T or Simmonds triggers. Very easy to set up, , you get 12 of them, a hi-hat mode, useful crosstalk settings, and although I've never listened to them properly myself, am told the samples are not bad either (100 kicks, 100 snares, lots of percussion) - I'll stop before I sound like an ad - available for 250 (probably $250) at a good store near you! Cheers Toby With sincere apologies to all the drummers who used to be mates. ========================================================================= Date: Tue, 13 Jun 1995 23:16:18 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacki Barineau Subject: Re: That Wedding March Song Comments: To: Electronic Music Discussion List Hi, everyone! For some reason the first time I sent this message it was rejected. I'm trying to send it again. At 3:54 PM 6/13/95, isor wrote: >Hey you! what is the name of the song that almost everyone plays at >his/her wedding. Can i get it anywhere as a MIDI file? please help me! Hi, Eric! The march they play during the processional is called "Bridal Chorus" by Richard Wagner (from "Lohengrin"). The one during the recessional is called "Wedding March" by Mendelssohn (from "A Midsummer Night's Dream"). You can find the sheet music at most any music store in their wedding books. ***************************************************** Jacki Barineau :) Music Composition and Production via/MIDI Chronic Fatigue Syndrome, Type II Diabetes ***************************************************** From LISTSERV@AMERICAN.EDU Wed Jan 17 18:44:35 1996 Received: from atlanta.american.edu (atlanta.american.edu [147.9.1.6]) by mail.Clark.Net (8.7.3/8.6.5) with SMTP id SAA06205 for ; Wed, 17 Jan 1996 18:44:28 -0500 (EST) Received: from atlanta (atlanta.american.edu [147.9.1.6]) by atlanta.american.edu (8.6.12/8.6.11) with SMTP id SAA08719 for ; Wed, 17 Jan 1996 18:16:43 -0500 Message-Id: <199601172316.SAA08719@atlanta.american.edu> Date: Wed, 17 Jan 1996 18:16:42 -0500 From: "L-Soft list server at AMERICAN.EDU (1.8b)" Subject: File: "EMUSIC-L LOG9506C" To: Joe McMahon Status: O ========================================================================= Date: Wed, 14 Jun 1995 00:55:42 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacki Barineau Subject: Re: That Wedding March Song The march they play during the processional is called "Bridal Chorus" by Richard Wagner (from "Lohengrin"). The one during the recessional is called "Wedding March" by Mendelssohn (from "A Midsummer Night's Dream"). You can find the sheet music at most any music store in their wedding books. ***************************************************** Jacki Barineau :) Music Composition and Production via/MIDI Chronic Fatigue Syndrome, Type II Diabetes ***************************************************** ========================================================================= Date: Wed, 14 Jun 1995 01:15:58 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Steve F." Subject: Re: Top Ten things an electronic musician needs to know Comments: To: emusic-l@american.edu I'm sick of hearing about Keith Emerson. What about some synth talk about " electronic musicians ", not guitars and drums, Synths, drum machines, sequencers, ect. ========================================================================= Date: Tue, 13 Jun 1995 23:34:39 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Brian Coates Subject: Re: That wacky wedding tune Comments: To: Electronic Music Discussion List , isor >Hey you! what is the name of the song that almost everyone plays at >his/her wedding. Can i get it anywhere as a MIDI file? please help me! > Forgive me for spelling errors, if I fumble in the name, here. I used to work at a music store, and THE most requested song for weddings was the- now here come the potential spelling errors- "Pachelbel's Cannon". It's the one that goes like this naaaaaaaaa, naaaa, naaaaaaaaaaaaa, naaaaaaaaaaaaaaaa, dooooo, doooooooooo, mmmmmmmmmmmmmmm, mmmmmmmmmmmmmmmm.... Sorry, I haven't been trained vocally. Brian ========================================================================= Date: Wed, 14 Jun 1995 03:15:39 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dustin McIntyre Subject: Re: Keith Emmmmerson Comments: To: EMUSIC-L@american.edu >>>>>>>>On Tue, 13 Jun 1995, john rossi wrote: > Except when Kieth Emmerson is playing upside down, or as in the photo in > the _Bandwidth_ insert, when Dean Swan is playing from the back... > Kieth Emmerson is no relation to Keith Emerson of EPL fame, BTW :-) Uhhm...It's ELP. Or was that the joke? ========================================================================= Date: Wed, 14 Jun 1995 03:17:50 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: ALEX M MIRONES <58970186T@SERVAX.FIU.EDU> Subject: Tom Sawyer Comments: To: EMUSIC-L@american.edu Hello All. I was wondering if anyone knows how to make that growling sound at the begin- ning of RUSH's Tom Sawyer from the Moving Pictures Album. Someone told me it's a Mini Moog. Can anyone verify this. Also, if anyone has a MM could you give me a hint as to how to create that sound. Thanks ahead of time. ========================================================================= Date: Wed, 14 Jun 1995 09:59:34 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Miroslav Teker Subject: OMR,HDR Comments: To: EMUSIC-L@american.edu Hello! I have two questions that I hope are not too off-topis of this list: 1.Does anyone have some experience with Optical Music Recognition on PC compatibles? What programs do you use and what's their price? What is the reliability of this process ( say if the original score is one-voice melody and it's printed) 2.Which low-cost Harddisk Recording program has the most positive response from users (generally)? I've tried two - Software Audio Workshop (SAW) and Samplitude V2.0. Both looked promising,but SAW is quite expensive, and I haven't found any info on registration of Samplitude. I've also heard of Turtle Beach's Quad but no idea whether it's better than these two. Miro ========================================================================= Date: Wed, 14 Jun 1995 09:00:16 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: What about other subjects? In-Reply-To: <950614011557_94518152@aol.com> from "Steve F." at Jun 14, 95 01:15:58 am > > I'm sick of hearing about Keith Emerson. > What about some synth talk about " electronic musicians ", not guitars and > drums, > Synths, drum machines, sequencers, ect. > Best way to hear about what you're interested in is to start talking about it. --- Joe M. ========================================================================= Date: Wed, 14 Jun 1995 09:17:10 +0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Mcdonough Subject: wedding trivia Comments: To: emusic-l@american.edu >The song is Felix Mendelssohn-Bartholdy's "Wedding March" from _A >Midsummer Night's Dream_. ...frquently as not refered to as: "here comes the bride" and not to be confused with the other popular tune to end a wedding refered to as: "there goes the bride" :-) some days i can be of no help. ...andy _________________________________________________________________________ andy mcdonough ...at&t bell laboratories, middletown,nj... (908)957-6674 abm@att.com =========================================================== _________________________________________________________________________ ========================================================================= Date: Wed, 14 Jun 1995 09:25:01 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: That Wedding March Song Comments: To: emusic-l@american.edu In 1974, I played Paul Stooky's "The Wedding Song" (on guitar) at my sister's wedding. In 1988, I played Pachelbel's "Cannon in D" (on CD) at my brother's wedding. (Gee, what a difference 14 years can make!) I, however, am still romantically challenged. ;-) Bill Fox wbf@aloft.att.com ========================================================================= Date: Wed, 14 Jun 1995 09:32:17 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Patrick Robinson Subject: Re: Top Ten things an electronic musician needs to know Comments: To: Electronic Music Discussion List John 3 writes and writes: > > Except when Kieth Emmerson is playing upside down, or as in the photo in > > the _Bandwidth_ insert, when Dean Swan is playing from the back... > > > Kieth Emmerson is no relation to Keith Emerson of EPL fame, BTW :-) Wow! EPL! Is that like a new Norwegian group? --- Patrick Robinson Extension Information Systems, Virginia Tech pgr@ramandu.ext.vt.edu ========================================================================= Date: Wed, 14 Jun 1995 08:54:28 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Macalester College Music Department Subject: Re: That Wedding March Song Comments: To: Electronic Music Discussion List In-Reply-To: Your message dated "Wed, 14 Jun 1995 00:46:55 +0300" If classical, either the wedding march from Wagner's Lohengrin, or the wedding march from Midsummer Night's Dream by Mendelssohn. +-----------------------------------------------------------------------+ + Ed Forner Macalester College Music Department + + forner@macalstr.edu voice (612) 696-6189 + +-----------------------------------------------------------------------+ ========================================================================= Date: Wed, 14 Jun 1995 10:05:37 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: EMUSIC-L@AMERICAN.EDU Subject: Re: Top Ten things an electronic musician needs to know Comments: To: Electronic Music Discussion List To: Multiple recipients of list EMUSIC-L John 3 writes and writes: > > Except when Kieth Emmerson is playing upside down, or as in the photo in > > the _Bandwidth_ insert, when Dean Swan is playing from the back... > > > Kieth Emmerson is no relation to Keith Emerson of EPL fame, BTW :-) Wow! EPL! Is that like a new Norwegian group? --- Patrick Robinson Extension Information Systems, Virginia Tech pgr@ramandu.ext.vt.edu ========================================================================= Date: Wed, 14 Jun 1995 10:10:24 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: EMUSIC-L@AMERICAN.EDU >The song is Felix Mendelssohn-Bartholdy's "Wedding March" from _A >Midsummer Night's Dream_. ...frquently as not refered to as: "here comes the bride" and not to be confused with the other popular tune to end a wedding refered to as: "there goes the bride" :-) some days i can be of no help. ...andy _________________________________________________________________________ andy mcdonough ...at&t bell laboratories, middletown,nj... (908)957-6674 abm@att.com =========================================================== _________________________________________________________________________ ========================================================================= Date: Wed, 14 Jun 1995 10:34:57 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: That Wedding March Song Comments: To: EMUSIC-L@american.edu It's Pachelbel's Canon in D (or Kanon in D), which George Winston resurrected (for some reason, in the key of C???) for Windham Hill back in '82. Before that, my favorite version was as soundtrack to a porno movie. Kinda likewhen they used Erik Satie's "Trois Gymnopodie" for a tampon commercial. ========================================================================= Date: Wed, 14 Jun 1995 10:56:18 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: EMUSIC-L@AMERICAN.EDU Subject: Re: That Wedding March Song Comments: To: Electronic Music Discussion List To: Multiple recipients of list EMUSIC-L In-Reply-To: Your message dated "Wed, 14 Jun 1995 00:46:55 +0300" If classical, either the wedding march from Wagner's Lohengrin, or the wedding march from Midsummer Night's Dream by Mendelssohn. +-----------------------------------------------------------------------+ + Ed Forner Macalester College Music Department + + forner@macalstr.edu voice (612) 696-6189 + +-----------------------------------------------------------------------+ ========================================================================= Date: Wed, 14 Jun 1995 08:42:19 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Lorne Hammond Subject: Re: Tom Sawyer Comments: To: Electronic Music Discussion List In-Reply-To: <950614031750.202096b6@servax.fiu.edu> I am guessing here, but it is probably done by modulating two oscillators with the fixed rate output of number three, run through the modulation wheel to the cv in's of oscillator one and two. I suppose that is a frequency modulation? Anyone else? lorne On Wed, 14 Jun 1995, ALEX M MIRONES wrote: > Hello All. > I was wondering if anyone knows how to make that growling sound at the begin- > ning of RUSH's Tom Sawyer from the Moving Pictures Album. Someone told > me it's a Mini Moog. Can anyone verify this. Also, if anyone has a MM could you > give me a hint as to how to create that sound. Thanks ahead of time. > ========================================================================= Date: Wed, 14 Jun 1995 09:15:34 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Lorne Hammond Subject: Re: Top Ten things an electronic musician needs to know Comments: To: Electronic Music Discussion List In-Reply-To: <9506141332.AA15243@ramandu.ext.vt.edu> EPL play control voltage modified laser toner cartridges. Japanese CD made out of recycled cartridge parts. Very rare. lorne On Wed, 14 Jun 1995, Patrick Robinson wrote: > John 3 writes and writes: > > > Except when Kieth Emmerson is playing upside down, or as in the photo in > > > the _Bandwidth_ insert, when Dean Swan is playing from the back... > > > > > Kieth Emmerson is no relation to Keith Emerson of EPL fame, BTW :-) > > Wow! EPL! Is that like a new Norwegian group? > > > > --- > Patrick Robinson > Extension Information Systems, Virginia Tech > pgr@ramandu.ext.vt.edu > ========================================================================= Date: Wed, 14 Jun 1995 14:21:17 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: score for the audience mix Comments: To: eml@physics.american.edu forget it. i have no idea where the idea came from, or who actually did it. like i said, i erroneously attribute it to john cage. you might ask meschter@pipeline.com ========================================================================= Date: Wed, 14 Jun 1995 15:10:49 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Jon M." Subject: Wedding music Comments: To: EMUSIC-L@american.edu Hi Eric and everybody else I read about your interest in wedding music in the Emusic-L. Quite a lot of persons have answered your question, but I think that one standard wedding piece is yet to be mentioned. Verdis Triumph March from Aida. You also wanted it as a MIDI-file, and since I have some MIDI-files with wedding music, Ill mail them to you. I havn't made them myself and I don't know if they are good enough, but at least it is the music in MIDI format. Ill mail you the music by Wagner, Verdi, Mendelssohn and a piece by Bach. They are made for a PC. I hope that you'll find some use for them. If anybody else on the list want these MIDI-files, just email me, at the adress Stoppy@aol.com. And DON'T email such request to the list, (I'm sure that you understand why). Jon M. Email : Stoppy@aol.com ========================================================================= Date: Wed, 14 Jun 1995 16:05:56 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ian Tilbury Subject: The Audience Thread Comments: To: emusic-l@american.edu During the Kevin Ayers,one off concert "June 1 1974", which featured amongst others John Cale,Eno,Nico,Mike Oldfield and Robert Wyatt, there was a point in the show where a backdrop was removed to reveal a bizarre audience studying the not quite as bizarre paying audience. ========================================================================= Date: Wed, 14 Jun 1995 17:03:57 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: score for the audience mix In-Reply-To: <00991DEA.93968B80.16567@physics.american.edu> from "Eric Harnden" at Jun 14, 95 02:21:17 pm > > forget it. i have no idea where the idea came from, or who > actually did it. like i said, i erroneously attribute it to john > cage. you might ask meschter@pipeline.com > Or the other alternative is to take the idea and run with it. --- Joe M. ========================================================================= Date: Wed, 14 Jun 1995 21:41:45 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Laurie Anderson Comments: To: Electronic Music Discussion List >>>During the last Rosemary Butcher dance performance I saw (a couple of tears >>>ago), >> >>Or a couple of years, even. >> >I preferred the original version: it had that wistful, sadly haunting quality. Hey. Arts Council dance development application coming right up. 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: Wed, 14 Jun 1995 16:53:32 MET-1METDST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: PUK14-10@WODNIK.IIS.PW.EDU.PL Organization: ISIS PW Subject: Re: 2 Encore software Comments: To: EMUSIC-L%LISTSERV.AMERICAN.EDU@plearn.edu.pl > > The EMUSIC-L management does not condone copyright violation. What you do > somewhere else is your business, but please don't discuss doing anything > illegal on this list. Thanks I meaned a shareware version, not a pirate version I respect copurights and other rights of producers, designers and Musicians. Don't give me wrong ========================================================================= Date: Wed, 14 Jun 1995 20:03:47 CET Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacek Latanowicz Subject: Re: guitar synths Comments: To: Electronic Music Discussion List In-Reply-To: Message of Fri, 9 Jun 1995 15:13:57 MET-1METDST from On Fri, 9 Jun 1995 15:13:57 MET-1METDST > >Panie Adrianie, >> > Gitary sa dostatecznie dobrze opisane w czasopismie >> >"Muzyk", wydawanym w Poznaniu. Polecam artykuly >> >w nastepujacych numerach tego czasopisma: >> >"Muzyk" 1993 nr 4 s.15-16 >> > 1994 nr 1 s.32-33 >> > nr 2 s.28-29 >> > nr 4 s.21-22, 46-47 >> > nr 6 s.38 >> > nr 10 s.9-28 (tabela) >> >Oprocz tego jest wydawane w Polsce czasopismo poswiecone >> >wylacznie gitarom. >> >> >> You took the words right out of my mouth. >> >this sentences was written in Polish language. >there are not only Americans and English in the world. > > +----------------------------------------+ > | chwilowo i goscinnie, ale to nieszkodzi| > | ADRIAN = puk2-10@wodnik.iis.pw.edu.pl | > +----------------------------------------+ Yup, but nearly 600 people on this list communicate in English (or try to) so it's the only language used. (Besides some french words :) ) ^^^^^^ Jacek L. ========================================================================= Date: Wed, 14 Jun 1995 19:47:49 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dennis Eveland Subject: Re: EMU Morpheus Patches Comments: To: EMUSIC-L@american.edu Howdy, if you come up with anything on the Morpeus, please let me know. I have a few patches that one of the sound developers that programmed the Morpheus gave me. ========================================================================= Date: Wed, 14 Jun 1995 20:18:27 GT-003 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Hermann H. Rauth" Organization: PUC/PR Subject: Turtle Beach's QUAD Just read bout the QUAD, from Turtle Beach, could you guys help me with some more info? Turtle Beach e-mail address would be fine... Hermann Rauth L.I.F.O. Brazil ========================================================================= Date: Wed, 14 Jun 1995 21:23:17 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: ALEX M MIRONES <58970186T@SERVAX.FIU.EDU> Subject: SE-1, OB-Mx, Mini-Moog? Comments: To: EMUSIC-L@american.edu Hello everybody, I'm a little confused and am wondering if anyone can help me. I'm looking for a multi-timbral fat analog synthesizer. I have narrowed my list of possibles to three: Studio Electronics SE-1, Oberheimer OB-Mx, and a used Mini-Moog. I'm wondering if anybody has one, two, all three, or has heard each one and can give a good opinion. Also, if anyone has another suggestion, please feel free. Much Appreciated. Alex (RolandD50@aol.com) ========================================================================= Date: Wed, 14 Jun 1995 21:41:48 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jeff Shuck Subject: Re: SE-1, OB-Mx, Mini-Moog? Comments: To: EMUSIC-L@american.edu Well, to complicate things, here's another option. I used to have a Roland Juno-1, which was their entry-level instrument around the time of that the Jupiter 8 was their big guy, I think. It has midi, store patches, and can probably be secured on the cheap. Also, they had a Juno-2, which had five octaves instead of four. I'm sure I'll be shot for suggesting a Juno could rival an Oberheim or a Mini-moog, but it was pretty fat to me. ========================================================================= Date: Thu, 15 Jun 1995 09:46:18 +0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Lydia Comments: To: emusic-l@american.edu 1996 International Computer Music Conference PRESS RELEASE Please Post: The Hong Kong University of Science and Technology and the Hong Kong Urban Council will host the International Computer Music Conference from 19 to 21 August, 1996. The conference organizers seek installation pieces with computer taking advantage of the university's beautiful architecture overlooking the ocean. Artists intending to submit proposals for installation pieces are urged to submit preproposals as soon as possible to receive special information regarding the available spaces to facilitate preparation of final proposals. DEADLINE: for Final installation proposals: 21 OCTOBER, 1995. The conference will have the theme, "On the Edge," celebrating Hong Kong's cultural environment "on the edge" between Asia and the west. The official call for papers and scores, and submission forms, will be given out at the September, 1995 ICMC conference in Banff, but we would like to make this early announcement that we encourage special submissions of pieces for Chinese instruments and computer. DEADLINE: for music and papers submissions: 21 DECEMBER, 1995. (These submissions require submission forms.) Anyone with comments or suggestions or who would like more information should feel free to contact: Dr. Lydia Ayers, Chair ICMC 1996 Department of Computer Science Hong Kong University of Science and Technology Clear Water Bay, Kowloon HONG KONG Telephone: (852) 2335-0558 Fax: (852) 2358-1477 Email: icmc96@cs.ust.hk ========================================================================= Date: Wed, 14 Jun 1995 22:19:34 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jason C Stone Subject: in search of gday--- Lyricist I.S.O. electronic musicians interested in composing music for pre-composed lyrics--also, lyrics provided for your compositions. also willing to provide chord progressions and/or melodies for inspiration or "fleshing out" Thank you ========================================================================= Date: Thu, 15 Jun 1995 14:32:34 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Neal Sievwright Subject: Re[2]: SE-1, OB-Mx, Mini-Moog? Comments: To: Electronic Music Discussion List Well, to complicate things, here's another option. I used to have a Roland Juno-1, which was their entry-level instrument around the time of that the Jupiter 8 was their big guy, I think. It has midi, store patches, and can probably be secured on the cheap. Also, they had a Juno-2, which had five octaves instead of four. I'm sure I'll be shot for suggesting a Juno could rival an Oberheim or a Mini-moog, but it was pretty fat to me. The roland Alpha-juno was a hybrid synth in the early days of digital it was a stopgap measure to combat the yamaha DX series before the d50, but the juno-2 was velocity and aftertouch sensitive with a five octave keyboard. The juno-1 has the same synth engine and responds to both of these features although cannot send them. The oscillators are digital and can therefore be relied to maintain pitch. The voice path on these synths are pretty simple 1 vco -> 1 vcf -> 1 vca and no effects. A better synth for sound experimentation is a Korg DW8000 which can have a E! upgrade fitted for more modern features. Neal Sievwright sievwrn@agric.nsw.gov.au >From the Downunder (other) side of the World - aaargh !!!!! ========================================================================= Date: Thu, 15 Jun 1995 00:59:20 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Steve F." Subject: Re: SE-1, OB-Mx, Mini-Moog? Comments: To: emusic-l@american.edu There really isn't a multi timbral analog synth out there that has enough polyphony. The Matrix-12, that's going to cost you some serious cash though. It's an excellent synth, used to have Xpander. The M-12 is either 3 or 6 part multi timbral. It doesn't have a very fast attack envelope, then nothing that oberheim makes does. I got sick of having to spend so much money on individual synths and the midi headaches with all of them that I just decided to use PCM ROM modules, like the vintage key+. -Steve ========================================================================= Date: Wed, 14 Jun 1995 19:21:09 -1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul LaVigne Subject: Re: That Wedding March Song Comments: To: Electronic Music Discussion List In-Reply-To: Hold on a second.... > The song is Felix Mendelssohn-Bartholdy's "Wedding March" from _A > Midsummer Night's Dream_. > > I have no idea of where it exists as a MIDI file. > > Patrick > > ++++++++++++++++++++++++++++++++++++++++++++ > > Hey you! what is the name of the song that almost everyone plays at > his/her wedding. Can i get it anywhere as a MIDI file? please help me! > > Eric Allen Seale of ISOR magazine \ Br. Box 1566 \ Edwardsville, IL > I coulda sworn it was the Wedding march from Wagner's Lohengrin. Now I gotta know, too.... Paul paulnles@interpac.net ========================================================================= Date: Wed, 14 Jun 1995 22:31:19 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Lorne Hammond Subject: Re: SE-1, OB-Mx, Mini-Moog? Comments: To: Electronic Music Discussion List In-Reply-To: <950614212317.20207a04@servax.fiu.edu> You do not understand multi-timbral. The Min is monophonic. I am guessing but is the Studio simply a midi mini-moog in a rack with memory? That leaves only the Oberheim. lorne ========================================================================= Date: Wed, 14 Jun 1995 22:38:10 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Lorne Hammond Subject: Re: SE-1, OB-Mx, Mini-Moog? Comments: To: Electronic Music Discussion List In-Reply-To: <950614214147_71003828@aol.com> The Juno/Jupiters will give you less MIDI problems. They sound good. I noticed their envelopes are neither as short nor as long as the older gear. That means the fast punchy "tick bass" stuff is hard to do with them. The filters are not as strong, and the "Q" or resonance not as sharp. Cross-modulation is not there, but often you do have inverted envelopes, arpegiators, memory, and some mixable voltages at the wheel, depending on the model. Plus the polyphonic is there, sans fancies like velocity and aftertouch. They are reliable and lots of them are around at fairly cheap prices (and will probaly stay cheap due to large production runs, though not as large as say the M1). A good choice on a budget, but i like toys, get one with an arpegiator, even though it will eventually drive you nuts. Poor man or woman's T-dream bass lines. But you will never be able to do Ministry on it! Lorne ========================================================================= Date: Thu, 15 Jun 1995 01:40:32 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacki Barineau Subject: Re: That Wedding March Song Comments: To: Electronic Music Discussion List At 7:21 PM 6/14/95, Paul LaVigne wrote: >I coulda sworn it was the Wedding march from Wagner's Lohengrin. > >Now I gotta know, too.... Hi again, everyone! Everyone always gets these two pieces confused!! I've been playing piano and organ for weddings since I was 14, and every time, they always refer to the "Bridal Chorus" as the "Wedding March"!! Okay - to clarify: The "Bridal Chorus" (Wagner's Lohengrin) is the "Here Comes the Bride" song. The "Wedding March" (Mendellsohn's MidSummer Night's Dream) is the one they play at the end when the Bridal Party is marching out (the fast one). Un-confused now?! :) ***************************************************** Jacki Barineau :) Music Composition and Production via/MIDI Chronic Fatigue Syndrome, Type II Diabetes ***************************************************** ========================================================================= Date: Wed, 14 Jun 1995 22:41:25 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Lorne Hammond Subject: Re: Re[2]: SE-1, OB-Mx, Mini-Moog? Comments: To: Electronic Music Discussion List In-Reply-To: <9505158032.AA803252641@smtpgwy.agric.nsw.gov.au> a better choice is... > experimentation is a Korg DW8000 which can have a E! upgrade fitted for more > modern features. > > > Neal Sievwright > > sievwrn@agric.nsw.gov.au An E! kit for the DW8000? Learn something every day. What does it add? lorne lhammond@sol.uvic.ca ========================================================================= Date: Thu, 15 Jun 1995 16:40:16 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Neal Sievwright Subject: Re[4]: SE-1, OB-Mx, Mini-Moog? Comments: To: Electronic Music Discussion List The device may not be an actual E! Brand item but the item mentioned is made by the same people who build modifications for Roland D50's the board makes the DW8000 multi-timbral 2 or 4 channels and allows the keyboard to be split, etc Neal Sievwright sievwrn@agric.nsw.gov.au >From the Downunder (other) side of the World - aaargh !!!!! ______________________________ Reply Separator _________________________________ Subject: Re: Re[2]: SE-1, OB-Mx, Mini-Moog? Author: Electronic Music Discussion List at smtpgwy Date: 6/15/95 4:08 PM a better choice is... > experimentation is a Korg DW8000 which can have a E! upgrade fitted for more > modern features. > > > Neal Sievwright > > sievwrn@agric.nsw.gov.au An E! kit for the DW8000? Learn something every day. What does it add? lorne lhammond@sol.uvic.ca ========================================================================= Date: Thu, 15 Jun 1995 03:00:26 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: Re[4]: SE-1, OB-Mx, Mini-... Comments: To: EMUSIC-L@american.edu Don't forget the Sequential Prophet and even the SixTrak. ========================================================================= Date: Thu, 15 Jun 1995 00:13:07 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Brian Coates Subject: Re: EMUSIC-L Digest - 14 Jun 1995 to 15 Jun 1995 Comments: To: Electronic Music Discussion List >>> >Panie Adrianie, >>> > Gitary sa dostatecznie dobrze opisane w czasopismie >>> >"Muzyk", wydawanym w Poznaniu. Polecam artykuly >>> >w nastepujacych numerach tego czasopisma: >>> >"Muzyk" 1993 nr 4 s.15-16 >>> > 1994 nr 1 s.32-33 >>> > nr 2 s.28-29 >>> > nr 4 s.21-22, 46-47 >>> > nr 6 s.38 >>> > nr 10 s.9-28 (tabela) >>> >Oprocz tego jest wydawane w Polsce czasopismo poswiecone >>> >wylacznie gitarom. >>> >>> >>> You took the words right out of my mouth. >>> >>this sentences was written in Polish language. >>there are not only Americans and English in the world. >> >> +----------------------------------------+ >> | chwilowo i goscinnie, ale to nieszkodzi| >> | ADRIAN = puk2-10@wodnik.iis.pw.edu.pl | >> +----------------------------------------+ > Yup, > > but nearly 600 people on this list communicate in English (or try >to) so it's the only language used. (Besides some french words :) ) > ^^^^^^ This is funny that it turned into such a thread! I was just making a little joke, showing the American mono-lingual handicap in a(hopefully) humorous way. Afterwards, I immediately received a reply from Barbara Zakrzewska-Nikiporczyk, the person that wrote back in Polish. She took no offense at all, and said she laughed very loudly, which was what I was hoping for. I didn't mean to offend anyone, and wasn't poking fun in any way at other languages. That's all! :) :) :) Brian BTW are there really 600 people on this list? WOW! ========================================================================= Date: Thu, 15 Jun 1995 00:25:08 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Brian Coates Subject: Re: guitar synths Comments: To: Electronic Music Discussion List This is funny that it turned into such a thread! I was just making a little joke, showing the American mono-lingual handicap in a(hopefully) humorous way. Afterwards, I immediately received a reply from Barbara Zakrzewska-Nikiporczyk, the person that wrote back in Polish. She took no offense at all, and said she laughed very loudly, which was what I was hoping for. I didn't mean to offend anyone, and wasn't poking fun in any way at other languages. That's all! :) :) :) Brian BTW are there really 600 people on this list? WOW! >>> >Panie Adrianie, >>> > Gitary sa dostatecznie dobrze opisane w czasopismie >>> >"Muzyk", wydawanym w Poznaniu. Polecam artykuly >>> >w nastepujacych numerach tego czasopisma: >>> >"Muzyk" 1993 nr 4 s.15-16 >>> > 1994 nr 1 s.32-33 >>> > nr 2 s.28-29 >>> > nr 4 s.21-22, 46-47 >>> > nr 6 s.38 >>> > nr 10 s.9-28 (tabela) >>> >Oprocz tego jest wydawane w Polsce czasopismo poswiecone >>> >wylacznie gitarom. >>> >>> You took the words right out of my mouth. >>> >>this sentences was written in Polish language. >>there are not only Americans and English in the world. >> > Yup, > > but nearly 600 people on this list communicate in English (or try >to) so it's the only language used. (Besides some french words :) ) > ^^^^^^ ========================================================================= Date: Thu, 15 Jun 1995 03:51:26 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dustin McIntyre Subject: Re: Re[4]: SE-1, OB-Mx, Mini-... Comments: To: EMUSIC-L@american.edu The long-out-of-production Roland MKS-7 is a three part multitimbral Juno-106 (only six voices though; still damn kool however: a Juno-106's sliders will control parameters via sysex.yumyum). ========================================================================= Date: Thu, 15 Jun 1995 07:35:44 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark Carter Subject: Re: guitar synths (sort of) Comments: To: emusic-l@american.edu You know the old joke... What do you call someone who speaks two languages ? - Bi-Lingual What do you call someone who speaks three languages ? - Tri Lingual What do you call someone who speaks one language ? - American Mark (struggling with the one language I butcher daily) ========================================================================= Date: Thu, 15 Jun 1995 07:49:41 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Garth Kay-Hards Subject: Re: guitar synths (sort of) Comments: To: EMUSIC-L@american.edu Date sent: Thu, 15 Jun 1995 07:35:44 -0400 Send reply to: Electronic Music Discussion List From: Mark Carter Subject: Re: guitar synths (sort of) To: Multiple recipients of list EMUSIC-L You know the old joke... What do you call someone who speaks two languages ? - Bi-Lingual What do you call someone who speaks three languages ? - Tri Lingual better than me! What do you call someone who speaks one language ? - American I though American was syntethised english ;) Mark (struggling with the one language I butcher daily) Regards Garth ========================================== | kayhardg@natburo.kzntl.gov.za | ========================================== | Garth Kay-Hards : Tel 0331 - 952403 | | Natalia Bureau : Fax 0331 - 952605 | | Private Bag X9035 :=====================| | Pietermaritzburg : | | South Africa : | | 3200 : | =================John 3.16================ ========================================== ========================================================================= Date: Thu, 15 Jun 1995 08:50:58 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Carnes Subject: Re: Cannons in D Comments: To: EMUSIC-L@american.edu In-Reply-To: <199506150500.BAA47061@atlanta.american.edu> ---------- X-Sun-Data-Type: text X-Sun-Data-Description: text X-Sun-Data-Name: text X-Sun-Content-Lines: 2 X-Sun-Content-Length: 153 FYI, a "canon" is a musical device, as in the Pachelbel Canon (also known as the first muzak). A "cannon" is a military device, usually tuned in B-flat. ========================================================================= Date: Thu, 15 Jun 1995 08:51:02 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: DW8000 Upgrade Kit Comments: To: emusic-l@american.edu Having a DW8000, I kept some old email about an upgrade kit. Since this is gearhead stuff, I am posting it to SYNTH-L. If you aren't subscribed there, email me direct with your request for the DW upgrade kit info. Bill Fox wbf@aloft.att.com ========================================================================= Date: Thu, 15 Jun 1995 09:21:33 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: 2 Encore software In-Reply-To: from "PUK14-10@WODNIK.IIS.PW.EDU.PL" at Jun 14, 95 04:53:32 pm > > > > > The EMUSIC-L management does not condone copyright violation. What you do > > somewhere else is your business, but please don't discuss doing anything > > illegal on this list. Thanks > I meaned a shareware version, not a pirate version > I respect copurights and other rights of producers, designers and > Musicians. > Don't give me wrong > And I apologize for misconstruing you. It's just that when I see things like "No license" I tend to become nervous. --- Joe M. ========================================================================= Date: Thu, 15 Jun 1995 09:51:31 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: SE-1, OB-Mx, Mini-Moog? In-Reply-To: <950614212317.20207a04@servax.fiu.edu> from "ALEX M MIRONES" at Jun 14, 95 09:23:17 pm > Hello everybody, I'm a little confused and am wondering if anyone can help me. > I'm looking for a multi-timbral fat analog synthesizer. I have narrowed my > list of possibles to three: Studio Electronics SE-1, Oberheimer OB-Mx, and a > used Mini-Moog. I'm wondering if anybody has one, two, all three, or has > heard each one and can give a good opinion. Also, if anyone has another > suggestion, please feel free. Much Appreciated. I will note that the VFXsd (digital) has fooled more than one person into thinking it was an Xpander (analog). A used VFX should be available for under $400. Patch backup has to be done via MIDI or to RAM carts. --- Joe M. ========================================================================= Date: Thu, 15 Jun 1995 11:30:54 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: guitar synths (sort of) Comments: To: EMUSIC-L@american.edu What do you call someone who hangs out with musicians? (a drummer) ========================================================================= Date: Thu, 15 Jun 1995 11:44:55 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: tom sawyer Comments: To: eml@physics.american.edu i'm not sure i would have called it a growl, but the signature tom sawyer 'hit' is a taurus pedal... essentially a minimoog built to sit on the floor. the characteristic timbre is a simple moderately resonant lowpass filter sweep (probably of octave-tuned sawtooth waves), with a little bit of chorusing for richness. ========================================================================= Date: Thu, 15 Jun 1995 11:51:15 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: multitimbral fat Comments: To: eml@physics.american.edu by their nature, analog instruments are generally not multitimbral, which was, i think, one of the things the original inquiry was about. there is the matrix-12, of course, or a memorymoog if you can get ahold of one (if memory serves, it had a similar voice->patch routing capacity). but you might want to consider going digital. some digital intruments, like the waldorf, have analog filters which provide that much-prized 'fatness'. others, like the jd800, just have damned good dsp... and don't let anyone tell you that digital is inherently 'cold' or 'thin'. everything's in the implementation, and more importantly in the *processing*. you don't really think an oberheim is worth listening to without a little chorus 'n' verb, do you? ah... the "shimmering blat." (anyone wanna start a fat war?) <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 ========================================================================= Date: Thu, 15 Jun 1995 17:29:00 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: GILL Subject: Re: Turtle Beach's QUAD In-Reply-To: <662496916@rla01.pucpr.br> Hermann Rauth L.I.F.O. Brazil. asked for information on the QUAD, fron Turtle Beach. I've found an address etc. but no e-mail. Et Cetera, Unit 17, Hardmans Business Centre, Rawtenstall, Lancashire, Emgland. BB4 6HH tel - 01706 228039 fax - 01706 222989 I prefer tears to years too! graeme.gill@bbsrc.ac.uk ========================================================================= Date: Thu, 15 Jun 1995 12:55:03 CDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Michael V. Briggs" Subject: Shatterday - a review Comments: To: emusic-l@american.edu I recently ordered Joe McMahon's first solo CD, SHATTERDAY. At the risk of looking like a suck-up to the list-owner, I am posting this brief review. Most of these comments were jotted down the first time I listened to the CD. I added a few more after re-reading Joe's release notes (posted to the list in March and currently available on his Web page: http://forthrt.com/~cambrian). Final thoughts were added later, after repeated listenings. DISCLAIMER: I have never met Joe (other than virtually) and I have no financial interest in the sale of his CD. I know emusic-l has a "no ads" policy, but it is a forum for the discussion of electronic music, and SHATTERDAY fits that description. If we can talk about Cage, Carlos, and Eno, we can certainly discuss one of our own. ----------------------------------------------------------------------------- SHATTERDAY - Track by track: DB: Soothing. Nice mix of timbres, especially the bass and drums. Good flute lead, played like a flute instead of a keyboard. Somewhat abrupt ending. One of my favorite tracks. Fossil Rain: Beautiful, atmospheric intro, almost like a separate track. The main body is uptempo, propelled along by the ostinato keyboard and insistent toms. Great music for driving. The Empty Sky: Soft vibes pattern over sustained bass, piano accents. Oboeish solo, heavy on the vibrato. The whole track has a rubato feel to it. This is what New Age should be. NC 12 North: Quite a contrast from previous piece. This one starts with loud jazz/blues organ, funky synth bass, and prominent drums. The organ solo sounds tentative, not as natural as other solos on the CD. The trio drops out, and is replaced by free form toms (heavily reverbed) and hollow synthy noises, creating a feeling of openness. The organ, bass, & drums slowly fade up in the background, then abruptly take over to finish the track. I didn't care for this piece the first time through, but after reading Joe's notes and understanding what he was trying to accomplish, it makes more sense now. The Lamps Of Avernus: No rhythm or melody here, just metallic insect noises and bell sounds. It sounds cold, dark, and lonely, which turns out to be precisely the feel Joe was looking for. Another favorite of mine. Approaching Thunder: Joe's homage to Angelo Badalamenti - Vibes, string bass, quiet strings (plus a flute solo). I recently bought the "Twin Peaks" soundtrack after hearing Joe (and others) praise it on emusic-l. It is as good as they promised, and this track would fit right in. On In Five: Lyle Mays meets Dave Brubeck. Joe has a nice feel for the 5/4 meter. Lights Out: Smoky nightclub jazz - piano, bass, brushes, sax. Being a sax player, I loathe most sax patches. Joe's technique and phrasing help make this one sound better than most (at least until he hits the high notes). Primium Mobile: Starts soft and simple. A layer of instrumentation and complexity is added with each reiteration of the theme. Good New Age feel (no offense, Joe). Aztec Polyethylene: Not the Latin (or fake Latin) sound I expected from the title. More like Metheny - crystal-smooth and light. Shatterday: Mood jazz - Chimey keyboard, shimmery strings. The longest track on the CD (6:16), and the only one that didn't hold my interest for the whole song. Nothing bad here, it just doesn't seem to go anywhere. An Even Million Miles: Great bass and brass section patches. The lead sounds like a transposed bass patch - nice effect. I like the false ending, but the organ figure at the very end seems out of place to me. Still my favorite track. Overall impressions: This is a fine CD. Predominately jazz (several of the cuts sound like something from the GRP label), but with plenty of variety. It holds up to repeated listenings quite well. The engineering is transparent (as it should be), and the mix sounds great through headphones, on my home system, and in my car. Even the track ordering is well thought out: it starts strong, has nice contrast between tracks, and saves the best for last. I am particularly impressed by the fact that the entire CD was performed and sequenced on a single keyboard. So much for the "one more piece of equipment before I get started" theory. Makes me wonder what I'm doing with a small bedroom full of rarely used synths. Thanks a lot, Joe! : ) Conclusion: I'm taking a long road trip this summer, and SHATTERDAY will definitely be loaded into my CD changer for the drive. For more information, contact Joe directly (mcmahon@clark.net) or see his Web page (http://forthrt.com/~cambrian). Michael Briggs mbriggs@nexrad.osf.uoknor.edu ========================================================================= Date: Thu, 15 Jun 1995 14:52:16 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: RonG225zt@AOL.COM Subject: When a cannon isn't... Comments: To: EMUSIC-L@american.edu >>>FYI, a "canon" is a musical device, as in the Pachelbel Canon (also >>>known as the first muzak). A "cannon" is a military device, usually >>>tuned in B-flat. Correct me if I'm wrong, but I'm pretty sure Pachelbel's Canon isn't a real musical cannon. ========================================================================= Date: Thu, 15 Jun 1995 16:20:30 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: isor Subject: Re: That Wedding March Song Comments: To: Electronic Music Discussion List In-Reply-To: thanks to all the million people how responded to my question. anyone in chicago wanna give me a job in a bio lab in a year? at least i tried! Eric Allen Seale of ISOR magazine \ Br. Box 1566 \ Edwardsville, IL ========================================================================= Date: Thu, 15 Jun 1995 23:05:45 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Martin Russ Subject: Re: SE-1, OB-Mx, Mini-Moog? Comments: To: Electronic Music Discussion List Hi. Alex M Mirones <58970186T@SERVAX.FIU.EDU> wrote: >I'm looking for a multi-timbral fat analog synthesizer. I have narrowed my list >of possibles to three: Studio Electronics SE-1, Oberheimer OB-Mx, and a used >Mini-Moog. ...................Also, if anyone has another suggestion, please >feel free. One alternative is to acquire more than one analogue synth (no need for multi-timbral, even mono-timbral will do) and stack them (ie play the same note from several synthesizers at once). This has the advantage of providing more polyphony (or perhaps more sound-making resources for a monophonic timbre) and the individual differences in the sounds can help to produce a fatter, richer sound. If you choose similar sounds then slight detuning is useful, whereas for contrasting timbres detuning seems a little distracting to my ears... For the ultimate in fat sounds, you could always stack up some non-analogue synths as well to produce a hybrid sound... I try not to fall into the trap of throwing everything into every note - careful choice of timbre and subtle application is more important when you are making your sounds up from more than one sound-source. (The use of the word 'richer' here is no accident: the cost of producing a multi-timbral composite analogue synthesizer from mono-timbral synthesizers is not cheap (And it isn't helped when old monosynths become fashionable!). It's also unfortunate that it is only the sound that gets richer, not the purchaser - at least, not in my experience! Hey, should this be a late entry in the 'Top Ten things an electronic musician needs to know'? ) Yep, I love stacking sounds! I can remember someone once commenting along the lines of 'what DO you DO with all that polyphony?' Now you all know! Regards Martin ------------------------------------------------------------------------------ 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