========================================================================= Date: Fri, 16 Jun 1995 11:30:09 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Arpeggiation Comments: To: EMUSIC-L@american.edu Hi all And today's novice question concerns...arpeggiation. How to do it, how to make it sound right on a very basic system (Mac + EZVision + K4: I'm not looking at hardware arpeggiators). In particular I want to create those lovely running lines that sit under the main theme of the piece. At the moment I either chop up the chords into notes and paste 'em where I want them to go, or record the notes at a much slower tempo. There have to be better/easier ways. And too often they end up like a CasioTone special. Suggestions for recommended listening/reading welcome, but I'd especially like YOUR practical hints, tips, formulae, theory, advice on how to do it right, how to vary it, how to fit it around the chord structures etc etc. I know a lot of this is *try it and see* but some starting points would be much appreciated. I think this is probably more Emusic-L than Synth-L but please reply where you think most appropriate. Thanks in advance, oh synthetic sages. Clive Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Thu, 15 Jun 1995 23:05:00 CDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "R. L. Parks" Subject: Music Writer/Publisher List Comments: To: allmusic@listserv.american.edu, mla-l@iubvm.ucs.indiana.edu, mucid-l@brufu.AMERICAN.EDU, notmus-l@ubvm.cc.buffalo.edu, rocklist@kentvm.kent.edu, synth-l@listserv.american.edu Comments: cc: jeepcapone@aol.com I am looking for a list of top-40-type music composers and publishers. Ideally this list would be sorted by performing artist. Does anyone know of such a list? Do music publishing companies make lists like this available on the Internet? Please don't just reply with a list of Web search results for "music publishers", etc. I've already done that and unsuccessfully weeded thru alot of trash. Please reply directly to my email address: rparks@cpiusa.com If anyone has specific answers or leads they would be greatly appreciated. R. L. Parks | In Capitalism, man exploits man. rparks@cpiusa.com | In Socialism, it's exactly the reverse. ========================================================================= Date: Fri, 16 Jun 1995 01:15:32 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: multitimbral fat Comments: To: EMUSIC-L@american.edu The SCI Sixtrak was multi-timbral - and another SCI keyboard as well, tho its name escapes me. ========================================================================= Date: Fri, 16 Jun 1995 01:52:04 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Richard Hunter Subject: Re: When a cannon isn't... Comments: To: EMUSIC-L@american.edu You are correct sir. Pachebel's "D" is actually a 'passacaille' with a series of variations on a fixed bass or ground. Richie ========================================================================= Date: Fri, 16 Jun 1995 06:25:27 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Chuck Pedersen." Subject: Re: Tom Sawyer Comments: To: emusic-l@american.edu I have used a mini moog, oberhiem, and ARP to recreate this sound. If I have the time, I will jot down the mm layout for you. ========================================================================= Date: Fri, 16 Jun 1995 06:29:42 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Chuck Pedersen." Subject: Re: SE-1, OB-Mx, Mini-Moog? Comments: To: emusic-l@american.edu I have had the pleasure of playing all of these models, and currently still have the oberhiem and the mini moog. I have found the the mm and the ob give the richest, fatest sound. of course, you can always increase the fat sound by stacking both synthesizers on the same part (differesnt tracks on the recorder) for a wounderful fat, beefy, but pleasurable sound. I was not able to choose between the mm or the ob. they are both fat in their own right, depending on the mood/setting of the the song being performed. for live performances, the ob has less tendency for ocillator frequency variations (waving). ========================================================================= Date: Fri, 16 Jun 1995 06:26:33 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Chuck Pedersen." Subject: Re: Tom Sawyer Comments: To: emusic-l@american.edu I believe you have about hit the nail on the head. ========================================================================= Date: Fri, 16 Jun 1995 06:36:49 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Chuck Pedersen." Subject: Re: SE-1, OB-Mx, Mini-Moog? Comments: To: emusic-l@american.edu this is correct. the mm is mono-phonic. however, if you want to take the time to be creative (if you really enjoy the analog technology and working for many hours) you can use your multi-track recorder to create some excellenty sounds. ========================================================================= Date: Fri, 16 Jun 1995 06:35:30 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Chuck Pedersen." Subject: Re: Re[4]: SE-1, OB-Mx, Mini-... Comments: To: emusic-l@american.edu If you can find one, and you are willing to lay out some cash, the prophet 10 would be a great ax to have. ========================================================================= Date: Fri, 16 Jun 1995 12:50:58 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Robin Sayer Subject: Re: guitar synths (sort of) Comments: To: Electronic Music Discussion List In-Reply-To: <950615112856_71322020@aol.com> On Thu, 15 Jun 1995, Ronn Kilby wrote: > What do you call someone who hangs out with musicians? > > > > > (a drummer) > > Never give an electric guitar player a lead Unless you're taking him for a walk ========================================================================= Date: Fri, 16 Jun 1995 07:54:30 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Scott Mitchell Subject: Sample file formats I'm the author of a Windows application that builds audio files from standard MIDI files, using a library of samples residing on disk. At present, the samples are stored as .WAV files, but I'd like to expand it to read one or two of the more common sampler file formats, so that it could make direct use of CDROMs manufactured for those samplers. Does anyone have experience dealing programmatically with these formats? The only one I'm familiar with is the Kurzweil *.KRZ, which like several other folks I have partially deciphered for myself, but last I heard the company remains secretive about it. Are the Akai or Roland formats (for example) any more open? Scott Mitchell mitchell@uthscsa.edu Scott Mitchell University of Texas Health Science Center at San Antonio mitchell@uthscsa.edu ========================================================================= Date: Fri, 16 Jun 1995 09:07:15 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: Everything you wanted to know about Pachelbels canon Comments: To: Electronic Music Discussion List In-Reply-To: <950615145215_71448996@aol.com> > >>>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. No, it's not a cannon (military device), but it is a canon (musical device), at least in its original form, not in all of those new-agey arrangements. Pachelbel wrote parts for 3 violins. They all play exactly the same music, except that the 2nd comes in 2 measures later than the first, and the third comes in 2 measures later than the 2nd. That's the canon. Underneath all of this is a ground bass, an 8-note bass pattern (you know, D A B F# G D G A forever and ever) that just repeats and repeats. Thus the Pachelbel Canon is an example of what Peter Schickele would call a "ground round", i.e. a round played over the accompaniment of a ground bass. Also I sould mention that the Pachelbel Canon phenomenon goes back about 10 years before George Winston. There was a recording made of these obscure little pieces by obscure baroque composers. A pop music DJ in California got ahold of this record and decided, on a whim, to play one of the selections on his show. He did, and suddenly thousands of mellow Californians were lighting up the switchboard wanting to know what that cool music was. This was in the early 70s. Executives at classical music recording companies pricked up their ears when they heard this news and suddenly there was a glut of recordings all featuring the Pachelbel Canon in D. Suddenly the piece was everywhere, as background music for TV commercials etc. The record companies briefly tried to promote Pachelbel in general, figuring he might catch on the way Vivaldi did in the 50s (I remember one especially vivid piece of hype that accompanied one of these discs "You mean you've heard the Canon in D and you haven't gone on a Pachelbel binge yet?"). But it was only the Canon that stuck. By 1978 it was such an icon in the "pop culture" of classical music that the composer George Rochberg included a set of variations on it in his String Quartet #6. Then there was George Winston. Some future music historian may well argue the Pachelbel Canon was the progenitor of the whole New Age musical genre. By the late 80s the Pachelbel Canon came to represent the kind of safe, bland programming that public radio stations had begun filling their classical music time with. (One PDQ Bach recording spoofs a radio station called WTWP, standing for "Wall To Wall Pachelbel") The piece continues to inspire various permutations, mellow improvisations over the ground bass, etc. I'm afraid I myself have contributed to the genre. For a Christmas party I made an arrangement with all sorts of Christmas tunes embedded in it, called "Jingle Bell's Canon in D minus". A must for your holiday entertainment, but don't wait until December. Score and parts available from this address. (Oops, sorry Joe I forgot) Mark Simon mgs2@cornell.edu ========================================================================= Date: Fri, 16 Jun 1995 11:31:28 -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: from "Martin Russ" at Jun 15, 95 11:05:45 pm > (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'? ) Remind me to repost my "Top Ten Reasons Analog Is Better Than Digital" sometime. :) --- Joe M. ========================================================================= Date: Fri, 16 Jun 1995 12:48:00 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Musician Jokes Comments: To: emusic-l@american.edu Q: How do you define a minor second? A: Two french horns playing in unison. Q: What is the difference between a violin and a viola? A: The viola burns longer. Q: What do you call 10,000 banjo players at the bottom of the ocean? A: A good start. Bill Fox wbf@aloft.att.com ========================================================================= Date: Fri, 16 Jun 1995 19:44:46 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Re[4]: SE-1, OB-Mx, Mini-... Comments: To: Electronic Music Discussion List > The long-out-of-production Roland MKS-7 is a three part multitimbral >Juno-106 Nope; a much cut-down architecture. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Success can be measured by only one thing: the hairs on the back of your neck." -- Twyla Tharp ========================================================================= Date: Fri, 16 Jun 1995 22:17:05 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: Musician Jokes Comments: To: EMUSIC-L@american.edu In-Reply-To: <9506161648.AA28776@acropolis> from "william.b.fox" at Jun 16, 95 12:48:00 pm ObEmusic: Q: How many synthesists does it take to change a light bulb? A: Three. One to light a candle, and the other two to examine it carefully and say, "Yeah. Exactly like a light bulb, pretty much. Cool." mike PS. Just saying "I'm back" seemed to lack something.... -- mike metlay * atomic city | EIRIKUR LOOKS AT LIFE #103: On the Mattel Optigan atomic-city@netcom.com | "I hate this thing. I hate this thing. Then I http://pd.net/atomic-city | started playing with the Polynesian Restaurant snailmail p. o. box 81175 | Nightmare disk. And got this weird ambient dub pittsburgh, pa 15217-0675 | thing going...." ========================================================================= Date: Sat, 17 Jun 1995 02:29:59 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: Musician Jokes Comments: To: EMUSIC-L@american.edu How Many accordianists does it take to eat a possum? Two - one to watch for cars. ========================================================================= Date: Fri, 16 Jun 1995 22:17:23 -1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul LaVigne Subject: Re: Cannons in D Comments: To: Electronic Music Discussion List In-Reply-To: On Thu, 15 Jun 1995, Michael Carnes wrote: > ---------- > 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. > Isn't Pachel Bel Taco Bel's younger brother?? ========================================================================= Date: Fri, 16 Jun 1995 22:25:14 -1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul LaVigne Subject: Re: Cannons in D Comments: To: Electronic Music Discussion List In-Reply-To: Hold on here... > > 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. > Isn't Pachel Bel Taco Bel's younger brother?? Ha Ha, I got a million of 'em. Paul "the pun master" ========================================================================= Date: Fri, 16 Jun 1995 22:44:19 -1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul LaVigne Subject: Re: Cannons in D (fwd) Comments: To: EMUSIC-L@american.edu ---------- Forwarded message ---------- Date: Fri, 16 Jun 1995 22:25:14 -1000 (HST) From: Paul LaVigne To: Electronic Music Discussion List Cc: Multiple recipients of list EMUSIC-L Subject: Re: Cannons in D Hold on here... > > 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. > Isn't Pachel Bel Taco Bel's younger brother?? Ha Ha, I got a million of 'em. Paul "the pun master" ========================================================================= Date: Sat, 17 Jun 1995 20:24:14 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Musician Jokes Comments: To: EMUSIC-L@american.edu Hi Bill... What's the definition of good taste? Knowing how to play the accordion and NOT. Regards, David musdr@lure.latrobe.edu.au P.S. I really like accordion, especially when played by people like Marc Savoy. ========================================================================= Date: Sat, 17 Jun 1995 10:06:09 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: NEC_CEELY@FLO.ORG Subject: Re: When a cannon isn't... Comments: To: EMUSIC-L@american.edu nonsense! ========================================================================= Date: Sat, 17 Jun 1995 10:29:34 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tim Loepp Subject: Re: Quadraverb Editors Comments: To: synth-l@american.edu Comments: cc: emusic-l@american.edu Hi, Sound Quest make a universal Lib/Editor called MIDI Quest, that has a driver for the Quadraverb. Personally I think that it works great. The only problem is that I upgraded my Quadraverb to a Quadraverb Plus, so the extra perameters I addded are not in the diver. MIDI Quest does include a 'Driver Creator" however. If your well informed about sysex then you can build your own drivers for any MIDI gear you want.I use MIDI Quest and Calkwalk with a 386DX/16 8MB all the time and have not had any problems. In the manual though it mentions that if you are using a 386SX you will need to run windows in standard mode (win/s) in order for MIDI Quest to work properly. The latest version is 5.0 and I belive Sound Quest supports something like 150 or 250 instruments. They also have a BBS you can download the latest drivers from as well as those that have been created and uploaded by users. Good Luck forevrl8@ix.netcom.com ========================================================================= Date: Sat, 17 Jun 1995 22:00:01 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Martin Russ Subject: Re: EMUSIC-L Digest - 15 Jun 1995 to 16 Jun 1995 Comments: To: Electronic Music Discussion List Hi Clive McFarland (clive@PELICAN.DBE.CSIRO.AU) asked about: >.................................arpeggiation. How to do it, how to >make it sound right on a very basic system (Mac + EZVision + K4: I'm not looking at hardware arpeggiators). I'm not an expert on this, but here's a quick resume of what works for me: The basic technique involves working out an arpeggiation of the chords you want, and then using step-time recording on the sequencer to enter those notes. EZVision's manual does not exactly shout about Step Recording, but look it up in the index. Basically, you record a note or a chord, and it then automatically advances to the next beat (or sub-beat, it depends how you set up the step-time record). How immediate and creative this process is depends on how familiar you are with the sequencer and step recording. Because it's not real-time, it can feel awkward at first, especially if you are very used to playing 'live'. But once you are used to the conventions, then you will find that you can play staccato well enough to avoid mistakes (most step time records take all the MIDI Note On events that overlap as one entry, and wait until no note events are active before they advance, so you can flam chords very badly and yet have them sound perfect when they play back...). I usually use the 'Pattern' mode on my SY99, and then transfer the results to Vision for editing. >................................In particular I want to create those >lovely running lines that sit under the main theme of the piece. This seems to be a combination of several different techniques: - Careful choice of chord voicings, inversions and harmony with the melody line. - Smooth transitions between chords (no big leaps is often a good idea, unless you want them for effect) - Post-record editing of velocity, to give a smooth flow to the notes. A little emphasis is ok in some circumstances, but there's often a bass root note which emphasizes the accented beat, and I find that things sound smoother if I edit the velocities to suit the ebb and flow of the arpeggios (and to smooth out the variations in loudness of many sounds as they are played in different areas of the keyboard. - Octave jumps are often used in place of splitting triads - it helps to keep the harmony solid, and leaves plenty of gaps for the melody. I prefer simple, 'closely related to the root' arpeggio lines. - Sensitive choice of sounds for the arpeggios. Despite the fact that step time produces nice staccato notes, a little adjustment to give some overlap (legato) can help, but it does eat up polyphony, especially with chords. Sounds with a little bit longer release than you might normally use for live playing can help, and a little reverb with mush things up too. - Although it's a little bit over-used in some circles, using a little echo can be very useful in adding extra interest to simple arpeggios. There are a number of magic ratios between the time between the original and the echo, and the time between beats. Making the echo occur half-way between the beats is a good starting point, but you can get some complex polyrhythms and syncopations if you use other timings. Using echo in this way means that you are restricted to fixed tempos, unless you are prepared to try and control the echo time using Sysex messages. I'm sure that there are other aspects that I've left out. The overall technique is: (1) Plan the arpeggios (2) Step Record (3) Edit (4) Choose sounds (5) Post process (echo etc) Hope this helps. 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 ========================================================================= Date: Sun, 18 Jun 1995 02:25:23 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Kasia Hrycek Subject: Re: guitar synths (sort of) Comments: To: Electronic Music Discussion List And what do you call a guitarist who can't play guitar at all? A bass player ========================================================================= Date: Sun, 18 Jun 1995 10:47:41 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Martin Russ Subject: Obscure & Imaginary Orchestral instruments Comments: To: SYNTH-L@LISTSERV.AMERICAN.EDU You can always find samples of conventional instruments, which is fine for simulating a conventional orchestra, but it ignores many of the less well-known, unknown and uninvented instruments. Some obscure and unusual instruments have become popular because of their rarity - like the eponymously named Serpent, but many remain unpublicised and often unheard, especially the imaginary ones. Rather than let MIDI technology banish these almost forgotten instruments forever, here are some of the better examples that I have found, so that you can enter them into the names of sounds you program and/or sample, and thus ensure their continued immortality. Violin, Violotel, Violguest-house, Violout, Violunder, Violover Cor Anglais, Cor Francais, Cor Blimey, Cor Luvaduck Cello, Celligh, Cellsomewhereinthemiddle Triangle, Quadrangle, Untangle Euphonium, Wephonium, Theyphonium, ETphonium Trumpet, Crumpet, Strumpet, Pumpetup Bassoon, Bassooner, Bassoonest, Bassoonaspossible, Baslater Double Bass, Triple Bass, Quadruple Bass, Home Bass Piano, Queueano, Arrano, Essano, Teeano Flute, Vegetables Piccolo, Piccohigh, Piccandmix Viola, Violala, Violalala Tambourine, Submarine, Aquamarine, Polystyrene Timpani, Terpani, Tempani Clarinet, Ctirnet, Cdohrinet, Creyrinet, Cmirinet, Cfahrinet, Csohrinet Sackbut, Sackotaters, Sackrace, Sackthulotovem Oboe, Oho, Omygoodness, Oheck, Ono Tuba, Boxof, Bagov, Lineov, Sackov, Listof French Horn, English Horn, Codpiece, UN Horn Trombone, Trambone, Teprombone Harp, Chic, Grouch, Zepp Crumhorn, Pinchhorn, Morselhorn, Helpinghorn, Servinghorn And of course, an orchestra is controlled by a: Conductor, Resistor, Terminator, Impedance (Some of the above may only make sense to a UK audience!) ^_^ 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 ========================================================================= Date: Sun, 18 Jun 1995 08:00:32 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pete Schoenhoff Subject: Re: Musician Jokes Comments: To: EMUSIC-L@american.edu In-Reply-To: <9506161648.AA28776@acropolis>; from "william.b.fox" at Jun 16, 95 12:48 pm These are the graceful words of william.b.fox: ->Q: What do you call 10,000 banjo players at the bottom of the ocean? ->A: A good start. Hey! I resemble that statement! -Pete Schoenhoff pschoenh@pen.k12.va.us ========================================================================= Date: Sun, 18 Jun 1995 17:48:50 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Gert Braakman Subject: Re: Arpeggiation >Hi all > >And today's novice question concerns...arpeggiation. How to do it, how to >make it sound right on a very basic system (Mac + EZVision + K4: I'm not >looking at hardware arpeggiators). In particular I want to create those >lovely running lines that sit under the main theme of the piece. Hi Clive, To get ideas for arpeggios you might have a look at a review of the oberheim arpeggiator that appeared two years ago () in keyboard.It contains of lot of nifty ideas about creating arpeggios. Gert Braakman ========================================================================= Date: Sun, 18 Jun 1995 16:07:39 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Crandall Subject: MIDI controlled relays? mechanical devices? etc... Comments: To: Discussion of interactive music/multimedia , Electronic Music Discussion List In-Reply-To: <199506170426.AAA18296@ds1.gl.umbc.edu> I use MIDI in my own music, but at the moment I want to use MIDI to control mechanical/electrical devices and pick up physical sensor data in some interactive installations I'm working on, using Max or a sequencer to integrate everything. Is there a good "point" source of information on home-brewing simple MIDI devices? These would range from using, say, MIDI note data to toggle relays on/off, to using MIDI controllers to control stepping motors. Input-wise, it would mean devices to convert motion/touch/optical sensor outputs into MIDI data. Of course, these days this means also asking if one does these things using MIDI Machine/Show Control. Again, any good sources? I've already seen the Troika Ranch homepage and another web site called "Physical Computing" but am looking for something both more introductory and complete, as well as more MIDI-specific (than Dan O'Sullivan's approach). Thanks. ========================================================================= Date: Mon, 19 Jun 1995 08:41:44 +0900 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter Horstmann Subject: Digital Recording of Analog I know that this list is primarily dedicated to creating electronically generated music and sampling, and that my question is fairly out of place here. (But there is nowhere else on the net!!) I am asking for information about hard disk recording of analog. Also, my current knowledge of what's going on in electronics has a blackout of over a year because Electronic Musician and Keyboard decided not to continue my subscription in Japan where I live, although a friend in NYC fixed this a month ago. Let me shoot out my questions and I hope you'll give me some advice. I've shipped over a lot of basic recording equipment here from the US where I was a sequencer and reel to reeler. I'm about to buy a decent computer system and want to record keyboards _along with_ the usual analog stuff -- vocals, electric guitars. I've not been able to get info on the new Turtle Beach Quad system (someone recently gave the www site as http://www.cs.colorado.edu/~mccreary/tbeach and I've not been able to connect so far). My first question is, is Turtle Beach Quad a viable solution for hard disk recording of analog generated sounds? And, what are the downsides? Question #2: has the arrival of cheap EIDE (enhanced HD's) with access times of < 9 secs, and 11-16 MB/sec throughput eliminated the need for expensive SCSI or the new WIDE Fast SCSI? (You can now also daisy chain 4 devices.) Question #3 (brief) -- Has anyone heard of the German Triple Dat system that's been out for a year there but hasn't crossed the Atlantic? (I have a www site for this, but also have not been able to connect -- http://fbma.tuwien.ac.at/-e912547/ (the "-" before the "e912547" is not a hyphen but a raised hyphen that my computer won't type). I appologize for bringing a nuts and bolts topic to a list whose theme is more toward music synthesis, and offer the half true appology that music synthesis is often closely related to not only how you make the sounds, but also how you can get the sounds down to some sort of permanent type of media. Thanks, Peter Peter Horstmann (Kurume Institute of Technology) ========================================================================= Date: Sun, 18 Jun 1995 19:54:58 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: Digital Recording of Analog Comments: To: EMUSIC-L@american.edu There's info on the Quad and other Turtle Beach products in the software library - just search for Quad. ========================================================================= Date: Mon, 19 Jun 1995 11:40:20 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re: Musician Jokes Comments: To: Electronic Music Discussion List ObEmusic II (sort of): Q: What's the difference between a drummer and a drum machine? A: You only have to punch the instructions into the drum machine once. Welcome back Mike. Clive Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Sun, 18 Jun 1995 21:47:14 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Brian Good Subject: More musician jokes than you wanted to hear... Comments: To: EMUSIC-L@american.edu ...the conductor is about to start the orchestra when he notices that one of the violists is crying. When he asks what's wrong, the violist sobs, "One of the bassoonists turned one of my tuning pegs!" "Why don't you just retune?" the conductor asks. "He won't tell me which peg!" sobs the violist. What's the difference between an onion and a viola? Nobody cries when you cut up a viola. What's the difference between a bass and a coffin? The coffin has the stiff on the *inside*. How do you get a guitarist to turn his amp down? Put a chart in front of him. What's the difference between a saxophone and a lawn mower? Vibrato. ...and one I can't remember, but the punchline mentions a drive-by viola solo. apologies, Brian good ========================================================================= Date: Sun, 18 Jun 1995 23:31:35 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Richard Hunter Subject: Musician jokes to death Comments: To: emusic-l@american.edu What does a timpanist say when he gets to his gig? "Would you like fries with that, sir". How can you tell if a violin is out of tune? The bow is moving. What's the difference between a female vocalist and a terrorist? You can negotiaye with a terrorist. Why do bagpipers walk when they play? To get away from the sound. ========================================================================= Date: Mon, 19 Jun 1995 05:09:29 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jeff Bova Subject: Re: Musician jokes to death Comments: To: EMUSIC-L@american.edu How do you know when there's a drummer at your front door? The knocking speeds up and slows down! How do you know when a backround singer is at your Front door? She doesn't know when to come in! What's the difference between a chicken crossing the road and a trombone player crossing the road? The chicken is probably on his way to a gig! My contribution as a new comer to this list. JBova ========================================================================= Date: Mon, 19 Jun 1995 12:04:25 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Miroslav Teker Subject: Cancelling vocals Comments: To: EMUSIC-L@american.edu Hi all, recently I've been trying to sample some cool drumloops from a CD, but I couldn't get rid of the vocal part. Is there any way to remove it from a record using the signal processing? What I mean is a sort of "karaoke effect". I had a small program for my Atari Falcon that was attempting to do it (in realtime!), but since I don't own Falcon anymore, I wonder if there's something similar for a PC. I suppose that the Falcon did it with its DSP, but I can't see any reason why PC shouldn't be able to di it as well - non-realtime,though. I believe that cancellation exploited the way the audio is usually recorded and that vocals have different phase shift from other instrument ??????? Did anyone heard about such program or algorithm ? Does it really work? Thanks in advance. Miro Teker And : which harddisk recording program is worth buying: Samplitude or SAW ? ========================================================================= Date: Mon, 19 Jun 1995 07:16:22 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pete Schoenhoff Subject: Re: Musician Jokes Comments: To: EMUSIC-L@american.edu In-Reply-To: ; from "clive@PELICAN.DBE.CSIRO.AU" at Jun 19, 95 11:40 am Q: How many lead guitarists does it take to change a light bulb? A: Three, One to screw it in, and two to stand around and say, "Not bad, but I coulda' done better!" -- -Pete Schoenhoff _\|/_ pschoenh@pen.k12.va.us ========================================================================= Date: Mon, 19 Jun 1995 07:45:41 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: Digital Recording of Analog Comments: To: EMUSIC-L@american.edu In-Reply-To: <199506182341.IAA20267@ecip00.cc.kurume-it.ac.jp> from "Peter Horstmann" at Jun 19, 95 08:41:44 am Peter Horstmann writes-- > > I know that this list is primarily dedicated to creating >electronically generated music and sampling, and that my question is fairly >out of place here. (But there is nowhere else on the net!!) I am asking for >information about hard disk recording of analog. Also, my current knowledge >of what's going on in electronics has a blackout of over a year because >Electronic Musician and Keyboard decided not to continue my subscription in >Japan where I live, although a friend in NYC fixed this a month ago. Let me >shoot out my questions and I hope you'll give me some advice. The earliest and best piece of advice I can give you is to subscribe to EMUSIC-L's sister mailing list, SYNTH-L (accessible from the same list server as EMUSIC-L via the same command set). Technological questions of this nature are handled over there, and we try to reserve EMUSIC-L for the non-techie, substantive lines of conversation, like viola jokes....er.....anyway.... For stuff like computer-based hard-drive recording, you might also try the Electronica list, which can be subscribed to by sending a request ot the owner, Tom Butcher, at electronica-request@andrew.cmu.edu. > I appologize for bringing a nuts and bolts topic to a list whose >theme is more toward music synthesis, and offer the half true appology that >music synthesis is often closely related to not only how you make the >sounds, but also how you can get the sounds down to some sort of permanent >type of media. True, but that still doesn't put your question on topic for this list. You'll do much better at the places I've recommended, and I hope to hear from you there. administrivially yours, mike (nice to be back in the saddle again, clive) -- mike metlay * atomic city | EIRIKUR LOOKS AT LIFE #103: On the Mattel Optigan atomic-city@netcom.com | "I hate this thing. I hate this thing. Then I http://pd.net/atomic-city | started playing with the Polynesian Restaurant snailmail p. o. box 81175 | Nightmare disk. And got this weird ambient dub pittsburgh, pa 15217-0675 | thing going...." ========================================================================= Date: Mon, 19 Jun 1995 16:38:31 MET-1METDST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: SLAWEK Organization: ISIS PW Subject: to ms. Barbara Comments: To: EMUSIC-L%LISTSERV.AMERICAN.EDU@plearn.edu.pl Chcialbym serdecznie Pani podziekowac za materialy, ktore Pani przeslala. Mam nadzieje, ze pomoga w wyborze sprzetu. wielce zobowiazany malolat Adrian ========================================================================= Date: Mon, 19 Jun 1995 11:56:00 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: arpeggiating with a sequencer Comments: To: eml@physics.american.edu well, the real solution is to hack your own code to do the damn thing for you in real time (it's a few lines in C, if you've got the available drivers, like from Jim Conger's code library), or use MAX... but, if you've got a regular old sequencer, try this: step record the chords, probably in whole notes. not the individual notes, the chords. use the note filter and split the notes of the chords to different tracks, as in top note to 1, second to 2, bottom to 3. delay the 2nd and 3rd tracks by some interval (like a quarter note), then the 3rd track again. done. <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 ========================================================================= Date: Mon, 19 Jun 1995 17:09:55 BST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Farnell Subject: [DAC 4 Sun wanted] In-Reply-To: <199506151203.IAA45126@atlanta.american.edu>; from "EMUSIC-L@AMERICAN.EDU" at Jun 15, 95 8:03 am This might be a bit off topic..... Attn of Csound users, Sun users and general hardware gurus. Please X post to any other known relevant groups Hi, I have a Sun 3/180 on which I wish to run Csound. I need to add audio facilities. The Sun uses a standard VME bus into which an ADC/DAC card could be plugged but I am unable to find one. Sun do make a prohibitively expensive DAC card, which is hardly suitable for high quality audio work and there seem to be few third party supplies for this old machine. Does anybody have any ideas or designs for a VME audio system or know of other audio cards which might be adapted to operate on a VME bus for the Sun? ------------------------------------------------------------------------------ Andy Farnell, Audio Signals Research Computing and Cognition Dept. Applied Computing & Electronics # # BOURNEMOUTH Bournemouth University # UNIVERSITY Janet: afarnell@uk.ac.bmth World: afarnell@bournemouth.ac.uk Voice: (01202) 595073 ------------------------------------------------------------------------------ ========================================================================= Date: Mon, 19 Jun 1995 13:14:13 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: please help me unscubscribe In-Reply-To: <950619103732_97779417@aol.com> from "J.J. Bugajski" at Jun 19, 95 10:40:19 am > > Some please help me get off this list. > Have you sent mail to listserv@american.edu with the text UNSUB EMUSIC-L in it yet? Did you read my message from earlier today, and a few days ago, and a few days before that, about AOL users sending *ME* mail if they are having trouble signing off (that's mcmahon@clark.net, not emusic-l)? Will you PLEASE do so?! I am not deleting you until I get specific evidence that you have at least *tried* to follow directions. Really, I'm getting awfully tired of people from all over the Net - I am not picking on AOL'ers - who cannot be bothered to read the FAQ or the introductory note which we send out when you sign on. --- Joe M. ========================================================================= Date: Mon, 19 Jun 1995 19:56:25 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Gert Braakman Subject: arpeggiating (continued) Hi Eric, >well, the real solution is to hack your own code to do the damn thing >for you in real time (it's a few lines in C, if you've got the available >drivers, like from Jim Conger's code library), or use MAX... You mention MAX.. If you've created an arpeggiator in MAX i'ld be interested to see how you did it. I did something similar maybe we can swap ideas. Gert > ========================================================================= Date: Mon, 19 Jun 1995 18:14:51 +0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Teemu Korpipaa Subject: Re: Cancelling vocals In-Reply-To: <199506191004.AA04191@savba.savba.sk> On Mon, 19 Jun 1995, Miroslav Teker wrote: > Hi all, > > recently I've been trying to sample some cool drumloops from a CD, but I > couldn't get rid of the vocal part. Is there any way to remove it from a > record using the signal processing? What I mean is a sort of "karaoke > effect". I had a small program for my Atari Falcon that was attempting to > do it (in realtime!), but since I don't own Falcon anymore, I wonder if > there's something similar for a PC. > I suppose that the Falcon did it with its DSP, but I can't see any reason > why PC shouldn't be able to di it as well - non-realtime,though. > I believe that cancellation exploited the way the audio is usually recorded > and that vocals have different phase shift from other instrument ??????? > > Did anyone heard about such program or algorithm ? Does it really work? > Thanks in advance. > Miro Teker > And : which harddisk recording program is worth buying: Samplitude or SAW ? I've had some luck with the following techniques (this idea originated from a Meat Beat Manifesto interview, credit where it's due :) - take the RCA-plugs out of their sockets, so that only the pins rest inside the jackhole (ie. the ground is NOT connected, but the 'hot' IS). I really don't know why, but on most devices (it works on my CD but not on my cassette desk) this put the channels out of phase. The result is that all what was recorded mono (panned centre 50/50) is cancelled. The good news is on 99.9% of the worlds pop music, the vocal is centre, unless its recorded stereo. All what is mixed away from the centre, becomes (increasingly) audible (recorded stereo and panned left and right). The bass is almost always in the centre. And now the bad news: on all of those 99.9%, there's digital reverb added to the vocal and, you guessed it, it's stereo and panned left and right. This doesn't actually sound that bad, usually it's only a strange tail deep in the mix. Another thing is you get ground hum, because the bround isn't connected. (In the MBM interview, they said they did a special lead for this kind of thing, which eliminated the ground hum, but I haven't been able to figure out what would that be like...) Good News: you can do this quite easily with audio-editing software with stereo and 'invert' features. So, all you do is load the stereo mix in your editor, invert ONE channel, and a) mix it through your desk both channels panned centre (to cancel each other) or b) combine the sounds in the digital domain. The b) works fine on Soundtools II. You may have to fiddle with the volume balance of the tracks to get maximum cancellation. This method is also very usefull (apart from creative kleptomania :) to educate yourself. You can hear things that are buried deep in the mix (usually panned left or right, strangely), hear what instruments were recorded stereo, fake-stereo or doubled. You can also find out the reverb times used very accurately. Great fun all around. Try it! from Teemu ----> tkorpi@csc.fi --------------------------------------------- from a Sunday Times interview with Marvin the Paranoid Android Q: Music? A: Hate it. Q: Hobbies? A: Hating music. Q: What do you like the least? A: The entire multi-dimensional infinity of all creation. I don't like that at all. ========================================================================= Date: Mon, 19 Jun 1995 16:49:32 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: john rossi Subject: Re: Musician Jokes Comments: To: Electronic Music Discussion List In-Reply-To: <199506170517.WAA22719@netcom23.netcom.com> On Fri, 16 Jun 1995, atomic city wrote: > > PS. Just saying "I'm back" seemed to lack something.... > -- What? John 3 ========================================================================= Date: Mon, 19 Jun 1995 16:10:21 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: isor Subject: Korg at netcom Comments: To: EMUSIC-L@american.edu does anyone know the url for the Korg Public Domain patches at netcom? ps- this is the third time i've asked! Eric Allen Seale of ISOR magazine \ Br. Box 1566 \ Edwardsville, IL ========================================================================= Date: Tue, 20 Jun 1995 01:54:02 +0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dmitry Romakhin Subject: Re: Cancelling vocals Comments: To: Electronic Music Discussion List In-Reply-To: On Mon, 19 Jun 1995, Teemu Korpipaa wrote: > > Did anyone heard about such program or algorithm ? Does it really work? > > Thanks in advance. > > Miro Teker > > > - take the RCA-plugs out of their sockets, so that only the pins rest > inside the jackhole (ie. the ground is NOT connected, but the 'hot' IS). Looks like eating with a wrong side of a spoon in order to not get fat. But easy. Anyway, it refuses to work on my system. And I've heard from one rather reliable person that THERE IS a programm for _PC_ that does vocals-removing from CD IN A REAL TIME!!! I am searching for it now. So, don't give up with real-time processing. > times used very accurately. Great fun all around. Try it! Oh, ye! Dmitry Romakhin. ========================================================================= Date: Mon, 19 Jun 1995 18:00:58 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bruce Edwards Subject: 2¢eng w/long delay Comments: To: emusic-l@american.edu >From 6/9/95 > >Panie Adrianie, >> > Gitary sa dostatecznie dobrze opisane w czasopismie >> >"Muzyk", wydawanym w Poznaniu. Polecam artykuly >> >w nastepujacych numerach tego czasopisma: > 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. My initial reaction to non English messages on this list was one of considerable pleasure. I am new to "personal" communication via Internet and while English is my primary language seeing Polish on this list seemed to underscore one of the hyped potentials of multitimbral multicultural individuals "talking". If the vast majority of postings arrived in Borish I would unfortunately have to unsubscribe. And that is so expensive to do. But until that happens I will continue to welcome the diverstiy. For the 7 weeks I have been monitoring this list, it has become apparent most of the posters do not speak the same musical language that I speak. At this point that is a subjective reaction based not on note data but on topics of concern and the tone of messages. But one of the elements of music is the argument of sound that almost of necessity begins as cacophony and is resolved, by the composer, into something else (not necessarily harmony but perhaps you get my idea.) Lastly I would suspect, as English as first language users, we should be too embarrassed to brag about or identify with its implementation on these lists. ========================================================================= Date: Mon, 19 Jun 1995 18:29:04 CET Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacek Latanowicz Subject: Re: 2 Encore software Comments: To: Electronic Music Discussion List In-Reply-To: Message of Wed, 14 Jun 1995 16:53:32 MET-1METDST from On Wed, 14 Jun 1995 16:53:32 MET-1METDST > >> 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 Hello, can I add something ? Well I try to be 'legal' as well but there is a small problem in Poland. 1.There exists a 'black market' in every city with illegal software 2.There is in my opinion 70% of computers with illegal software. Not a program or 2 but tons of programs including operating systems 3.There is lack of good software distributors, which would offer everything needed so black market is the usual way of reaching, choosing, deciding 4.Prices are so high for legal software that there is a small number of people which can afford that Do I respect copyrights ? I don't know if there is 1 single person in this country which does. But I am strongly with copyrights, and as soon as there will be a chance to get legal software in some amnesty form - people will go and buy. Right now there is a significant market of legal games but still not chance for more usefull stuff. One lady in well known distribution company which was selling some programs couldn't say anything about what she is selling, because she didn't know. She just could read prices and tags. Interesting, huh? I don't know if I'm discussing anything illegal on this list, but that's reality and I hope that it will change in the future. Legal programs have few features that other doesn't : - a manual which is sometimes very useful - you can upgrade to higher versions for a small amount of money Once I decided to go ahead and buy a legal sequencer for a PC. The way to see what there is, is ONLY to go to black market - get all the sequencers that are and try them. If there is one which may suit me I try to import it via some company if the company offers it. There was NO WAY to see any programs in the past. Now there are some stores which have some proggies, but usually not all. I think I might even get to see some HD recording system in my lifetime...who knows. Btw, here in my country everything is on the right pathway but it will take years to switch from illegal to legal. I won't even mention the instrument market. Do You people realize that there is NO SINGLE STORE IN POLAND which would have Korg Wavestation AD ? I won't mention anything else like Kurzweils, Ensoniqs etc. They offer it but You can't see/try it. You have to order it and import for amount of money which can be compared to UK prices which are high from what I hear. But still we earn 8-10 times less than in civilized countries. (2USD/hour is much here) Ok, I must stop complaining, and go on trying to find stuff for my small composing hole - I just hope that one day I'll be able to walk into a normal store and buy some good stuff for fair prices... Jacek L. ========================================================================= Date: Tue, 20 Jun 1995 03:30:38 +0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dmitry Romakhin Subject: Re: 2 Encore software Comments: To: Electronic Music Discussion List In-Reply-To: <199506192202.SAA44171@atlanta.american.edu> On Mon, 19 Jun 1995, Jacek Latanowicz wrote: > [ cut ] > > Jacek L. > Please forgive me for a sort of off-topic, but all said is also true for Tatarstan. I am a programmer myself and I make freeware mostly, but I do not want anyone to steel my commercial software (if I'll make that) - that's because your message touched me deeply, Jackek. I think that the problem is also in our psychology. There are a lot of shops snd great computer firm's representatives in Moscow, Russia. People can bue a commercial registered software in moscow. The prices are... well, I won't judje prices - there are huge for somebody, tiny for others. Anyway, I often hear the following : "What the heck I need in a software-shop? I'd better steel this programm!". 80% of people would get a stomackache because of laughter if you suggest them bue a DOS or WINDOWS or other software of this kind. Yeah, things like SQL Client-server database managers are bought and selled - but only a few needs them. The thing is, that I can't judge those people that prefere not purchasing the software - I grew up in this mentality and I often share their views - not because I'm such a pirate - I'm just a russian man. It is too late to change it for us - public opinion changes only for generations. Maybe our chldren? - Dmitry Romakhin dmitry@alpha.ksu.ras.ru ========================================================================= Date: Tue, 20 Jun 1995 09:34:54 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Simon McGuire Subject: Shareware Is there a good shareware or PD sequencer available for Windows? Perhaps someone fould give me an ftp addres or URL. Sincerely Simon ========================================================================= Date: Mon, 19 Jun 1995 21:33:40 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Ron S. Herhuth" Subject: Re: Arpeggiation Comments: To: EMUSIC-L@american.edu Oberheim also re-issued their cool midi arpeggiator called the "Oberheim Cyclone" Its a very cool little device that allows you to create classic as well as extremely complex arpeggiation real time, and if you put it in the midi line between your master controller and your sequencer you can record the patterns! The best part ITS CHEAP ($140.00) Bad part: dinky two digit display makes programming difficult. -Ron Herhuth ========================================================================= Date: Tue, 20 Jun 1995 01:31:06 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: Cancelling vocals Comments: To: EMUSIC-L@american.edu actually, i think if you connect the "hot" from one channel to "hot" on the input, and "hot from the other channel to "ground" on the same input, you'll get a phase-cancellation effect (leaving the rest which is usually a tinny sounding rhythm mix). But i wouldn't call it a reliable way to do remove vocals. ========================================================================= Date: Tue, 20 Jun 1995 02:08:14 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: RonG225zt@AOL.COM Subject: More Musician Jokes Than any one person needs... OK, Here's my contrubution to the bad musician's joke thread. I found this on AOL last year. Some of them we've allready seen here. Ron Bad Musician Jokes Q. What's the difference between a soprano and a Porsche? A. Most musicians have never had a Porsche. Q. How does a soprano change a light bulb? A. She just holds it, the rest of the world revolves around her. Q. How do you get two piccolo players to play in perfect unison? A. Shoot one. Q. What's the definition of a minor second? A. Two flutists playing the same note. Q. What's the difference between an oboe and an onion? A. No one cries when you chop up the oboe. Q. What's the difference between a bassoon and a trampoline? A. You take off your shoes to jump on the trampoline. Q. Why do clarinetists keep their cases on the dashboard? A. So they can park in the handicapped. Q. What's the definition of a nerd? A. Someone who owns his alto clarinet. Q. What do you call a trombone player with half a brain? A. Gifted. Q. How do you get a trombone to sound like a French horn? A. Stick your hand in the bell and play a lot of wrong notes. Q. What's the definition of a Gentleman? A. Someone who knows how to play the trombone, and doesn't. Q. What's the range of a tuba? A. Ten yards, if you have a good arm. Q. What do you call someone who hangs out with musicians? A. A drummer. Q. What does the violist say when he gets to his gig? A. "Would you like fries with that?" Q. What did the drummer get on his IQ test? A. Drool. Q. How are a violists fingers like lightning? A. Neither strikes the same place twice. Q. How can you tell if a viola is out of tune? A. The bow is moving. Q. What do violists use for birth control? A. Their personality. Q. How do you know if a viola section is at your front door? A. No one knows when to come in. Q What do you call 100 violists at the bottom of the ocean? A. A good start. Q. What's the difference between a violin and a cello? A. The cello burns longer. Q. What's the difference between a cello and a coffin? A. The dead person's on the inside of a coffin. Q. Why did the violist get mad at the timpanist? A. He had turned a tuning peg, and wouldn't tell which one. Q. How do you get a guitarist to turn down? A. Put some music in front of them. Q. What's the difference between a chainsaw and a saxophone? A. Vibrato. Q. Why are violins smaller than violas? A. They aren't, violinists' heads are bigger. Q. If you drop a conductor and a violist off a tall building, who'll hit first? A. Who cares? ========================================================================= Date: Tue, 20 Jun 1995 02:12:38 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: RonG225zt@AOL.COM Subject: Re: Arpeggiation Comments: To: EMUSIC-L@american.edu >>The best part ITS CHEAP ($140.00) $140.00 cheap? man, what kind of gig do you have? Ron ========================================================================= Date: Tue, 20 Jun 1995 09:48:28 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Miroslav Teker Subject: Re: Cancelling vocals Comments: To: EMUSIC-L@american.edu In-Reply-To: from "Dmitry Romakhin" at Jun 20, 95 01:54:02 am > And I've heard from one rather reliable person that THERE IS a programm > for _PC_ that does vocals-removing from CD IN A REAL TIME!!! I am > searching for it now. So, don't give up with real-time processing. > > Dmitry Romakhin. Hi Dmitry, thanks for encouraging information, hope you let us know when you find this program. I guess it would be useful also for other people who want to analyze the recordings. BTW, I recently came across an info Web page about new Yamaha sound daughterboard, which is supposed to have an onboard DSP able to do (among other) the Karaoke effect. If only Yamaha wouldn't be so lazy to provide the information service via the Internet! Anyway, the algorithm shouldn't be that complicated if it easily fits into DSP's (supposely not too big) program ROM. Thx again. Miro ========================================================================= Date: Tue, 20 Jun 1995 10:12:36 CET Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacek Latanowicz Subject: Re: to ms. Barbara Comments: To: Electronic Music Discussion List In-Reply-To: Message of Mon, 19 Jun 1995 16:38:31 MET-1METDST from On Mon, 19 Jun 1995 16:38:31 MET-1METDST SLAWEK said: > Chcialbym serdecznie Pani podziekowac za materialy, ktore Pani >przeslala. Mam nadzieje, ze pomoga w wyborze sprzetu. > wielce zobowiazany malolat > Adrian To me it looks like a sabotage. Use REPLY FROM and not reply. This message is considered trash mail for 99% people on this list. Jacek L. ========================================================================= Date: Tue, 20 Jun 1995 09:18:49 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Carnes Subject: Re: Jacek's post about legal software Comments: To: EMUSIC-L@american.edu In-Reply-To: <199506200500.BAA52101@atlanta.american.edu> ---------- X-Sun-Data-Type: text X-Sun-Data-Description: text X-Sun-Data-Name: text X-Sun-Content-Lines: 9 X-Sun-Content-Length: 623 Jacek, Thank you for your interesting and informative post about legal/illegal software in Poland. It must really be difficult sometimes to do the right and honest thing. News that reaches the US about Poland is usually encouraging, but it looks like there's still a long way to go. Perhaps it could be helpful if you could directly contact some of the manufacturers and tell them of your difficulties. Perhaps they can improve their distributorships in Eastern Europe and make some arrangements that are better for all. It would take more than just one letter from one person, but it's worth a try. Good luck. ========================================================================= Date: Tue, 20 Jun 1995 09:52:01 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: 2¢eng w/long delay In-Reply-To: <950619180058_74043173@aol.com> from "Bruce Edwards" at Jun 19, 95 06:00:58 pm > For the 7 weeks I have been monitoring this list, it has become apparent most > of the posters do not speak the same musical language that I speak. At this > point that is a subjective reaction based not on note data but on topics of > concern and the tone of messages. But one of the elements of music is the > argument of sound that almost of necessity begins as cacophony and is > resolved, by the composer, into something else (not necessarily harmony but > perhaps you get my idea.) > > Lastly I would suspect, as English as first language users, we should be too > embarrassed to brag about or identify with its implementation on these lists. > Well spoken. As listowner, I have no big problem with other languages being used either; however, for better or for worse, English is our primary language here, and it's best to try to use it unless the communication barrier is too high. --- Joe M. ========================================================================= Date: Tue, 20 Jun 1995 10:51:32 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Grace Sullivan Subject: Leonardo Music Journal Comments: To: cge@vm.marist.edu, fineart@gu.edu.au, isea@sara.nl, EMusF@aol.com, msimoni@umich.edu, Music-Research@comlab.ox.ac.uk, csound@maths.ex.ac.uk, SOUND@acm.org, algo-comp@heinous.isca.uiowa.edu, max@vm1.mcgill.ca, sonicart.demon.co.uk@sonicart.demon.co.uk, smt-list@husc.harvard.ed, daw-mac@netcom.com, emusic-l@american.edu, synth-l@american.edu Note: On June 19, the following file was sent incorrectly. If you were unable to decode a previous message from this address, here is the message you should have received. Please excuse any undue disturbances. Thank you for your patience. ______________________________________________________________ "the banging hurtling toward a concussion on rocks, a broken pedestal and here, here we stand, the breeze is pleasant so let's take our time and sing one more song, eyes rolling, _and roam at will, timeless:_"* ANNOUNCEMENT LEONARDO MUSIC JOURNAL (LMJ) seeks contributions to its annual print/CD publication and its World Wide Web site (http://www- mitpress.mit.edu/Leonardo/isast/journal/hplmj.html). LMJ is an international publication dedicated to new issues, developments and ideas on the cutting edge of the sonic arts, sciences and technologies of our time. LMJ publishes texts by diverse contributors (ranging from instrument inventors to scientists), with primary emphasis on publishing artists' and composers' discussions of their own work. >From its inception, LMJ has sought innovative ways of expanding its definition to include presentation of sound art/music itself as well as ideas and theories around it. The LMJ CD series adds dimension to the print journal and allows for an integration of art and commentary that subsumes neither; the multimedia potentials of the World Wide Web promise to take such forms of cross-fertilization even further. We invite feedback and input from artists and interested parties everywhere who are interested in pursuing similar goals or otherwise influencing the content of the journal or the Web site. Potential contributors are encouraged to send proposals to any of the members of the LMJ editorial board (listed in each issue of the journal). LMJ is available at many public and university libraries and major bookstores. To receive subscription information and/or information on the contents of the current issue, email your request to isast@mercury.sfsu.edu. Please email comments or suggestions on the LMJ World Wide Web site to grace@mercury.sfsu.edu. Leonardo Music Journal is a companion volume to Leonardo, the Journal of the International Society for the Arts, Sciences and Technology, a nonprofit organization. Leonardo and LMJ are published by the MIT Press. ---------------------------------------------------------------- *John Ashbery, _Flow Chart_ ========================================================================= Date: Tue, 20 Jun 1995 19:10:39 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Arpeggiation In-Reply-To: <950620021237_74372361@aol.com> from "RonG225zt@AOL.COM" at Jun 20, 95 02:12:38 am > > >>The best part ITS CHEAP ($140.00) > > $140.00 cheap? man, what kind of gig do you have? > > Ron > Well, cheap vs. a copy of MAX and a Powerbook to run it on, or a Prophet VS, or any number of at-least-four-digit other options. Beware of older versions of the Cyclone. They wil crash much and spew MIDI weirdness. --- Joe M. ========================================================================= Date: Tue, 20 Jun 1995 16:29:00 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "lisa (l.) melucci" Subject: Re: Cancelling vocals Comments: To: EMUSIC-L@american.edu I was just having this conversation with my fiance. We think we have a way to cancel vocals. When songs are mixed, it seems to be common to put the vocals right in the middle, up front. While, the guitars, drums, etc., panned a little right and left. My fiance hooked up some speakers this way: ------- Vr |Right|+ ------------------ + / | |- nc [ 8 ohm speaker | | - \ | | | | | | | Amp | | V = (Vr - Vl) | | | | | + / | | [ 8 ohm speaker | |+ ------------------ - \ |Left |- nc Vl ------- nc = no connection The idea is to get the speakers to produce the difference between the left and right channels. Since usually instruments are panned either a little left or a little right, their sound will be produced at the speakers. For example, say bass is on the left and guitar is on the right. As the voltage varies on each channel the currents will travel back and forth through the speakers. But the singers voltage usually appears equally on both channels. When the voltage is equal on both sides of the speaker load, there is no current associated with the vocals, so you don't hear them. This is a simple way to produce the desired effect. Todays surround sound system use DSP and specialized ICs to ensure proper phase cancellation and signal manipulation. We were going to try this, but he had to leave town for a few days, so I don't have proof, yet. Hope this helps. ----------------------------------------------------------------------------- Lisa Melucci " Many a false step is made by standing BNR GSF Billing Design Team still " Research Triangle Park, North Carolina - just a cool fortune I once got TEL: (919) 991-8597 ESN: 294 INTERNET: melucci@bnr.ca ----------------------------------------------------------------------------- ========================================================================= Date: Tue, 20 Jun 1995 19:13:18 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Korg at netcom In-Reply-To: from "isor" at Jun 19, 95 04:10:21 pm > > does anyone know the url for the Korg Public Domain patches at netcom? > > ps- this is the third time i've asked! > > Eric Allen Seale of ISOR magazine \ Br. Box 1566 \ Edwardsville, IL > No response usually means we have no clue, collectively, as to an answer. --- Joe M. ========================================================================= Date: Wed, 21 Jun 1995 15:26:58 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re: MIDI controlled relays? mechanical devices? etc... Comments: To: Electronic Music Discussion List David wrote-- >I use MIDI in my own music, but at the moment I want to use MIDI to >control mechanical/electrical devices and pick up physical sensor data in >some interactive installations I'm working on, using Max or a sequencer to >integrate everything. > >Is there a good "point" source of information on home-brewing simple MIDI >devices? ....etc I'm no expert (this is the man who's home-made MIDI interface crashed and died, remember?), but there are several circuits around for various MIDI bits and pieces which I imagine would lend themselves to modification for your purposes. For example, MIDI analysers receive and display MIDI data. Take the input, UART and decoding bits from an analyser circuit, add some logic and buffering to drive a relay or whatever when a specific code on a specific channel is received, et voila! Instant controller. Generating MIDI data from a sensor would be equally possible: how difficult would depend on the nature of the data sent out by the sensor. You'd need some electronics expertise (or access to it) to do all this, but the components are easily obtainable and fairly cheap. If you'd like copies of MIDI circuits (eg the MIDI analyser) as potential starting points, feel free to email me. Regards Clive Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Wed, 21 Jun 1995 11:52:58 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Yves Rosseel Subject: Pattern based sequencer Hi all, Does anybody know of a 'pattern-based sequencer' for PC? Just like many drumcomputers do, I would like to create several stand-alone patterns which I can link together in some order to create a song. I tried Cakewalk and Cubase and played a bit with their 'looping' functions, but this isn't what I'm looking for. Please let me know... -- Yves (yves@freeway.rug.ac.be) ========================================================================= Date: Wed, 21 Jun 1995 10:04:07 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: John Simonton Subject: Re: Cancelling vocals Comments: To: emusic-l@american.edu In a message dated 95-06-20 19:47:30 EDT, EMUSIC-L@american.edu writes: >I was just having this conversation with my fiance. We think we have >a way to >cancel vocals. When songs are mixed, it seems to be common to put the >vocals >right in the middle, up front. While, the guitars, drums, etc., >panned a little >right and left. My fiance hooked up some speakers this way: > > This is essentially what the Thompson Vocal Eliminator and PAiA Vocal Zapper do; invert one channel and subtract it from the other, which eliminates signals which are corrrelated between the two sides. In other words, things in the center of the stereo field - as pointed out, usually lead vocals. Of course the bass is usually in the center of the field also, so both these units have a filter that prevents low frequency stuff from being zapped. Processing like reverb can spread the lead vocal in the field so it is not uncommon with these units to have a slight "ghost" of the vocal, which is the reverb components only - can be very strange sounding. The thompson unit then allows some phase shifting of the two sides for better cancellation and I would assume has some other tricks as well. There must be some reason that it sells for hundreds of dollars while the PAiA VZ sells for <$40. The PAiA unit does a pretty good job, particularly considering cost. As always, I'll be more than happy to see that anyone that emails a postal address receives a catalog. If there's any interest I'll put the schematic up on our web pages, but it's an oldy (pre DTP days) and will have to be scanned in. Let me know. Best wishes, John Simonton ========================================================================= Date: Wed, 21 Jun 1995 11:06:18 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: Cancelling vocals Comments: To: emusic-l@american.edu Lisa, Your speaker wiring diagram for cancelling vocals is a classic configuration for cheat-do-it-yourself surround or ambiance processing! Bill Fox wbf@aloft.att.com ========================================================================= Date: Wed, 21 Jun 1995 11:52:12 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Edward Plant Subject: Re: Cancelling vocals Comments: To: Electronic Music Discussion List >In a message dated 95-06-20 19:47:30 EDT, EMUSIC-L@american.edu writes: > >>I was just having this conversation with my fiance. We think we have >>a way to >>cancel vocals. When songs are mixed, it seems to be common to put the >>vocals >>right in the middle, up front. While, the guitars, drums, etc., >>panned a little >>right and left. My fiance hooked up some speakers this way: >> >> >This is essentially what the Thompson Vocal Eliminator and PAiA Vocal Zapper >do; invert one channel and subtract it from the other, which eliminates >signals which are corrrelated between the two sides. This is all true, but if I remember the +drawing+ right that the fiance first posted, configuring your speakers/amp in that manner will probably cancel more than just vocals! :) Most power amps, especially those of home stereo quality, don't like to have outputs connected to outputs, even if through a couple of speaker coils. If you want to experiment, just hook up the speakers as you normally would, but reverse the +/- terminals on one channel. I think the effect would be much easier to hear, however, if you butchered up a pair of old headphones. Edward Plant egp@ideas.com ========================================================================= Date: Wed, 21 Jun 1995 09:54:10 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: JESQUIVE@ULVACS.ULAVERNE.EDU Subject: Re: jon secada/gloria estefan I am proud to say that I am a huge GLORIA ESTEFAN fan and that her talent goes beyond singing alone. Keep in touch by reaching me at e-mail site. P.S.-- I'm into latin sounds big-time! *** "PEACE-2-U," *** fm/JEWELZ *** e-mail to: "JESQUIVE@ULVACS.ULAVERNE.EDU." *** ========================================================================= Date: Wed, 21 Jun 1995 09:57:00 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: JESQUIVE@ULVACS.ULAVERNE.EDU Subject: Re: Swing, Groove, Time, Etc... Don't forget the "HOUSE" music movement who's main basis is "the GROOVE" to hook it's fans to the beat, the feel, the rhythm, and the bass of the music. *** "PEACE-2-U," *** fm/JEWELZ *** e-mail to: "JESQUIVE@ULVACS.ULAVERNE.EDU." *** ========================================================================= Date: Wed, 21 Jun 1995 13:04:33 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: different languages Comments: To: EMUSIC-L@american.edu In-Reply-To: <950619180058_74043173@aol.com> from "Bruce Edwards" at Jun 19, 95 06:00:58 pm Bruce Edwards writes-- > >For the 7 weeks I have been monitoring this list, it has become apparent most >of the posters do not speak the same musical language that I speak. At this >point that is a subjective reaction based not on note data but on topics of >concern and the tone of messages. This is a side effect of an open forum on music made in a certain medium that does not address any fixed methodology or type of music. When the door is open, people walk in. That's what this is all about, no? :) I can understand that the lack of immediate and deep connection might be daunting, but take heart-- a lot of folks are merely waiting to learn what you have to teach them. >Lastly I would suspect, as English as first language users, we should be too >embarrassed to brag about or identify with its implementation on these lists. What the fuk ar yo talkin bout??? I speak GOOD Englich, an theres no problem with my writting ! Its not my falt theres no spel chekcer on my node... mike -- mike metlay * atomic city * p. o. box 81175 * pittsburgh, pa 15217-0675 atomic@netcom.com *********************** http://pd.net/atomic-city ----------------------------------------------------------------------- "Switch to Dr. Pepper for the nose-sensory experience. I wrote better Pascal when I got off Pepsi. Pepsi has too many bubbles and burns your snot membranes, anyway." (d. chandler) ========================================================================= Date: Wed, 21 Jun 1995 13:13:01 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: Arpeggiation Comments: To: EMUSIC-L@american.edu In-Reply-To: <950619213333_74191361@aol.com> from "Ron S. Herhuth" at Jun 19, 95 09:33:40 pm Ron S. Herhuth writes-- > >Oberheim also re-issued their cool midi arpeggiator called the "Oberheim >Cyclone" AAIIIEEEE! >Its a very cool little device that allows you to create classic as well as >extremely complex arpeggiation real time, and if > you put it in the midi line between your master controller and your >sequencer you can record the patterns! At least until it locks up, crashes, loses sync, or kills everything in the MIDI network that it's connected to. >The best part ITS CHEAP ($140.00) Yeah, but the Opcode Studio 5LX that you have to hook it to in order to firewall it from the rest of your rig sure isn't. I had a long chat with the folks at Voce about a standalone arpeggiator that they were thinking of designing. I'm not sure, but I may have scared them out of the idea. Most people don't really THINK about what is involved in arpeggiation as we understand it; ergo they don't understand why a standalone arpeggiator should be so much more difficult to get right than one that comes as a feature in a synth. If people are really curious, I'll recreate some of what I talked to Voce about here, but I think that a lot of you will see what I mean just by considering what an arpeggiator needs as input. mike -- mike metlay * atomic city * p. o. box 81175 * pittsburgh, pa 15217-0675 atomic@netcom.com *********************** http://pd.net/atomic-city ----------------------------------------------------------------------- "Switch to Dr. Pepper for the nose-sensory experience. I wrote better Pascal when I got off Pepsi. Pepsi has too many bubbles and burns your snot membranes, anyway." (d. chandler) ========================================================================= Date: Wed, 21 Jun 1995 20:12:00 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: arpeggiating (continued) Comments: To: Electronic Music Discussion List >You mention MAX.. If you've created an arpeggiator in MAX i'ld be interested >to see how you did it. I did something similar maybe we can swap ideas. I've implemented several, some in pure MAX, others in Pyrite. The way I build performances is to compose music as control systems, so if a part of the music requires some specific arpeggiation, I'll code up something "in place". Somewhere I have some generic plans for a sophisticated arpeggiator - a Cyclone but with a more open architecture - but haven't got that far coding it. 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, 21 Jun 1995 17:30:38 +0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Mcdonough Subject: Re: different languages Comments: To: EMUSIC-L@american.edu >(colorful start)....I speak GOOD Englich, an theres no problem ^^^^ i think he means "well". ...andy _________________________________________________________________________ andy mcdonough ...at&t bell laboratories, middletown,nj... (908)957-6674 abm@att.com =========================================================== _________________________________________________________________________ ========================================================================= Date: Wed, 21 Jun 1995 18:46:06 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bruce Edwards Subject: copy-right Comments: To: emusic-l@american.edu On June 20 both Jacek Latanowicz (JACK@PLPUAM11.BITNET) and Dmitry Romakhin (dmitry@KSU.RAS.RU) both presented valuable commentary on copyright infringement. It is an issue that is more of a rope than a thread, whose strands extend far beyond the ethical dilemma of whether to use pirated copies of a friends software. It is perhaps not too great a leap to assume that most of those monitoring this list are to some degree concerned with how your music, your art, might be disseminated; with what and how you might then be compensated for your work. Our product is seldom less ephemeral than computer software. I do not see easy answers to the questions of what constitutes ownership, who might own. how ownership might be tracked and who (how) will control distribution of royalties. What is apparent is that laws, both local and international, that where woefully inadequate for recorded media, whether audio or video, transmitted media: TV, Radio do not even begin to address "digital" media. What is apparent is that not only should laws be amended but that our models of exchange (cash, barter, credit cards, royalties etc.) need to be reworked. Is it feasible for independent software "manufacturers" to form an "ASCAP" & charge on line services, bulletin boards etc. a licensing fee?. Could people who write synth patches, create samples, develop MIDI files do the same thing? Is it legal & or ethical for me to "sell" Dmitry version 3 of Encore when I upgrade to version 4, how about selling him Music Time which I do not use because I use Encore. If his country does not have a copyright agreement with US how would this affect the transaction. (without the agreement it would be perfectly legal for Dmitry (for example) to sell the program as his own). Fueled by various monetary incompatibilities is it possible to develop a model for using something we all need: "on line time" as a medium of exchange for low volume transactions? And this is even before I get into the hard stuff like: As an old line "analog" performer I still possess a knee jerk negative reaction to the thought of anyone marketing a MIDI sequence of one of my compositions (fortunately for me as a card carrying member of several unpronounceable art genres this is not an immediate problem). Those 387 words will suffice for now. B. Edwards ========================================================================= Date: Thu, 22 Jun 1995 03:08:14 +0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dmitry Romakhin Subject: Re: MIDI controlled relays? mechanical devices? etc... Comments: To: Electronic Music Discussion List In-Reply-To: On Wed, 21 Jun 1995 clive@PELICAN.DBE.CSIRO.AU wrote: > If you'd like copies of MIDI > circuits (eg the MIDI analyser) as potential starting points, feel free to > email me. > That's what I was serching for! Can I also have them, please? Thank you in andvance, Dmitry Romakhin. ========================================================================= Date: Thu, 22 Jun 1995 10:15:01 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Miroslav Teker Subject: Re: MIDI controlled relays? mechanical devices? etc... Comments: To: EMUSIC-L@american.edu In-Reply-To: from "Dmitry Romakhin" at Jun 22, 95 03:08:14 am On Wed, 21 Jun 1995 clive@PELICAN.DBE.CSIRO.AU wrote: > > If you'd like copies of MIDI > circuits (eg the MIDI analyser) as potential starting points, feel free to > email me. Please send me a copy, I'm very interested in the circuitry doing this job. Miro ========================================================================= Date: Thu, 22 Jun 1995 10:19:44 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Miroslav Teker Subject: Re: Cancelling vocals Comments: To: EMUSIC-L@american.edu In-Reply-To: <950621100403_99280308@aol.com> from "John Simonton" at Jun 21, 95 10:04:07 am > be more than happy to see that anyone that emails a postal address receives a > catalog. If there's any interest I'll put the schematic up on our web pages, > but it's an oldy (pre DTP days) and will have to be scanned in. Let me know. > > Best wishes, > John Simonton Hello John, I'd be happy to see this schematic, as it would help me a lot in my work. Let us know about the address of your server you're going to place it on,please. Miro Teker ========================================================================= Date: Thu, 22 Jun 1995 10:58:57 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronn Kilby Subject: Re: Pattern based sequencer Comments: To: EMUSIC-L@american.edu Hi all, > Yves (yves@freeway.rug.ac.be) asked... > Does anybody know of a 'pattern-based sequencer' for PC? >Just like many drumcomputers do, I would like to create several >stand-alone patterns which I can link together in some order to create >a song. I tried Cakewalk and Cubase and played a bit with their >'looping' functions, but this isn't what I'm looking for. > >Please let me know... There's a program called "The*Drums Professional" that does what you want. There's a demo in the software library here on AOL, probably elsewhere as well. ========================================================================= Date: Thu, 22 Jun 1995 12:18:06 -0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: damian keller Subject: Re: MIDI controlled relays? mechanical devices? etc... Comments: To: EMUSIC-L@american.edu In-Reply-To: from "David Crandall" at Jun 18, 95 04:07:39 pm Tod Machover at MIT has developed a sensor system for musical instruments Damian ========================================================================= Date: Thu, 22 Jun 1995 10:07:33 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Shawn T. Rutledge" Subject: Re: MIDI controlled relays? mechanical devices? etc... Comments: To: EMUSIC-L@american.edu In-Reply-To: <199506220815.AA19324@savba.savba.sk> from "Miroslav Teker" at Jun 22, 95 10:15:01 am > On Wed, 21 Jun 1995 clive@PELICAN.DBE.CSIRO.AU wrote: > > > > If you'd like copies of MIDI > > circuits (eg the MIDI analyser) as potential starting points, feel free to > > email me. > > Please send me a copy, I'm very interested in the circuitry doing this job. Me too. Could you put them on a web page or ftp site somewhere? -- _______ KB7PWD - now on packet! shawn.rutledge@asu.edu (_ | |_) html: http://enuxsa.eas.asu.edu/~rutledge/home.html __) | | \__________________________________________________________________ * Interpedia * the hacker ethic * robotics * Internet * ARS * cyberspace * ========================================================================= Date: Thu, 22 Jun 1995 13:19:56 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: copy-right In-Reply-To: <950621184604_99623178@aol.com> from "Bruce Edwards" at Jun 21, 95 06:46:06 pm > Is it feasible for independent software "manufacturers" to form an "ASCAP" & > charge on line services, bulletin boards etc. a licensing fee?. ASCAP is already beginning to address this - I received an agreement from them which allows them to track digital use of my music for me. > Is it legal & or ethical for me to "sell" Dmitry version 3 of Encore > when I upgrade to version 4, how about selling him Music Time which I do not > use because I use Encore. Depends on the license agreement (you know, that huge sheet of fine print that no one ever reads?). In most cases, there is no limitation on reselling the software. Selling an older version after getting a new one may or may not be a problem, depending on the manufacturer. --- Joe M. ========================================================================= Date: Thu, 22 Jun 1995 13:55:25 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: MIDI controlled relays? mechanical devices? etc... In-Reply-To: <199506221707.KAA01406@enuxsa.eas.asu.edu> from "Shawn T. Rutledge" at Jun 22, 95 10:07:33 am > > > On Wed, 21 Jun 1995 clive@PELICAN.DBE.CSIRO.AU wrote: > > > > > > If you'd like copies of MIDI > > > circuits (eg the MIDI analyser) as potential starting points, feel free to > > > email me. > > > > Please send me a copy, I'm very interested in the circuitry doing this job. > > Me too. Could you put them on a web page or ftp site somewhere? > Send them to me and I'll put them on the EMUSIC-L web pages. --- Joe M. ========================================================================= Date: Thu, 22 Jun 1995 16:21:18 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: Cancelling vocals Comments: To: emusic-l@american.edu Edward Plant said: > This is all true, but if I remember the +drawing+ right that the fiance > first posted, configuring your speakers/amp in that manner will probably > cancel more than just vocals! True, all "center channel" material, theoretically, should cancel. Play with the balance control to optimize the cancellation. > Most power amps, especially those of home > stereo quality, don't like to have outputs connected to outputs, even if > through a couple of speaker coils. But this was a reccommended connection that people used for ambience. Of course, it was assumed that regular left and right speakers were still connected to the same amp. I bet you can try it at low volume levels and get away with it! > If you want to experiment, just hook up > the speakers as you normally would, but reverse the +/- terminals on one > channel. Won't work unless the speakers are identical and can occupy the same space at the same time. The physical separation and slight differences between each speaker system reduces the amount of cancellation from the ideal. You should, however, noticed reduced bass response and probably lousy imaging, too. > I think the effect would be much easier to hear, however, if you > butchered up a pair of old headphones. Sorry again. This won't work either because each ear hears its own speaker and no cancellation can occur... unless you have a bipolar brain input! :) Bill Fox wbf@aloft.att.com ========================================================================= Date: Thu, 22 Jun 1995 17:54:17 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pete Schoenhoff Subject: Re: Cancelling vocals Comments: To: EMUSIC-L@american.edu In-Reply-To: <9506222021.AA26919@acropolis>; from "william.b.fox" at Jun 22, 95 4:21 pm These are the graceful words of william.b.fox: ->Edward Plant said: -> ->> If you want to experiment, just hook up ->> the speakers as you normally would, but reverse the +/- terminals on one ->> channel. -> ->Won't work unless the speakers are identical and can occupy the same ->space at the same time. They can if they are one speaker: Take the two speaker wires on a speaker. Fork both of them in half, so that it looks like four leads. Then take the two forks of lead #1, and plug them into Left positive and Right negative. Now take the two forks of lead #2, and plug them into Right positive and Left negative. The mix will be in mono, but anything recorded with equal volume (loudness) and equal phase (direction) should cancel nicely. P.S. - You're probably going to be right about the bass being adversely affected. -Pete Schoenhoff _\|/_ pschoenh@pen.k12.va.us ========================================================================= Date: Thu, 22 Jun 1995 20:53:54 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: h a u s Comments: To: Analogue Heaven , To the subscribers of daw-mac , Multiple recipients of list SYNTH-L , CFNY , John Jones CFNY , Cubase Haus Records is presently accepting submissions from unsigned artists. We are looking for Hardcore Electro, EBM, Dance Industrial and Techno type material to feature at POPKOMM in Germany. POPKOMM is a major event for the European Recording and Music Industry which takes place August 17-19, 1995. We would appreciate receiving materials and correspondance from artists who have a completed Album or EP (CD or Cassettee) of current material. We will listen to all submissions, and notify those that are being considered via email or telephone. We ask if you could also send us bio information and any reviews, interviews or articles. Our mailing address is: POPKOMM 95 c/o Haus 16007-859 Dundas Street West Toronto ON M6J 3W2 Canada Tel: +1 416 530 0709 Fax: +1 416 530 0735 DEADLINE IS >> >> JULY 15, 1995 ---------------------------------------------------------------------------- --------------------------- We are a new label, with a big future. Our first project DASEIN, is already having much success across Europe and Canada Haus Records international business partners include: Fringe Product, Inc. / Cargo Records (Canada) - Canada Blitz Records AB (Sweden) - Scandinavia Big Bang Music (Belgium) - Europe Flute Worldwide (UK) - UK, Australia, and Asia If you would like to find out more about HAUS, we welcome you to visit our WWW Site: http://www.io.org/~haus or contact us via email haus@io.org ---------------------------------------------------------------------------- ----------------------- Many Thanks, Cosimo Valela`, Managing Director haus --- h a u s Electro-Body Experience ---- Representing And Developing Ambient, Experimental And Industrial Artists. Email - haus@io.org | URL - http://www.io.org/~haus | Finger - haus@io.org ========================================================================= Date: Fri, 23 Jun 1995 01:23:05 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pedro Urena Subject: Sore fingers Hello All, Does anyone know if there is an IBM compatible editor/librarian for my VZ1 synth. Great synth but a pain to edit. Any reply would be greatly appreciated. ========================================================================= Date: Fri, 23 Jun 1995 16:51:03 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re: MIDI controlled relays? mechanical devices? etc... Comments: To: Electronic Music Discussion List >> > On Wed, 21 Jun 1995 clive@PELICAN.DBE.CSIRO.AU wrote: >> > > If you'd like copies of MIDI >> > > circuits (eg the MIDI analyser) as potential starting points, feel >>free to >> > > email me. >Send them to me and I'll put them on the EMUSIC-L web pages. > > --- Joe M. Hi all I seem to have caused some confusion here: sorry. The circuits aren't my own designs: they are mostly published circuits, or at least contain part of a published design. Obviously I can't post these on an FTP site (especially bearing in mind the recent copyright thread...). I'll reply to the specific inquiries on an individual basis, though. Also, I could send a list of the circuits, brief description, and how to get hold of them to Joe or Mike to put on the EMUSIC page if they think it appropriate. Yes? No? Joe? Mike? Regards Clive Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Fri, 23 Jun 1995 17:35:54 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Neal Sievwright Subject: Re: Gabriel Prophet sort of ? Isn't The CP-70 the Yamaha electric piano that looks like a little Baby Grand and was used on stage by groups like Queen and others 'bout this time too. Neal Sievwright sievwrn@agric.nsw.gov.au >From the Downunder (other) side of the World - aaargh !!!!! ========================================================================= Date: Fri, 23 Jun 1995 01:02:55 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Brian Coates Subject: Re: EMUSIC-L web pages Comments: To: Electronic Music Discussion List >Send them to me and I'll put them on the EMUSIC-L web pages. > I didn't know there were web pages for EMUSIC-L. Where are they? Thanks :) Brian ------------------------------------------------------------------------ Q. What's the definition of a minor second? A. Two CS-80's playing the same note. ------------------------------------------------------------------------ ========================================================================= Date: Fri, 23 Jun 1995 10:05:09 GT-003 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Hermann H. Rauth" Organization: PUC/PR Subject: CASIO VZ-10 INFO Comments: To: EMUSIC-L@american.edu Hello, e-friends! I just saw a Casio VZ-10 M at a local _GUITAR_SHOP_ down here in Brazil. So, as I could not play it (it is a module synth --the guys at the guitar shop don't have any midi keyboard for me to hook on to themodule) I would like that you guys give some info about it, how it sounds, what is the synth method and so on... Ah! They're selling it for US$770. Hermann Henning Rauth vocals/synths/samplers LIFO - industrial band ========================================================================= Date: Fri, 23 Jun 1995 09:32:59 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: MIDI controlled relays? mechanical devices? etc... In-Reply-To: from "clive@PELICAN.DBE.CSIRO.AU" at Jun 23, 95 04:51:03 pm > I seem to have caused some confusion here: sorry. The circuits aren't my > own designs: they are mostly published circuits, or at least contain part > of a published design. Obviously I can't post these on an FTP site > (especially bearing in mind the recent copyright thread...). I'll reply to > the specific inquiries on an individual basis, though. Also, I could send a > list of the circuits, brief description, and how to get hold of them to Joe > or Mike to put on the EMUSIC page if they think it appropriate. Yes? No? > Joe? Mike? > A circuits and sources list would be fine. I'll link it into the EMUSIC-L pages (for those who missed the URL, it's http://sunsite.unc.edu/EMUSIC-l). --- Joe M. ========================================================================= Date: Fri, 23 Jun 1995 10:15:02 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Lorne Hammond Subject: Re: Gabriel Prophet sort of ? Comments: To: Electronic Music Discussion List In-Reply-To: <9505238039.AA803954800@smtpgwy.agric.nsw.gov.au> On Fri, 23 Jun 1995, Neal Sievwright wrote: > Isn't The CP-70 the Yamaha electric piano that looks like a little > Baby Grand and was used on stage by groups like Queen and others 'bout > this time too. > Neal Sievwright Yup. A black vinyl grand piano that shrunk in the wash. I had real strings and I think a piezio pickup system brought out to the front. That solved a lot of sound problems and you could put your dx-7 on top. It had removable chrome legs. BUT, it needed to be tuned like another piano, and bass requires a long string, it had short ones. Plus I think it was a plastic pin block or some such thing, meaning over time it would either break or the pins would wear loose, creating tuning problems (that is pure spec on my part). The pin block was done that way to keep weight down. My advice, get a piano sample module instead. Lorne ========================================================================= Date: Fri, 23 Jun 1995 15:22:00 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Craig Marks Subject: Sysex for EZVision Comments: To: synth-l Comments: cc: emusic-l I need to save the setups for a Proteus 1 in EZ Vision. I know that it is done with sysex messages and all, but I am not as well studies as I should be in tha t area and the manual leaves alot to be desired. Can anyone out there step me through the process of doing this? Thanks alot..I really appreciate your help. -Craig ========================================================================= Date: Fri, 23 Jun 1995 18:43:54 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: John Simonton Subject: Re: Cancelling vocals Comments: To: emusic-l@american.edu In a message dated 95-06-22 07:10:32 EDT, you write: >Hello John, I'd be happy to see this schematic, as it would help me a >lot in >my work. Let us know about the address of your server you're going to >place >it on,please. >>> hi Miro - You're the only one who's asked. It's kind of pain to scan it on my fax and clean it up and turn it into a presentable .gif. Can I fax it to you? It's lots easier. John