========================================================================= Date: Mon, 26 Jun 1995 09:23:47 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Simon McGuire Subject: Librarian/Editor/Patches Comments: To: EMUSIC-L@american.edu Hi all, Can anyone help me? Im looking for a (pref pub dom or s/w) Librarian/ Editor for 1) Alesis SR16 Drum Machine 2) Yamaha SY35 Synth Also any pointers to sites that may have patches for these machines would also be appreciated. Thanks Simon ========================================================================= Date: Mon, 26 Jun 1995 06:40:17 -0400 Reply-To: mans@cdpc-1.lvb.nl Sender: Electronic Music Discussion List From: "Patrick Mans Lvb.Nl" Subject: Re: Cancelling vocals It's very amusing to see all the different solutions to just one problem. Here are my solutions: - Some (SONY) cd players have a special voice-killer button, with which you can "erase" the vocals of a CD track ( they have to be in the centre of the stereo sound, however. - A (shareware) sound recording tool for windows, called Cool-edit also has a voice-kill option. The signals, common for the left and right stereo signal, are erased. Since this is most of the time only the vocals, the music tracks remain. This is a windows program, available at som BBS's. The CD track must be recorded onto HD (using that program) before you can kill the singer. I wish that was possible for some of today's hits permanently...... Patrick. --- Will it work this time.... By mans@cdpc-1.lvb.n ========================================================================= Date: Mon, 26 Jun 1995 21:09:16 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: cancelling vocals Comments: To: emusic-l@american.edu Hi emusicers, the last message I saw on this thread was on emusic-l, so I hope I haven't transgressed by not sending it to synth-l (if that's where it started). I'm surprised no one so far has mentioned the Thompson Vocal Eliminator. It's an analog box. I don't know how it works or if it works. I've only noticed that an ad appears in EVERY issue of Audio magazine for as long as I can remember! Sorry, don;t have an issue in front of me so I can't give an address. I'm not a sales rep for the companyanyway, so if anyone is interested, mail me privately and I'll send you the details of the ad (it'll give me time to pull an old issue out!). Regards David Rodger, | Fax: +61-3-9479-3651 (mark "ATT.: David Rodger") Music Department, | E-mail: musdr@lure.latrobe.edu.au School of Art and Media, | La Trobe University | "I object slightly to the term 'raw material', Bundoora VIC 3083 | because it's not going to be cooked." Australia | -- John Cage ========================================================================= Date: Mon, 26 Jun 1995 21:09:00 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: steven cantor Subject: MIDI Sample Dump Comments: To: Electronic Music Discussion List folks, i'm sending this along for a friend who has a windows machine. it seems like a question i should know the answer to, but i'm mac-only in this regard. thanks in advance for any and all replies. s. _______________________________________________________________________________ I'm looking for a Windows application that can at least receive (preferably receive AND send) MIDI standard sample dumps (.SDS files). I am not looking for anything with editing capabilities as right now all I want is a quick and dirty tool to collect samples easily. steven l. cantor stevenc@vista.hevanet.com _________________________________________________________________________ the wild geese do not intend to cast their shadow the water has no mind to receive their image ========================================================================= Date: Tue, 27 Jun 1995 10:14:25 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dominique Fober Subject: Open Share Comments: To: emusic-l@american.edu Open Share version 1.20 for the Macintosh -------------------------------------------------------------------------- Today, multiple musical operating systems exist on a single station but they can't run in the same time. Their client applications can't share the system critical resources and can't communicate and collaborate. For these reasons, we have developed "Open Share", an application that allows different systems to collaborate. Open Share aims to the following points: - allowing to share the input/output ports between clients of different musical operating systems. - providing homogeneous communication services to all the client applications of these systems. The MidiShare system is the basis of Open Share and client systems are: - OMS version 1.2.1, developed by Opcode Systems, Inc., - MIDI Manager version 2.0.2, developed by Apple Computer, Inc. Using Open Share, all the musical applications (OMS, MIDI Manager or MidiShare applications) can simultaneously run on the same station, can share the input/output ports, can communicate and collaborate through the MidiShare communication manager (including real-time communication on Ethernet). Open Share is a freeware software developed at GRAME. It is available via ftp at the following address: ftp.grame.fr directory /pub/MidiShare/mac/MidiShare_Suite For more information, you can also look at http://www.grame.fr/english/OpenShare.html or http://www.grame.fr/english/MidiShare.html Dominique Fober --------------- GRAME 6 quai Jean Moulin BP 1185 69202 LYON CEDEX 01 FRANCE Ph (33) 72.07.37.00 Fax (33) 72.07.37.01 e-mail : fober@rd.grame.fr ========================================================================= Date: Tue, 27 Jun 1995 10:55:45 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: isor Subject: The Sisterhood / Andy Eldritch Comments: To: Electronic Music Discussion List In-Reply-To: Does anyone know the instruments used on the "Gift" albums opening track? If i were to sample and email out the sound would anyone on the list be able to ID the "sound" or maybe the "instrument." All i know is that the guy was loaded. (won 40,000 dollars in a lawsuit arround the time of the record's conception \ recording) ps - "unisyn should be recieced by Korg (for the PC) in three weeks" Eric Allen Seale of ISOR magazine \ Br. Box 1566 \ Edwardsville, IL ========================================================================= Date: Tue, 27 Jun 1995 22:09:55 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Martin Russ Subject: V1.1 of Admin FAQs (last changed 11 June 1995) Comments: To: SYNTH-L@LISTSERV.AMERICAN.EDU This is the fourth mailing of the fortnightly Administrative FAQs. Only minor changes have been made from V1.0. --------------------------------------------------------------------------- Warning: Long Document (344 lines, 2680 words, about 6 pages)-------------- EMUSIC-L and SYNTH-L Frequently Asked Questions: Administration This document is posted approximately every two weeks. It is intended that this document should answer many of the questions asked by newcomers to the lists. Comments and corrections should be sent to the maintainer, Martin Russ, at: mruss@midi.dungeon.com This is Issue 1.1. 11 June 1995. --------------------------------------------------------------------------- Added since issue 1.0. 14 May 1995: - AOL subscriber problems with unsubscribing and digest changes - Contributor list --------------------------------------------------------------------------- "What are the EMUSIC-L and SYNTH-L lists for?"***************************** EMUSIC-L and SYNTH-L are for the discussion of electronic music in general: its history, practitioners past and present, equipment, techniques, trends, research, development, resources, you name it. They exist as a 'post-moderated' alternative to the rec.music.makers.synth newsgroup. (post-moderated means that the moderators monitor what is posted, and sometimes remind posters about the 'rules': see below for the 'rules'). A digest is also available for each list. This collects all the postings for a day into one e-mailing. "Who are the moderators?"************************************************** Joe McMahon and Mike Metlay have been on here for over seven years, and Joe has been moderator for six of them. The aim is to keep the mail flowing and the illegal and blatantly out-of-line traffic to a minimum. Joe can be contacted at: mcmahon@clark.net Mike is currently taking a well-deserved rest from moderating the list after the birth of his first child, Julia. "So, can I post anything I feel like?"************************************* Well, no. There are some RULES. The basic thrust of EMUSIC-L is to provide a forum for the discussion of music made by electronic means. The actual means is secondary (and more the subject of SYNTH-L). What we are concerned with on EMUSIC-L is the music, composing, and related topics. Therefore: 1) Ads are not permitted on EMUSIC-L. Advising someone as to whether they are getting ripped off *if they ask the list* is permissible; otherwise, use private mail. Requests for addresses of mail-order firms, etc. are OK. Cutting deals on your own personal equipment is not OK. Please do it privately, or subscribe to SYNTH-L, where you'll reach a more responsive audience. Requests for advice as to whether a price is good or not are marginally OK, but would probably reach a more knowledgeable audience on SYNTH-L. Prices really aren't so much of interest unless either the entire world (literally) should know about this great deal, or you have inside information on a new product or upgrade. Exception: if someone has gone through the trouble of composing, recording, and pressing a CD or tape, submitting an article describing the process and their experiences and mentioning that the tape or CD is available for purchase is OK. Posting repeated ads for the CD is not. (A single mention is marginally acceptable; a 1-line mention in a signature file is fine.) 2) Discussions as to the relative merits of hardware/software/etc. are permissible, as long as the reviewers state evidence supporting their opinions. Ad hominem attacks will not be tolerated. Arguments based solely on personal taste are not acceptable. It is preferable to request private mailings, which you can summarize and post back to the list. Reviews are useful. Mutual admiration societies are not. 3) All members *will* be treated with kindness and respect. There is no such thing as a dumb question on this list. If you can answer, answer, and be nice about it. Otherwise, say nothing. If you've got a problem with what someone has had to say, discuss it in a civil manner. If you can't do that, take it to e-mail, or just forget about it. 4) EMUSIC-L is meant to be for the discussion of electronic music, in the studio, the classroom, in performance, and on recordings, including techniques, resources, user reviews and experiences, and speculation on futures. Some divagations will be tolerated, as it's rather nice to have a little humor on the list; however, the list owner(s) (Joe McMahon at the moment) will maintain the final say as to the subject matter on the list and will move to terminate off-topic, pointless, and (especially) rancorous discussions. 5) Please refrain from adding to the noise level by commenting about accidental private posts to the list or the accidental sendings of SUBSCRIBE requests or suchlike to the list. That is the administrators' job. If you must pour out your wounded feelings ;-), either to Joe, or to the offender, use private mail. 6) The listowner(s) are permitted to be as arbitrary as they please. We have only once had to take action against a member of the list for breaking these rules, even when they hadn't been stated explicitly. We will notify offenders via private mail and will wait for a response. But we don't have time to play Politeness and Germaneness Monitors. We will remove users from the list only if we must, and we always give people the benefit of the doubt when possible. But be assured that we will act to preserve the quality of discussion on this list. "How did EMUSIC-L and SYNTH-L start?"************************************** Perhaps a bit of ancient history is in order here, to show where these lists come from and why they are the way they are.... Many moons ago, when there was for all practical purposes no such thing as the Internet (and there were certainly few or no commercial online services), people had access to cyberspace only through a set of large but mutually exclusive network protocols, generally provided by and germane to their place of education or work. One of these was the USENET hierarchy of UNIX machines at universities and laboratories and a few commercial sites; another was BITNET, an international mail system for mainframe computers used by scientists. Communication between the two systems was possible only in a crude and roundabout manner, so they developed separate systems for dealing with the same needs. In a rough, very general sense, USENET developed the news hierarchy and BITNET developed list servers and mailing lists; in the subfield of electronic music, USENET had the once-quite-small newsgroup rec.music.synth and BITNET had EMUSIC-L. The 'feel' of these groups was in concert with the sort of people using them; rec.music.synth was more open, with college students and commercial users, whereas EMUSIC-L tended toward academic users. This tended to shape the level of discussion and the topics covered, but keep in mind that early on, the overlap between the two groups was relatively small. Some time later, as reliable gateways between BITNET and the rest of the growing Internet allowed for the redistribution of newsgroups as mailing lists, SYNTH-L was launched as a gateway of rec.music.synth posts, so BITNET users without USENET access could enjoy the news there. It was a short, hard-learned lesson; the lack of moderation and the huge number of news articles delivered as email (!) knocked many prospective users for a loop. It wasn't all that long before the USENET feed was cut and the gateways to the news hierarchy were removed, isolating SYNTH-L and effectively removing its reason for existence. At that point, with Joe's blessing, Mike stepped in as conceptual 'parent' of SYNTH-L, and began to promote it as a nice middle ground between EMUSIC-L's often rarified discussions and the daily mayhem on rec.music.synth (now rec.music.makers.s). It was semi-moderated, so postings stayed (by and large) polite and focussed, but long discussions of gear, software, technical problems, and so forth that were considered a waste of time by many EMUSIC-L readers were encouraged, and over the years since then a de facto division between the two groups, and a healthy relationship, has settled into place. It's true that the divisions between topics for the two groups are occasionally blurry, but that's something most folks simply learn to live with and get a feel for. "Is SYNTH-L supposed to be technical discussion of synthesizers?"********** "Does EMUSIC-L cover electronic music in general?"************************* Very roughly, SYNTH-L is for the detailed technical talk, like gear for sale, where to download patches, whether synth A is better than synth B (whatever 'better' means), technical problems and solutions, and so on. SYNTH-L is the stuff that people on EMUSIC-L don't want to have to wade through to discuss electronic music. Conversely, EMUSIC-L is for all the serious (and sometimes not so serious) philosophical discussion on electronic music in its widest sense. EMUSIC-L is the stuff that people on SYNTH-L don't want to have to wade through to discuss gear. In both cases, one could say that this sort of discussion has its place, but people sometimes like to see it, and sometimes don't. All the EMUSIC-L/SYNTH-L division purports to do is allow an approximate separation between the snobs and the plebs. Where people take that is up to them. It's true that there seems to be no set focus or set of aims in these lists. That's deliberate. We are like-minded individuals looking for someone intelligent and knowledgeable to talk to, and the topics range all over the place, as well they should in such a forum. One shouldn't expect any kind of focus in an environment where anything is a potential topic for discussion. "What's the point? It's not what I expected!"****************************** The point is that we don't want you to have unreasonable expectations of what EMUSIC-L and SYNTH-L are 'for'; they are what they are, and most people seem content to enjoy them as they are or guide them elsewhere, either for a while or for good... A good starting point for finding out what the electronic music of EMUSIC-L and SYNTH-L is all about is the EMUSIC-L World Wide Web page at: http://sunsite.unc.edu/emusic-l. "What is MAX, anyway?"***************************************************** MAX is a software toolkit which gives a real-time, interactive, graphical development environment for multimedia, music (and more). Programs are 'written' by connecting together graphical objects, rather than typing text. Typical applications for MAX include: Editors and Librarians for MIDI equipment; Compositional Tools; Utilities for analysing musical performance; and much more. MAX is often mentioned in these lists. It currently exists in variants for the Unix environment and on the Apple Macintosh, although a petition has been mentioned within these lists for a Windows version - contact JOEL STERN on stern@email.loc.gov or j.stern11@geis.genie.com for details. For more information on the Macintosh version, you should try contacting your nearest Opcode dealer. (Opcode distribute MAX for the Mac). Opcode also have a World Wide Web page at : http://www.rahul.net/opcode/index.html. There is also a MAX listserv. Send a message to listserv@vm1.mcgill.ca with a Subject of: Subscribe Max, and the message text: SUBSCRIBE MAX You will then receive daily digests of postings to the MAX list. "Where do I find information on Soundcards?"******************************* Information on soundcards for personal computers can be found in the following Usenet newsgroup(s)" comp.sys.ibm.pc.soundcard.GUS. "Anyone know a good MUSIC discussion group on ?"********* The best place for discussion of almost any group, band, artiste, performer, musician (you get the idea), is the Usenet newsgroups. Try: alt.fan. "Should I respond to a message on the list?"******************************* The whole point of this list is that we attract people who are smart enough to make these decisions for themselves, and do. You can be one of them, if you let yourself. Think and decide for yourself, make mistakes, correct them, learn, move on, and enjoy the trip. Or, if you're paralyzed by fear of doing or saying something wrong, you can choose to lurk forever. Please also read the "So, can I post anything I feel like?" 'Rules' section of this document before posting anything to the list. "How do I send a message to the list?"************************************* For EMUSIC-L, you send your posting to emusic-l@american.edu. It will be automatically sent to all of the other subscribers. You will not receive a copy of your own mail; LISTSERV does this to decrease mail traffic. For SYNTH-L, you send your posting to synth-l@american.edu. "Where is the archive of FAQs kept?"*************************************** This is a new document (as of May 1995). As the maintainer adds new questions this document will be revised, and some questions and answers may be removed. You will be able to ftp the full FAQ file from the Internet. "How do I unsubscribe?"**************************************************** For EMUSIC-L, you send mail to listserv@american.edu with the text UNSUB EMUSIC-L as the body. No special subject is required. For SYNTH-L, you send mail to listserv@american.edu with the text UNSUB SYNTH-L as the body. Again, no special subject is required. If this does not work, you will get a message saying that no entry was found for your ID. Please contact Joe McMahon (mcmahon@CLARK.NET) directly. Do *NOT* post unsubscribe messages to the list. They don't help, and simply irritate other readers. AOL subscribers may experience some problems with unsubscribing from the listserv. This may be a communications problem or an incompatibility... If you cannot unsubscribe then please save any messages that you may receive from the listserv and send them to Joe McMahon (mcmahon@CLARK.NET). "How do I subscribe?"****************************************************** To join the discussion group on a message-by-message basis, send a mail message to listserv@american.edu with the text SUB EMUSIC-L where "" is your actual first and last name (at a minimum; LISTSERV insists on at least two blank-separated words here). Do not send subscription requests to the list address, as they only serve to annoy the other list members. For SYNTH-L, you do exactly the same, but replace the text 'EMUSIC-L' with 'SYNTH-L'. "How do I subscribe to the daily digest?"********************************** If you would like to get daily digests of the mail to EMUSIC-L, send the following mail to listserv@american.edu: SUB EMUSIC-L SET EMUSIC-L DIGEST where "" should be replaced by your first and last name (at a minimum; LISTSERV insists on at least two blank-separated words here). Note that these two commands should be on separate lines: SUB EMUSIC-L SET EMUSIC-L DIGEST so that the listserv will interpret them correctly. Do not send subscription requests to the list address, as they only serve to annoy the otherlist members. For SYNTH-L, you do exactly the same, but replace the text 'EMUSIC-L' with 'SYNTH-L'. "How do I unsubscribe from the full list and subscribe to the digest?"***** If you would like to get daily digests of the mail to EMUSIC-L instead of the message-by-message form, just send the following mail to listserv@american.edu: SET EMUSIC-L DIGEST You will then get one message per day, which consists of a list of topics, followed by all the messages which have been posted in the previous 24 hours. For SYNTH-L, you do exactly the same, but replace the text 'EMUSIC-L' with 'SYNTH-L'. AOL subscribers may experience some problems in changing their subscription details via the listserv. This may be a communications problem or an incompatibility... If you cannot change to a digest then please save any messages that you may receive from the listserv and send them to Joe McMahon (mcmahon@CLARK.NET). Contributors:************************************************************** Mike Metlay, Joe McMahon, Ned Kartchner, Clive McFarland and others --------------------------------------------------------------------------- Martin Russ, EMUSIC-L & SYNTH-L Admin FAQ maintainer, FAQ@midi.dungeon.com ------------------------------------------------------------------------------ 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: Wed, 28 Jun 1995 09:40:05 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re: Arpeggiation Comments: To: Electronic Music Discussion List Hi all Many thanks to everyone who helped out with my arpeggiation problem. Several hours later I still haven't cracked it, but I'm getting much closer (and you're right, Martin: EZVision's Step Record function was invented by the Prince of Darkness, but once my wrist surgery is over I think I'll get the hang of it). Thanks again Clive Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Wed, 28 Jun 1995 14:00:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Matthew Burgess Subject: Re: cancelling vocals Comments: To: Electronic Music Discussion List About Voice Cancelling, If you wish to get the Voice Only you can Phase out the Instruments by dubbing an out of phase version of the instrumental, it is very easy to do this on your PC. Matt B Matthew. ========================================================================= Date: Wed, 28 Jun 1995 12:05:48 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "King, Jason" Subject: Old Casio Comments: To: SYNTH-L@LISTSERV.AMERICAN.EDU I`ve got an old CASIO HT-700 synth whose analogue type sounds I really enjoy, but unfortunately as per usual, they are hard to edit using the synth only. I was wondering is there a `piece' of software out there somewhere that would let me edit and/or download the sounds via an AMIGA computer. Anybody?????? Jason King ========================================================================= Date: Wed, 28 Jun 1995 10:41:56 CDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Kevan L. Moore" Subject: tape backups Comments: To: EMUSIC-L@american.edu i may be way out of line here, but the way technology is going, i'm guessing there will be a publicly available, relatively cheap way to store MASS data in less than ten years. if it were me, i'd save everything on DATs and within 10 years if they have writeable CD ROMs that can hold 50 Gig then transfer to that. just assuming that 2005 technology will be as much better than 1995 technology is as 1995 is than 1985 was. shameless plug: KANSAS (dust in the wind guys) has a new CD out: Freaks of Nature. it sounds more like the old stuff (pre 1982) than anything they've done in 13 years. there exists a 200+ fans list: kansas@traveller.com subscribe by "subscribe" in subject to kansas-request@traveller.com back to emusic. how versatile is the alesis d4 as a stand-alone drum machine for real-time performances? (re: syncing, start/stopping, fill patterns, etc.) kevan l moore ========================================================================= Date: Wed, 28 Jun 1995 13:01:58 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dan Riley Subject: Re: tape backups Comments: To: Electronic Music Discussion List In-Reply-To: Your message of "Wed, 28 Jun 95 10:41:56 CDT." <9506281541.AA20035@mx6.msfc.nasa.gov> > i may be way out of line here, but the way technology is > going, i'm guessing there will be a publicly available, > relatively cheap way to store MASS data in less than > ten years. What'll happen is the same thing that has been happening for the last two decades--storage will get cheaper, and the amount of data you want to store will increase to match. Massive amounts of storage will always be expensive, by definition. 1 GB used to be massive amount of data; now 1 GB is cheap, a terabyte is a large amount of data, and we're starting to look at petabyte stores... -- Dan Riley Internet: dsr@lns598.lns.cornell.edu Wilson Lab, Cornell University HEPNET/SPAN: lns598::dsr (44630::dsr) "Distance means nothing/To me." -Kate Bush ========================================================================= Date: Wed, 28 Jun 1995 13:18:08 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Morgan Subject: Re: tape backups Comments: To: Electronic Music Discussion List In-Reply-To: <9506281541.AA20035@mx6.msfc.nasa.gov> In response to the Alesis D4 as a stand alone drun machine for real-time live playing: The D4 is not a drum machine, but rather a drum sound module. I utilize it for sequencing and a midi interface for a real (human) drummer. The input triggers allow a midi drummer to dynamically trigger the 16-bit samples. If your drummer has a midi kit, it is outstanding, but as a traditional drum machine.......use something else. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ m O R G A N m O R G A N m O R G A N m O R G A N m O R G A N m O R G A N m O R G A N m O R G A N ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ morgan@aavid.com ========================================================================= Date: Thu, 29 Jun 1995 13:18:40 +0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Uri Bruck Subject: Re: messages with attached digests (fwd) Comments: To: emusic-l@american.edu (and this one just bounced) I have been getting for several days people's unsubscribe messages from the list with portions of the list digest attached to them. I am getting the list as mail not as digest. Normally I don't mind the unsubscribe messages on the list, as they are short and easily deletable (is that a word?), I also delete the current flow, however I think this might indicate a problem with the listserv, sosomeone should look into it. Uri Bruck bruck@actcom.co.il ========================================================================= Date: Thu, 29 Jun 1995 09:58:50 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: messages with attached digests (fwd) In-Reply-To: from "Uri Bruck" at Jun 29, 95 01:18:40 pm > > (and this one just bounced) > > I have been getting for several days people's unsubscribe messages > from the list with portions of the list digest attached to them. > I am getting the list as mail not as digest. > Normally I don't mind the unsubscribe messages on the list, as they are > short and easily deletable (is that a word?), I also delete the current flow, > however I think this might indicate a problem with the listserv, > sosomeone should look into it. > Uri Bruck > bruck@actcom.co.il > Nope, it's a problem with the sender. I'm trying to get him unstuck. --- Joe M. ========================================================================= Date: Thu, 29 Jun 1995 10:13:37 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: AOLer's: AOL sysadmins may be clueless about listserv Comments: To: emusic-l , synth-l Crain4@aol.com sent me the following, which s/he apparently got when trying to sign off EMUSIC-L: >***Since you are not >directly subscribed to EMUSIC-L, the only way for you to stop getting the >postings is to contact the administrator of this sub-list and ask him to >sign you off. This is *wrong*. You really are signed up on the list, and if you send an unsub to LISTSERV, it really should work. (And there aren't any women adminstering lists?) If there's a brave soul who'd like to try it out for me, I'd really appreciate it. Remember: to sign off, send mail to listserv@american.edu, with UNSUB EMUSIC-L or UNSUB SYNTH-L as the body of the letter. I thank you, and the legions of AOLer's whose image as equal citizens of the Net you will greatly enhance thank you. --- Joe M. ========================================================================= Date: Thu, 29 Jun 1995 10:53:27 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jerry L Richardson Subject: Re: tape backups Comments: To: emusic-l@american.edu >i'm guessing there will be a publicly available, >relatively cheap way to store MASS data in less than >ten years. I read something on molecular storage once. Imagine a case full of a jelly like substance that is limited in storage only by the number of molecules in it's makeup. Each molecule would represent a bit. You figure the more dence the matter, the more massive the capacity. Not to mention the potential for random access! ========================================================================= Date: Fri, 24 Feb 1995 19:29:15 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: h a u s Subject: Akai S3200 | Ensoniq ASR 10 | K2000 I am looking at purchasing one of these samplers. Most likely the ASR 10 or the K2000 although I have not ruled out the Akai S3200 (pricey unit). Could users of these units please give me some feedback as to why they purchased their unit over the others or which one of the three they would recomentd and why. Thanks. Christos. --- h a u s Electro-Body Experience ---- Representing and developing Ambient, Experimental and Industrial artists. Email - haus@io.org | URL - http://www.io.org/~haus | Finger - haus@io.org ========================================================================= Date: Fri, 14 Apr 1995 09:53:43 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Re(2): Fair price In-Reply-To: <704685.ensmtp@bubbs.biola.edu> from "Randy Budnikas" at Apr 13, 95 05:25:18 pm > My employer said that a person making $40 an hour is like a person making > $80,000 a year. He said I'm 22 and shouldn't be making that much money out of > the starting blocks. He's handing you an invalid argument. Has he indeed *given* you a year's worth of work? > I kind of agree with him. He's a great connection for > me, so I don't want to lose him. I agreed that $80 a tune would be a fair > price (which translates to around $15 an hour). So your bill, as it stands, would have been about $200 per tune instead of $80. How long are these, anyway? You figure 5-6 hours is enough time? I would definitely in the future *not* let him talk me into a fixed-price contract. There's always one hitch that will cost you extra time, which translates to your employer getting the benefit of your time essentially for free. Next time, if he's pleased with the results, break it down for him: $15 an hour, which is what you effectively charged him last time. This way, he gets a good price, but you don't get shafted if there's a problem that takes you a lot of extra time to fix. --- Joe M ========================================================================= Date: Fri, 30 Jun 1995 01:16:49 +0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: TSANG WING YAN Subject: How to subscribe Digest ? Can anyone please show me how to subscribe Digest version of the emusic-l list? ========================================================================= Date: Thu, 29 Jun 1995 13:46:43 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: How to subscribe Digest ? In-Reply-To: <199506291716.BAA32380@ctsc.hkbc.hk> from "TSANG WING YAN" at Jun 30, 95 01:16:49 am > > Can anyone please show me how to subscribe Digest version of the > emusic-l list? Well, as the admin FAQ said the other day, send a mail message to listserv@american.edu with the text SET EMUSIC-L DIGEST as the body of the message. Or the listowner can do it for you (which he has). --- Joe M. ========================================================================= Date: Thu, 29 Jun 1995 14:37:45 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dustin McIntyre Subject: Re: Akai S3200 | Ensoniq ASR 10 | K2000 I bought a K2000 because it's compatible with the sample formats of every current sampler but the Emulator and SampleCell series via floppy or SCSI, has a synthesis engine that smokes the other two in a thirty-foot high bong for lunch, has a straightforward "Proteus-like" interface for multitimbral operation, is expandable like virtually no other machine for the money (Orchestral ROM, up to 64 megs RAM and now the money is less than it's ever been thanks to the new K2500), can be used without the active sampling capability if you have a computer to do your sampling and edits on and then transfer them via SMDI or SDS, hence a cheaper price still without the expense of the sampling option, decent effects processor and lastly, SOUND. The only real downside to this colossus is the polyphony, an unexpandable (without buying another unit, which is what I opted for) paltry 24 notes, many of which are eaten fast in layered programs or setups. However, you could always resample a tone for one note polyphonic playback or multi track it or who knows what else. I think you can do hard disk recording with the Ensonic though, and that might be something you want to consider, as it's a very cheap way to get into that kind of thing and have a top spec sampler in the bargain. ========================================================================= Date: Thu, 29 Jun 1995 17:16:07 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jeff Bova Subject: Re: Re(2): Fair price There are people at 22 that are making a million dollars a day. If your work is worth it and the market commands it. At least find out the market value for what you're doing. The American federation of musicians is a good reference point. Transcriptions, arranging, electronic scoring whatever you are doing has an applicable rate. Check it out. Don't blow your gig but at least know how much your boss is taking advantage of you. Keeping that in perspective will help you understand "things" and how they "really are" . Good Luck JBova@aol.com ========================================================================= Date: Thu, 29 Jun 1995 18:00:25 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: john rossi Subject: Re: Re(2): Fair price In-Reply-To: <950629171606_105003157@aol.com> Or you can look at the fact that when Bill Gates was your age he was making more than $80K/yr. I do electronic consulting work from time to time, depending on the nature of the contract I always charge either $50 or $75 per hour. I was getting $30/hr for programming development consultation 14 yrs ago while I was still in school full time. If the markey will bear your price then your price is fair.. period. The market is never wrong, it can't be, by definition. If only economic protectionists would learn that lesson. John 3 ========================================================================= Date: Thu, 29 Jun 1995 17:15:40 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: isor Subject: PC: playback of multiple samples on one soundcard In-Reply-To: <950629171606_105003157@aol.com> this is exactly what i want to do. I'm sure it is possible. I'd like to know if there is any freeware or shareware that can do this ONE thing. I would also like to know of a program that will take a sample / digitized audio and tell me what note or notes the sound represents. thanks a million! Eric Allen Seale of ISOR magazine \ Br. Box 1566 \ Edwardsville, IL ========================================================================= Date: Thu, 29 Jun 1995 22:32:26 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bill Simpson Subject: Re: Akai S3200 | Ensoniq ASR 10 | K2000 I bought the K2000 because it combines a sampler with incredibly flexible synthesis architecture. You can start the synthesis path with either a built-in or sampled sound, and operate on the signal with combinations of about 50 digital signal processing units in real-time, as well as having a good collection of non-real-time sample transformations. I've been delighted with the unit, and feel like in the 9 months I've had it, that I've barely scratched the surface of its capabilities. If your budget can accommodate it, you might also consider the K2500, which doubles the polyphony to 48 and will have an option for a new effects processor that I think will take the "building block" approach to effects, like the K2000 does with sound generation. Also, Kurzweil seems to be committed to continuing to enhance the machine. They have come out with two major software revisions since the K2000 was introduced. If you're interested, there is a K2000 discussion group on this same LISTSERV-- K2000-L@AMERICAN.EDU. Bill Simpson Internet: WSIMPSON@HBS.HARVARD.EDU Bitnet: WSIMPSON@HBS ========================================================================= Date: Thu, 29 Jun 1995 22:55:03 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bill Simpson Subject: Re: Re(2): Fair price I missed the beginning of this thread, so I may be sending some irrelevant information, but it looks to me like your employer is ignoring some things that need to be accounted for if you are working as an independent contractor or consultant. Your employer is taking your hourly rate and multiplying it by the approximately 2000 hours that would be a year's full-time work at 40 hours/week. This ignores the fact that as a contractor you get NO paid vacation (normally 2-4 weeks per year for employees), NO paid holidays (normally 10-12 days per year), NO sick leave, NO contribution to social security, so you pay 16% instead of 8%, NO medical insurance (which can cost many thousands of dollars per year, depending on your situation), no protection in case of disability, no contribution to a retirement plan, and no other benefits. When you consider the absence of benefits, you have to earn at least 50% more per hour as a consultant to match what you would earn as an employee. And that's assuming you have full-time work and no overhead. Normally as a contractor you also supply the tools of your trade out of your own pocket, and you may easily spend as much overhead time (marketing your services, maintaining your office or studio) as billable time. I don't know how rates are in the music industry, but I work as a computer consultant, and typical rates are $50-$100/hour. Bill Simpson Internet: WSIMPSON@HBS.HARVARD.EDU Bitnet: WSIMPSON@HBS ========================================================================= Date: Fri, 30 Jun 1995 13:00:36 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: tape backups Hi tapehounds, Jerry wrote... >I read something on molecular storage once. You've been looking at Wired, haven't you!? Actually, this is an idea only. The article in Wired (April, I think) made it pretty clear that its just speculation on the part of one particular] chap. DOn't hold your breath for molecular-level storage. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Thu, 29 Jun 1995 12:56:24 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: tape backups Jerry L Richardson said: > I read something on molecular storage once. Imagine a case full of > a jelly like substance that is limited in storage only by the number > of molecules in it's makeup. Each molecule would represent a bit. > You figure the more dence the matter, the more massive the capacity. > Not to mention the potential for random access! Of course, you won't be able to know both the data and its location at the same time! ;-) Bill Fox wbf@aloft.att.com --------------------------------- Heisenberg may have slept here... or here... or here... or here... or here... or here... ========================================================================= Date: Fri, 30 Jun 1995 00:53:04 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Re(2): Fair price (fwd) A message which came to me and which I think may have been intended for the list: > > There are people at 22 that are making a million dollars a day. If your work > is worth it and the market commands it. At least find out the market value > for what you're doing. The American federation of musicians is a good > reference point. Transcriptions, arranging, electronic scoring whatever you > are doing has an applicable rate. Check it out. Don't blow your gig but at > least know how much your boss is taking advantage of you. Keeping that in > perspective will help you understand "things" and how they "really are" . > Good Luck JBova@aol.com > ========================================================================= Date: Fri, 30 Jun 1995 09:15:41 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Patrick Robinson Subject: Re: Re(2): Fair price > Date: Fri, 14 Apr 1995 09:53:43 -0400 > > > My employer said that a person making $40 an hour is like a person making > > $80,000 a year. He said I'm 22 and shouldn't be making that much money out of > > the starting blocks. > > He's handing you an invalid argument. Has he indeed *given* you a year's > worth of work? [blah, blah] Just wondering if anyone else noticed that this is an old thread, from April. Matter of fact, I remember this specific response on the matter from Joe. Wha' happen'd? --- Patrick Robinson Extension Information Systems, Virginia Tech pgr@ramandu.ext.vt.edu ========================================================================= Date: Fri, 30 Jun 1995 09:45:20 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Robert Thompson Subject: Recordings Distribution Aucourant Records, based in Atlanta, is currently seeking high quality independent CDs in the computer music, trance, ambient and related genres for international distribution consideration. If you are an artist who has produced his or her own CD but is having some difficulty getting it into distribution please send a sample copy of each title. Currently, due to the small size of this specialized market, consignment agreements only will be offered. Please contact: Debra Mobley Thompson Aucourant Records P.O. Box 672902 Marietta, GA 30067-0049 FAX: 404-952-9561 ========================================================================= Date: Fri, 30 Jun 1995 09:56:56 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Deved Smith Subject: Re: PC: playback of multiple samples on one soundcard In the Windows environment, Cakewalk can playback as many sample (*.wav) layers that you can fit into its meazly memory. ========================================================================= Date: Fri, 30 Jun 1995 09:57:25 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Deved Smith Subject: Re: Akai S3200 | Ensoniq ASR 10 | K2000 The ASR 10 is a toy compared to the K2000S. If you think of the K2000S as a synth with samples as you ocilators, I think you might make up your mind a little faster. d:) ========================================================================= Date: Fri, 30 Jun 1995 10:12:14 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Edward Plant Subject: Re: Re(2): Fair price > >> He's handing you an invalid argument. Has he indeed *given* you a year's >> worth of work? > >[blah, blah] > >Just wondering if anyone else noticed that this is an old thread, from April. >Matter of fact, I remember this specific response on the matter from Joe. >Wha' happen'd? > >--- >Patrick Robinson You know, I was thinking that also. I thought maybe I was just experiencing deja vu all over again :) Could there be a ripple in the time-space continuum of the list? + + + + + + + + + + + + + + + + + + + + + + + + + + Edward Plant, Sig Proc Dept Mgr egp@ideas.com SAIC/IDEAS Group *** 7120 Columbia Gateway Drive ** Columbia, MD 21046 voice (410) 312-2094 *** FAX (410)312-2250 =========================================================================== electric bass - recording engineer - eternal student of composition & emusic ========================================================================= Date: Sat, 1 Jul 1995 01:11:16 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Piet van Oostrum Subject: Computer Music bibliography There is a bibliography on synthesizers, midi, computer and electronic music that I have collected from various sources. I have tried to bring some structure into it, but not all books will fit into a single subject. NOTE: I haven't read these books, and the comments are from other people. The latest version of this file can be obtained by ftp from ftp.cs.ruu.nl [131.211.80.17] in pub/MIDI/DOC/bibliography or by mail from mail-server@cs.ruu.nl (send a message with HELP in the body). From the mail-server the filename without pub/ should be used. The latest monthly version is also available in the various news.answers archives around the world, in music/midi/bibliography. Version: $Id: bibliography,v 1.34 1995/05/23 14:14:27 piet Exp $ ========================================================================= Date: Sat, 1 Jul 1995 01:11:16 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Piet van Oostrum Subject: Midi files/software archives on the Internet There is a list of ftp and mail server archives with MIDI documentation, programs and music on the Internet. Also enclosed is a list of MIDI and electronic music related mailing lists. The latest version of this file can be obtained by ftp from ftp.cs.ruu.nl [131.211.80.17] in pub/MIDI/DOC/archives or by mail from mail-server@cs.ruu.nl (send a message with HELP in the body). From the mail-server the filename without pub/ should be used. The latest monthly version is also available in the various news.answers archives around the world, in music/midi/archives. Version: $Id: archives,v 1.133 1995/06/21 08:23:23 piet Exp $