========================================================================= Date: Tue, 1 Aug 1995 10:07:32 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Cole Logan Subject: Re: Hello All. In-Reply-To: In reply to your message of SAT 29 JUL 1995 00:15:29 EDT This is Cole Logan and I really didn't get much about you from your passage I recieved in my mail. Could you write back and maybe we could be friends or something! >Hi All, > I'm Timothy Kelly writing in Houston, Texas. > I got started in synths years ago when they were just punch cards >and later, lots of patch cords. > My first music computer was the C64. I now use 2 Amigas and an IBM >in my project studio. > I have an entire wall of music software, and a couple of rooms full >of synths, sound modules, midi guitars and midi voice controllers. > I also have an ADAT, a few DATS, multitrack cassettes, ete. > I write a lot of songs, also a lot of instrumental stuff. > My favorite musical hobby next to composing is synth sound editing. >I love messing with patches, tweaking them and creating new ones. > Right now the 2 synths I'm using the most are the Sound Canvas, and >the Emu Morpheus. I always edit in real time, usually just humming or >scat singing with my voice controller. > I am president of MidiVox. Market MidiVox worldwide. > I also teach singing, guitar, synth programming, songwriting, >arranging, electronic music composing, ete. > I use my own textbooks and instructional tapes. > Looking forward to discussing and sharing tips, ideas, ete on all >aspects of EMUSIC. > Thanks for reading. > Timothy Kelly > MidiVox >-- >MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays. > >Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some >Drums, Sing a Cello. > >Become a Human Sequencer, Human Vocoder, Human Breath Controller. > >AES "Best in Show." EM "Editors Choice." " MidiVox Roars." >Keyboard. ========================================================================= Date: Tue, 1 Aug 1995 10:31:55 CDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Kevan L. Moore" Subject: Re: Hello All. please give more information on the MidiVox. what's it cost? what's its specs (how much delay is there? 1.5 cycles? 20 ms?) kevan l moore ========================================================================= Date: Tue, 1 Aug 1995 11:33:30 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: Re: Morph Simulation...Bjork Post In-Reply-To: <9507271853.AA23827@acropolis> Simon sez: > > Bill is going to explain how I can > > use one sample to vocode the other. I suspect others on the list will be > > interested in what he has to say. Bill Fox sez: > > Please continue thinking out loud (or otherwise). Vocoding impresses > the frequency spectrum of one sound on another sound. (Did I say that > right?) I've never heard it done with two voices as inputs; one is > usually a synth pad or noise, something with a wide energy distribution. > Vocoding is what you do to make those robotic voices in sci-fi flicks. > The analog block diagram of such a device includes many bandpass > filters, two at each center frequency. Input 1 feeds one bank and input > two feeds another. One bank of filters have their outputs feeding a > bank of envelope followers that are used to control a bank of VCAs. The > output of the other bank of filters feeds the audio inputs of the VCA > bank. The VCA audio outputs are summed (usually) to one output. An > ideal vocoder, i.e. one having an infinit number of bandpass filter > pairs etc., acts as an all pass filter if white noise is fed into one > of its inputs. > > Ring Modulation is another two input process. It is four quadrant > multiplication of the two input signals - AMSC - Amplidude Modulation > with Suppressed Carrier. (A VCA is a two quadrant multiplier.) A ring > mod is used in analog synthesis to create those klangy sounds. Sez Simple Simon: Very well, but I was hoping for step-by-step instructions for how I can do this with my S-50. What do I hook up to what? Mark Simon mgs2@cornell.edu ========================================================================= Date: Tue, 1 Aug 1995 11:39:23 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: The old rugged cross-fade In-Reply-To: > > Being an owner of two Wavestations, I've played with timbral crossfades a > lot over the years. My experience is that the result sounds just like a > crossfade; the sounds don't mesh. Surprisingly, having a marked pitch > difference between them (like 4ths or 5ths) produces a more unified effect. Thank you, I shall try this out on my keyboard. Mark Simon mgs2@cornell.edu ========================================================================= Date: Tue, 1 Aug 1995 11:50:35 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: Mark grinds his favorite ax In-Reply-To: <950728181249_125308363@aol.com> > > A while back I went to a contemporary music concert in Seattle, with pieces > by local composers. There were a few acoustic-only works, but most were > either electronic or electro-acoustic. Unfortunately, I was sorely > disappointed by most of them. Most had good intentions but seemed to be > developed poorly. Also, for some reason all the composers felt that they had > to do atonal pieces. Now, I love atonality but feel that it is but one of > many kinds of music that should be composed in the musical spectrum. I also You mean you don't know the answer to this? These are composers who received their training in academic institutions where they'd get their butts kicked if they ever thought about doing anything that smacked of tonality. > felt that any people who weren't familiar with e-music and were exposed to > such a narrow use of electronics in this genera could shun further computer > music concerts. Exactly so, and these composers like it that way. Mark Simon mgs2@cornell.edu ========================================================================= Date: Tue, 1 Aug 1995 12:56:00 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ian Tilbury Subject: 1-IRCAM 2-MKS-30 I'm hoping for some help on a couple of points. Is anybody on the list a member of the IRCAM software group? Prior to joining I was told it took 1-2 weeks to receive their stuff. After 2 weeks I was told they were busy with their summer academy and hoped to get my stuff out that afternoon. Another 3 weeks has passed with nary a sign of anything. I'm going on the premise that the summer holidays slow things down but some encouraging news wouldn't go amiss. Secondly, could somebody tell me the saving procedure on a Roland MKS-30. I have no trouble saving to the location the patch was created in but when I save to another location it doesn't work. Thanks, Ian Tilbury. ========================================================================= Date: Tue, 1 Aug 1995 11:24:51 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: Crossfade equation In-Reply-To: <01HTEJYQNJ769BW7W7@LURE.LATROBE.EDU.AU> from "David Rodger" at Jul 28, 95 12:44:58 pm David Rodger writes-- >Hi morphers, >this crossfade thang reminds me of the way pan cicuits should (but so often >aren't) built. The idea is that across the pan the left and right signals >sum to the same (all the way). At the mid-point (pan centre), both left >and right should be 3 dB down. (By way of explanation for those who don't >know, -3dB is half as loud (watts-wise) as 0dB.) Amusing (it wasn't at the time) anecdote: Sound Tools by Digidesign lets you do either linear or equal-power crossfades, but a bug in the equal-power system causes the part of the material before the fade to be dropped 3 dB. If you do it repeatedly, building up an album with many crossfades, the first track will be way down in the noise. This problem is not documented anywhere, and cost DAC CRowell and me about three days of screaming and anguish on our last project. So far no one has complained about the linear fades we substituted.... mike -- mike metlay * atomic city | .......one new telephone - a pressure cooker - a = atomic@netcom.com = | ventilator - four bars of chocolate - six pairs cd mailorder po box 81175 | of socks - a yellow clock - a pink ski shell - a pittsburgh, pa 15217-0675 | box of condoms - one baby leopard - a pot of jam or order from our website | - a safety pin - an iron - a red shoe - a camera http://pd.net/atomic-city | - one ton of peanuts - a black bra - a silver or via infinite illusions | fork - a typewriter - an electric train - three toll free: 1-800-548-6724 | tons of strawberriestrawberriestrawberries...... ========================================================================= Date: Tue, 1 Aug 1995 16:28:58 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Good Material Comments: cc: physics@INDIRECT.COM, postmaster@INDIRECT.COM In-Reply-To: from "Jeff Slaton" at Aug 1, 95 01:55:01 pm > > PLEASE DON'T STOP READING ... THIS MESSAGE WILL INTEREST YOU!! > No, it doesn't. Your postmaster has been notified. > Jeff Slaton > 6808 Truchas Dr. NE > Albuqerque, New Mexico 87109 > USA Why look. A mailing address. Not that I know anyone in Albuquerque to send over for a visit, of course. Or that I would encourage anyone to do so, say about 3 AM two or three nights in a row. That would be wrong, and this is all completely hypothetical anyway. --- Joe M. ========================================================================= Date: Tue, 1 Aug 1995 16:32:15 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Hello All. In-Reply-To: <9508011531.AA19514@mx6.msfc.nasa.gov> from "Kevan L. Moore" at Aug 1, 95 10:31:55 am > > please give more information > on the MidiVox. > > what's it cost?... > Don't tempt the poor man to violate the rules, Kevan. :) I've heard it at work, and it's pretty cool. Check your local music store, or talk it over privately. Of course, there'd be no problem with this at all on SYNTH-L, which is probably the better place for spec noodling. === Joe M. ========================================================================= Date: Tue, 1 Aug 1995 18:13:00 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "jason e. geistweidt" Subject: Stuck in a rutt? Waddya do? Just curious what some of my composer colleagues do when they get stuck, when they need new ideas? How do you use the `technology' to give you ideas? Do you find that the machine offers any suggestions? Jason E. Geistweidt jason@suba.com ========================================================================= Date: Tue, 1 Aug 1995 21:11:35 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Black Subject: Re: Sound for picture >Please excuse my ignorance, but I have heard the term "lay it >back" a few >times now (several times in your message alone!) :) >Can you please explain to this mental midget, exactly what >"laying back" >means? >Thanks! >Bob Bob Laying back refers to the process of recording your piece onto the end format to be used. ie laying back a score onto a beta for broadcast. In our applications, you lay down onto a DAT or 1/4" or something, then a studio lays back onto a beta or D2 or other broadcast medium. Michael ========================================================================= Date: Wed, 2 Aug 1995 00:43:03 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ronnie Cristobal Subject: ESI-32 samples.. Does anyone out there want to trade samples on floppies? Just transferred some CD Roms banks into floppies. RonnieC143@aol.com ========================================================================= Date: Wed, 2 Aug 1995 00:43:56 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "(Richard Hunter)" Subject: Re: Stuck in a rutt? Waddya do? Good questions Jason. Do you ever feel that everything in your life, be it physical, mental, or emotional is going just a bit to smoothly? Everything is just "great", "O.K.", "Not to bad, how about yourself?" These are the times when I get "writers block" and all the technology and good intentions in the world end up sounding "really neat" or "O.K." The human element just has to much to do with anything that I have composed that results in "wow" instead of "really neat". Not that I wish too many emotional rollercoaster rides on anybody, It's just that when I channel that energy into my work, a neat sounding patch will now have somewhere to go, and the results are self-evident(be it as they may, personal). Richie (Comments?Observations?) ========================================================================= Date: Tue, 1 Aug 1995 22:31:55 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Timothy Kelly Subject: Re: Stuck in a rutt? Waddya do? You wrote: > >Just curious what some of my composer colleagues do when they get stuck, >when they need new ideas? How do you use the `technology' to give you >ideas? Do you find that the machine offers any suggestions? > >Jason E. Geistweidt jason@suba.com > Hi Jason, all. I never have that problem of running out of ideas. One way I use the music tech to give me ideas is to spend about 15 minutes a day with the software auto composing programs, Jammer Pro, Super Jam, and Band in the Box. I also use Power Chords Pro, since I write and perform a lot of guitar stuff in non standard tunings. I also try to spend a little time each day in patch creation. A new sounds always gives me ideas for a new piece. The problem for me isnt getting ideas, its deciding which ones to develop and finding the time to do so. Happy Composing, Timothy Kelly MidiVox -- MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays. Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some Drums, Sing a Cello. Become a Human Sequencer, Human Vocoder, Human Breath Controller. AES "Best in Show." EM "Editors Choice." " MidiVox Roars." Keyboard. ========================================================================= Date: Wed, 2 Aug 1995 08:37:36 +1100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Barbara Zakrzewska-Nikiporczyk." Organization: Main Library of University Subject: Re: Stuck in a rutt? Waddya do? Comments: To: EMUSIC-L%AMERICAN.EDU@plearn.edu.pl Ideas (inspirations) for a new compositions comes often from outside of music: from poetry, architecture, nature, love. But don't wait for inspirations without working on it. Some people get new musical ideas only when they are hardly working few hours a day, just trying to build different structures and different combinations of sounds. Machines did not give ideas, but are helpfull in making music. Barbara Zakrzewska-Nikiporczyk Basia@bu-uam.amu.edu.pl ========================================================================= Date: Wed, 2 Aug 1995 05:29:56 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dustin McIntyre Subject: Re: Stuck in a rutt? Waddya do? >>How do you use the `technology' to give you ideas? Do you find that the machine offers any suggestions?<< Yes. Use bizarre effects combinations (ones that will alter the melodic content pitchwise or create a new rhythm). Wander around the keys with the help of an arpeggiator. I've found these two to be oft ignored wellsprings. DFM ========================================================================= Date: Wed, 2 Aug 1995 00:21:36 -1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul LaVigne Subject: Re: Stuck in a rutt? Waddya do? In-Reply-To: On Tue, 1 Aug 1995, jason e. geistweidt wrote: > Just curious what some of my composer colleagues do when they get stuck, > when they need new ideas? How do you use the `technology' to give you > ideas? Do you find that the machine offers any suggestions? > > Jason E. Geistweidt jason@suba.com > Two things work for me, one of which involves the technology. Both essentially do the same thing, stop me from "pushing it" and do something else. The first is Play it By Ear by Ibis software. It's basically an ear training program, and I use it to drill myself on scales & chords. From this, I get a 'reset' button pushed in the little musical storage space in my head. I do it almost to the point of mundane, like a mantra, to really re-open my ears. Don't go looking for ideas for the work in progress from the drills, though. Just let it happen. The other is just to stop working on the music altogether, and *do* something, that involves either productivity (cleaning, fixing stuff, build a birdhouse) or observation (take a walk, ride a bus, whatever, just *experience* everything around you). Just make sure you don't think about the music. This really helps me take a break from what I'm doing, step back, and gain a brand new reference point or perspective on what I'm doing when I listen to it again later. Hope this helps... Paul paulnles@interpac.net ========================================================================= Date: Tue, 1 Aug 1995 15:23:51 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: Morph Simulation...Bjork Post Mark said: > Very well, but I was hoping for step-by-step instructions for how I can > do this with my S-50. What do I hook up to what? Send two sounds out of your S50, each on a dedicated output jack. Send these signals to the inputs of an SE50 or SE70 as these can do vocoding. (Or buy the vocoding kit from PAiA and build a unit yourself.) Set up the SE50/70 per its operating manual (I don't own either of these so I can't give the directions myself). Listen to the vocoded output from the effects device. Or, build or buy a ring modulator and plug the two S50 outputs into the ring modulator's two inputs. I don't know if there are any ring mods currently commercially available. People on the Analogue Heaven list build stuff like this and I'm hoping to get a schematic diagram so I can fool myself into thinking that someday I'll build one, too. Sorry, Mark, if I'm not coming through with a no- or low-cost method we all could try at home. I hope you're not dissappointed. If it will make you feel any better, I can't vocode or ring modulate, either, until I build and/or buy the processors to do it. Bill Fox wbf@aloft.att.com ========================================================================= Date: Wed, 2 Aug 1995 08:06:50 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark Hughes Subject: Re: Stuck in a rutt? Waddya do? In-Reply-To: "jason e. geistweidt" "Stuck in a rutt? Waddya do?" (Aug 1, 6:13pm) On Aug 1, 6:13pm, jason e. geistweidt wrote: > Just curious what some of my composer colleagues do when they get stuck, > when they need new ideas? How do you use the `technology' to give you > ideas? Do you find that the machine offers any suggestions? When I'm stuck, its usually because the stuff that comes to mind or flows out the finger tips is too much like other stuff I've done. When this happens, I search through my sound library for a sound that doesn't fit my current mood, but still sounds interesting. Slap a few chords in a scale that doesn't fit the current mood, and presto... instant mood change. Sometimes this results in fresh musical ideas, sometimes it just keeps me up late. Mark -- frivolous line of characters: ******************************************** redundant email address: mhughes@pms104.pms.ford.com common-sense disclaimer: This is my opinion, not my employer's stupid quote: "Magnetic media? How quaint." ========================================================================= Date: Wed, 2 Aug 1995 08:33:44 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Ronald S. Herhuth" Subject: Re: Stuck in a rutt? Waddya do? >Just curious what some of my composer colleagues do when >they get stuck, >when they need new ideas? How do you use the `technology' >to give you >ideas? Do you find that the machine offers any suggestions? A couple of tricks I use are to make up a couple new sounds on some synths or on the old sampler, and force myself to try something new in the way of programming. Also I have an Oberheim cyclone which is a quirky old arpeggiator with tons of parameters to fool with, that can help jump start ideas. And one final controversial method to be used only in the slump from hell syndrome: I take a CD and sample a non discript rythmn part (synth blips, percussion loop etc) and use that to get me started and then trash the loop and continue to write. READ: I DONT USE THE LOOP IN MY FINISHED WORK!!!!!!!!!!! synth2max@aol.com Ron Herhuth ========================================================================= Date: Wed, 2 Aug 1995 09:53:32 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: Re: Stuck in a rutt? Waddya do? In-Reply-To: > Just curious what some of my composer colleagues do when they get stuck, > when they need new ideas? How do you use the `technology' to give you > ideas? Do you find that the machine offers any suggestions? > > Jason E. Geistweidt jason@suba.com I complete roughly 1 out of every 10 pieces I start, which means I have sketch books filled up with little fragments of half-baked ideas. When I'm stuck for an idea I go back to the sketch books and often I connect with something I rejected 2 years ago. Suddenly I'll see new possibilities in ideas that seemed to just peter out the last time I dealt with them. I also carry my sketch books around with me wherever I go because sometimes I'll be walking someplace and an idea will come to me and I'll just whip out the sketch book and write it down, and if I'm lucky I'll remember enough about what I was thinking about at the time when I sit down to do my actual composing. There's some part of your brain that processes creative ideas while you're doing other stuff. Mowing the lawn and taking walks in the woods tend to be very effective idea-producers for me. Obligatory emusic content: A lot of people on this list use sequencers the way I use sketch books. My advise is, never drag anything to the trash. Save all your most trivial diddles and review them from time to time. You may find gold where you least expect it. Sometimes I'll even raid my completed pieces for ideas that popped up along the way and were not sufficiently developed. Sometimes I have countermelodies, contrasting sections etc. that I didn't have time to make a great fuss over within the structure of the piece but could be developed at length in a piece of their own. Emusic analogy: play some of your sequences and solo the bass line, or some track other than the main melody. Try to imagine that as the main melody. All you need is a few good notes and you can be off and running. Mark Simon mgs2@cornell.edu ========================================================================= Date: Wed, 2 Aug 1995 07:05:46 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: Good Material In-Reply-To: from "Jeff Slaton" at Aug 1, 95 01:55:01 pm Jeff Slaton writes-- > >PLEASE DON'T STOP READING ... THIS MESSAGE WILL INTEREST YOU!! Not on EMUSIC-L it doesn't. It's a good thing you're having your service provider changed, stainwipe; you'll probably be able to dodge the gaffhook your sysadmin will be swinging at you after he gets our letter. Pity, that. Advertising, no emusic content, fly-by-night registration. Three strikes. Administratively yours, mike -- mike metlay * atomic city | .......one new telephone - a pressure cooker - a = atomic@netcom.com = | ventilator - four bars of chocolate - six pairs cd mailorder po box 81175 | of socks - a yellow clock - a pink ski shell - a pittsburgh, pa 15217-0675 | box of condoms - one baby leopard - a pot of jam or order from our website | - a safety pin - an iron - a red shoe - a camera http://pd.net/atomic-city | - one ton of peanuts - a black bra - a silver or via infinite illusions | fork - a typewriter - an electric train - three toll free: 1-800-548-6724 | tons of strawberriestrawberriestrawberries...... ========================================================================= Date: Wed, 2 Aug 1995 07:12:42 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: Stuck in a rutt? Waddya do? In-Reply-To: from "jason e. geistweidt" at Aug 1, 95 06:13:00 pm jason e. geistweidt writes-- > >Just curious what some of my composer colleagues do when they get stuck, >when they need new ideas? How do you use the `technology' to give you >ideas? Do you find that the machine offers any suggestions? No, actually. When I get interesting things happening on my machines, I find that I learn a lot about what they do and I can compose interesting 'educational pieces' for my notebooks, but the musical result is not usually something to crow about. My music flows when I'm in the mood to actively create something and not simply absorb input from the world around me, which isn't as often as it used to be now that I'm a parent. I suppose the kid could be an inspiration, but I'd end up writing stuff that would sound like Jon Anderson's early solo work. :) mike -- mike metlay * atomic city | .......one new telephone - a pressure cooker - a = atomic@netcom.com = | ventilator - four bars of chocolate - six pairs cd mailorder po box 81175 | of socks - a yellow clock - a pink ski shell - a pittsburgh, pa 15217-0675 | box of condoms - one baby leopard - a pot of jam or order from our website | - a safety pin - an iron - a red shoe - a camera http://pd.net/atomic-city | - one ton of peanuts - a black bra - a silver or via infinite illusions | fork - a typewriter - an electric train - three toll free: 1-800-548-6724 | tons of strawberriestrawberriestrawberries...... ========================================================================= Date: Wed, 2 Aug 1995 08:06:22 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: M Comments: To: jetman@tunanet.com In-Reply-To: <61406.19766301@tunanet.com> from "jetman" at Jul 27, 95 09:20:01 am jetman writes-- > >mike, thanks for the word on upbeat, will look elsewhere for algorhythmic >rhythmic processing, any starting places you might know about? Wish I did. UpBeat has never had its feature set approached by any other Mac program that I know of, more's the pity. There is a new code for Windows PCs that does this, though, as reviewed in EM recently.... mike -- mike metlay * atomic city | .......one new telephone - a pressure cooker - a = atomic@netcom.com = | ventilator - four bars of chocolate - six pairs cd mailorder po box 81175 | of socks - a yellow clock - a pink ski shell - a pittsburgh, pa 15217-0675 | box of condoms - one baby leopard - a pot of jam or order from our website | - a safety pin - an iron - a red shoe - a camera http://pd.net/atomic-city | - one ton of peanuts - a black bra - a silver or via infinite illusions | fork - a typewriter - an electric train - three toll free: 1-800-548-6724 | tons of strawberriestrawberriestrawberries...... ========================================================================= Date: Wed, 2 Aug 1995 08:07:45 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: Morphing In-Reply-To: <9507262354.AA21159@cascade.santos.com.au> from "Simon McGuire" at Jul 27, 95 09:24:04 am Simon McGuire writes-- > >The Yamaha SY-35 has a 4-way vector control which allows for real time morphing >between timbres....... Pick pick pick, but I'd call this crossfading, not morphing. The only two boxes I've ever seen that actually morph anything are the Vortex and the Emu Z-plane synths. mike -- mike metlay * atomic city | .......one new telephone - a pressure cooker - a = atomic@netcom.com = | ventilator - four bars of chocolate - six pairs cd mailorder po box 81175 | of socks - a yellow clock - a pink ski shell - a pittsburgh, pa 15217-0675 | box of condoms - one baby leopard - a pot of jam or order from our website | - a safety pin - an iron - a red shoe - a camera http://pd.net/atomic-city | - one ton of peanuts - a black bra - a silver or via infinite illusions | fork - a typewriter - an electric train - three toll free: 1-800-548-6724 | tons of strawberriestrawberriestrawberries...... ========================================================================= Date: Wed, 2 Aug 1995 08:09:52 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: M In-Reply-To: from "Nick Rothwell" at Jul 27, 95 05:06:41 pm Nick Rothwell writes-- > >>Hee ho hurnk. Wrongo! According to David Zicarelli of OMS fame, > >Brief aside: David Z. wrote M and worked on UpBeat, but OMS was developed >by Doug Wyatt. Whoops, I sit corrected. >I have a lot of respect for both these guys. They have an almost unique >skill: they Write Code Which WORKS. Yeah, and I'm wondering how much longer their winning streak will run, given Opcode's power dive into the PC world....8-\ "The Windows version of OMS conforms to the standards set by Microsoft: plug it in and voila! Nothing works." mike -- mike metlay * atomic city | .......one new telephone - a pressure cooker - a = atomic@netcom.com = | ventilator - four bars of chocolate - six pairs cd mailorder po box 81175 | of socks - a yellow clock - a pink ski shell - a pittsburgh, pa 15217-0675 | box of condoms - one baby leopard - a pot of jam or order from our website | - a safety pin - an iron - a red shoe - a camera http://pd.net/atomic-city | - one ton of peanuts - a black bra - a silver or via infinite illusions | fork - a typewriter - an electric train - three toll free: 1-800-548-6724 | tons of strawberriestrawberriestrawberries...... ========================================================================= Date: Wed, 2 Aug 1995 08:13:41 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Lorne Hammond Subject: Re: Stuck in a rutt? Waddya do? In-Reply-To: <950802003739_45990463@aol.com> Composer stuck? One option is the Brian Eno Oblique Strategies, a card set that you can flip up to get weird philosophical suggestions (a la I Ching) on what direction to take. look for the ENO page on the web and the windows version of the card stack is available there as an ftp download. I have a better idea. Change the space you record in. change your mental space by playing recordings you never listen to and going from there. Invite another musician over to jam. Initialize all your presets (he he), blank them out and force yourself to reprogram your gear from scratch & memory. Read a book of poetry and write a score for it. Turn on the tv and vcr and channel surf. Then play it back with no sound and write a soundtrack to it. Pack up all your gear but the one you hate the most and use only that one for a piece. Place limits and restraints on yourself and then work against them. In other words, reawaken yourself. Lorne ========================================================================= Date: Wed, 2 Aug 1995 07:53:54 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: My new piece and need spoken word In-Reply-To: <950728181249_125308363@aol.com> from "RonG225zt@AOL.COM" at Jul 28, 95 06:12:50 pm RonG225zt@AOL.COM writes-- [passing over the atonality issue, already lovingly addressed by well-known atonality/academic-preciousness advocate M. Simon ;) ] >I was commenting on this to one of my friends (who had also attended the >concert and felt that most of the composers had used electronics solely for >the purpose of creating dissonance and not to actually make the music better) >and he challenged me to write a tonal or chromatic piece of music, that used >computer or synthesizer generated sounds (or both) and acoustic instruments. While you're doing this, have your friend listen to one or both of the following albums: _X_ by Klaus Schulze (especially "Ludwig II von Bayern") and _Slow Dance_ by Anthony Phillips. Both are extended compositions of what I would term modern classical music, for traditional orchestra with electronic accompaniment. In particular, I find Phillips's use of the orchestra to be sympathetic and powerful in its integration with the electric stuff, whereas with Schulze the effect is more adversarial, with the orchestra plowing through like a string- driven tidal wave and the synthesizers flailing along on top trying to keep from drowning (as opposed to the other way around, interestingly enough). BTW, no orchestra is credited on _X_, but believe me, they're there. At least on that one track, anyway. >. I've always felt that atonality needed to be set >up in such a way that the listener didn't need to have the underlying meaning >explained to them, or at least that they didn't wish that they had something >else to concentrate on besides the music. What? And rob it of its snob appeal? How dare you! Oh, sorry Mark, stepping on your toes again. 'Scuse me. >As for the instrumentation, I decided on Flute, Oboe, English Horn, >Vibraphone and auxiliary percussion (as for aux. perc, at this time I've only >used a suspended cymbal. But chimes and buckets of water are looking/sounding >very tempting). As for synths, I'm using a Proteus MPS+Orchestral, a Kawai >K-1 and a Kawai K-4. They will be sequenced by a Mac 840av and all sequencing >will be done in Opcode's Studio Vision. I'll also take advantage of Studio >Vision's HD recording to record some sample loops for the piece. The notation >for the acoustic instruments will be done in Nightingale. Wot no syrpuy strings? (my sniffly romantic side is showing ;) >At first I picked a bunch of meaningless sample loops, but I wasn't thrilled >by the way they came across. Also, they didn't give any meaning or direction Sample loops aren't designed to give meaning, they're designed to let you graft someone else's talent into your music as a sort of vampiric youth elixir. >Then, a simple but brilliant (it felt brilliant after spending zillions of >hours in front of my computer screen editing OJ and Red Dwarf). I decided to >use spoken word! Not original, but something I've never done. I found some >that I liked (Crispin Glover's "Rat Catching," Emelio Cuebero and William S. >Burroughs), but realized that there were copyright restrictions, which may be >a problem. So, now I'm looking for someone to get a spoken word collaboration >with. What I'm worried about is what you were doing editing OJ and Red Dwarf...8-\ Actually this can be very nice. One of my not-done pieces is a spoken poem by a writer friend (a professional poet, if you can believe it) with electronic accompaniment. >Oh yeah, and if you have anything I could use for the spoken word send me an >e-mail. Znort. I should send you this file someone sent me recently, a collection of something like nine years' worth of my rantings on the Internet.... covering everything from FM synthesis (I hated it when it was hip, then sample players came along and suddenly it wasn't so bad) to Fiorella Terenzi (*DON'T* get me started on her). Having someone like Jim Carrey read it aloud would be a shriek. :) mike -- mike metlay * atomic city | .......one new telephone - a pressure cooker - a = atomic@netcom.com = | ventilator - four bars of chocolate - six pairs cd mailorder po box 81175 | of socks - a yellow clock - a pink ski shell - a pittsburgh, pa 15217-0675 | box of condoms - one baby leopard - a pot of jam or order from our website | - a safety pin - an iron - a red shoe - a camera http://pd.net/atomic-city | - one ton of peanuts - a black bra - a silver or via infinite illusions | fork - a typewriter - an electric train - three toll free: 1-800-548-6724 | tons of strawberriestrawberriestrawberries...... ========================================================================= Date: Wed, 2 Aug 1995 14:11:51 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: Re: My new piece and need spoken word In-Reply-To: <199508021453.HAA02205@netcom23.netcom.com> On Wed, 2 Aug 1995, Mike Metlay ++ Atomic City wrote: > [passing over the atonality issue, already lovingly addressed by well-known > atonality/academic-preciousness advocate M. Simon ;) ] > > >. I've always felt that atonality needed to be set > >up in such a way that the listener didn't need to have the underlying meaning > >explained to them, or at least that they didn't wish that they had something > >else to concentrate on besides the music. > > What? And rob it of its snob appeal? How dare you! Oh, sorry Mark, stepping > on your toes again. 'Scuse me. Aw gee, Mike, if I had known you were itching for a rant on this subject I would have gladly stepped aside. Tellya what, next time it's all yours. I have vowed to get ahold of the Klaus Schulze and Anthony Phillips records if I can. I will write in as soon as I do. Mark Simon mgs2@cornell.edu ========================================================================= Date: Thu, 3 Aug 1995 08:45:02 +1200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tim Robinson Subject: Re: Stuck in a rutt? Waddya do? I have a little software routine that writes synthetic melodies. I have another routine that writes melodies to a specified harmonic ground. I find this very useful. ______________________________ Reply Separator _________________________________ Subject: Stuck in a rutt? Waddya do? Author: "jason e. geistweidt" at tawa Date: 01/8/95 06:13 PM Just curious what some of my composer colleagues do when they get stuck, when they need new ideas? How do you use the `technology' to give you ideas? Do you find that the machine offers any suggestions? Jason E. Geistweidt jason@suba.com ========================================================================= Date: Wed, 2 Aug 1995 16:45:06 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Caren Buffum Subject: Re: Stuck in a rutt? Waddya do? Being a songwriter (music and words) I find having a text , like one line of words running through my head, gives me a pattern of rhythm and a feeling for the music. Then I sit at the piano and try to play chord sequences that fit that rhythm and feeling -- and sing the text along (or hum). Even if I weren't writing words, that would still give me a boost into something. (That' all the "technology" I use). Caren B ========================================================================= Date: Thu, 3 Aug 1995 09:01:58 +1200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tim Robinson Subject: What to do when you get stuck I do quite a lot of work with contrapuntal music. If I am stuck for a theme, I can always steal the counterline from something I've already done and make *that* the theme. For variety, I can transpose from major to minor, alter the timing etc. Tim Robinson, (tim@liro.fri.cri.nz) _ NZ Logging Truck Logging Industry Research Organisation, / | =|====|= =|====|= PO Box 147, Rotorua, New Zealand |_| =|====|= =|====|= Ph. 0064-7-3487-168 Fax. 0064-7-3462-886 OO~~~~~~OO~---OO~~~~OO ========================================================================= Date: Thu, 3 Aug 1995 09:44:16 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Stuck in a rutt? Waddya do? Hi Richie... (BTW, Barbara, did _you_ start something or what!) > The human element just has to much to do with anything that I have > composed that results in "wow" instead of "really neat". Sure. Sometimes "wow" is too much of a novelty, though, isn't it? Sort of like seeing Terminator II. By half-way through the movie, you see a new effect (beautifully computer-generated like all those before it) and you say "Oh yeah" (as in another one!) There are pieces of music which don't inspire a wow, but which hold enough interest to make you listen again. Repeated listenings enable you to discover what is really there, and the satisfaction which comes from that is, in my experience, more rewarding than a quick buzz! Regards, David Rodger, | "The hypertext link ... indicates the Music Department, | implicit presence of other texts and the School of Art and Media | ability to reach them instantly.... La Trobe University | "Information is abundant but without Bundoora VIC 3083 | any fixed center around which to organize Australia | it...." Fax: +61-3-479-3651 | -- Michael Heim E-mail: musdr@lure.latrobe.edu.au | 'The Metaphysics of Virual Reality' ========================================================================= Date: Thu, 3 Aug 1995 10:00:37 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Stuck in a rutt? Waddya do? Hi Mark and others stuck in rutts... > When I'm stuck, its usually because the stuff that comes to mind or flows > out the finger tips is too much like other stuff I've done. This is not a criticism of you or anyone else here, but I was wondering... Is this a peculiarly Western thang that we need to be doing something new all the time? If you listen to the music of many non-Western cultures, you'll notice a similarity between different pieces. Of course the musical genre is the same, but the characters of pieces are often very similar, whereas here in the West a rock'n'roll song ain't necessarily similar to a rock'n'roll song. Am I saying this well enough? Do you know what I mean? I'm thinking in particular of the msuic of Mandinka griots whose songs are so often very similar to one another, but they and the musicians don't complain about lack of inspiration. I suppose they have a more socially defined role and that people in the society have a greater awareness of tradition (becasue music tends to be more of a community event or activity, bound to everyday rituals and activities). What _is_ different is the lyrical content (and this is where the griots' real power lies). When the griot sings a new song, drawing on the political and social reality of the time, he or she is making new music. The music which is played might sound very similar to a song sung last week, but, because of the lyrical content, it is considered (and so is) different. So, after all that, maybe I'm wrong when I slag off Philip Glass ("How many arpeggios can you listen to in one sitting!?"). Any thoughts? (The ethnomusicologists are going to flame me!) Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Wed, 2 Aug 1995 17:14:10 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Timothy Kelly Subject: Re: Morphing Hi All, I have the SY22 and its really closest to the Wavestation as to what it does or can do with the joystick. The Morpheus definitly can and does sound morph. Later, Timothy Kelly MidiVox -- MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays. Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some Drums, Sing a Cello. Become a Human Sequencer, Human Vocoder, Human Breath Controller. AES "Best in Show." EM "Editors Choice." " MidiVox Roars." Keyboard. ========================================================================= Date: Wed, 2 Aug 1995 23:54:37 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Gus Alden Subject: Re: Stuck in a rutt? Waddya do? >> Just curious what some of my composer colleagues do when they get stuck, >> when they need new ideas? How do you use the `technology' to give you >> ideas? Do you find that the machine offers any suggestions? >> >> Jason E. Geistweidt >>jason@suba.com Mark Simon responded: >I complete roughly 1 out of every 10 pieces I start, which means I have >sketch books filled up with little fragments of half-baked ideas. When >I'm stuck for an idea I go back to the sketch books and often I >connect with something I rejected 2 years ago. Ditto. I have filed away in my computer a bunch of midi sequences that are sketches of undeveloped ideas. Whenever I feel lacking for inspiration, I will refer to them for ideas. And, I've got a rock garden in the back yard that I go work on from time to time. I have a rule. Time spent in the garden is time spent with a clear mind. -Gus Gus (curiously anxious) Alden ------------ aldenoob@biddeford.com ========================================================================= Date: Thu, 3 Aug 1995 03:11:47 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dustin McIntyre Subject: Re: Meaningless Sample Loops >>Sample loops aren't designed to give meaning, they're designed to let you graft someone else's talent into your music as a sort of vampiric youth elixir.<< This is a tad heavy handed. It depends who, what and where. ========================================================================= Date: Thu, 3 Aug 1995 00:03:29 -1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul LaVigne Subject: Re: Stuck in a rutt? Waddya do? In-Reply-To: On Wed, 2 Aug 1995, Mark G Simon wrote: > I complete roughly 1 out of every 10 pieces I start, which means I have > sketch books filled up with little fragments of half-baked ideas. When > I'm stuck for an idea I go back to the sketch books and often I > connect with something I rejected 2 years ago. Suddenly I'll see new > possibilities in ideas that seemed to just peter out the last time I > dealt with them. Sounds very Beethoven-esque. I envy the ability to put things down on paper; I guess I'm spoiled by this glowing machine in front of me. Some writers would swear that they write better with pen in hand... I also carry my sketch books around with me wherever I > go because sometimes I'll be walking someplace and an idea will come to > me and I'll just whip out the sketch book and write it down, and if I'm > lucky I'll remember enough about what I was thinking about at the time > when I sit down to do my actual composing. > tend to be very effective idea-producers for me. I wish I could have the luxury of carrying around a laptop to do my sketching. Now *thats* the best of both worlds. :-) Just my $.02 Paul ========================================================================= Date: Thu, 3 Aug 1995 00:51:03 -1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul LaVigne Subject: Re: Stuck in a rutt? Waddya do? In-Reply-To: <01HTMRSBROVU9BWP6F@LURE.LATROBE.EDU.AU> On Thu, 3 Aug 1995, David Rodger wrote: > Hi Mark and others stuck in rutts... > > > When I'm stuck, its usually because the stuff that comes to mind or flows > > out the finger tips is too much like other stuff I've done. > > This is not a criticism of you or anyone else here, but I was wondering... > > Is this a peculiarly Western thang that we need to be doing something new > all the time? Probably. Western culture tends to feed off of a competetive energy, even if it's challenging yourself. > If you listen to the music of many non-Western cultures, > you'll notice a similarity between different pieces. Of course the musical > genre is the same, but the characters of pieces are often very similar, > whereas here in the West a rock'n'roll song ain't necessarily similar to a > rock'n'roll song. Am I saying this well enough? Do you know what I mean? > Yes. Music means different things to different people. I live in Hawaii, and it's the same thing. To the "untrained" ear, all Hawaiian music sounds the same, but it's the nuances that distinguish it, not it's breaking of musical boundaries. The growth of the music comes comparatively slower, not based on revolt, but on natural evolution. > I'm thinking in particular of the msuic of Mandinka griots whose songs are > so often very similar to one another, but they and the musicians don't > complain about lack of inspiration. I suppose they have a more socially > defined role and that people in the society have a greater awareness of > tradition (becasue music tends to be more of a community event or activity, > bound to everyday rituals and activities). What _is_ different is the > lyrical content (and this is where the griots' real power lies). When the > griot sings a new song, drawing on the political and social reality of the > time, he or she is making new music. The music which is played might sound > very similar to a song sung last week, but, because of the lyrical content, > it is considered (and so is) different. I don't know of this group, but it sounds simliar to music here as well. In Hawaii, most locals know the "standards", plus many of the newer songs. When a song is heard, everyone is singing the songs to themselves, and it means diferent things to that person at different times, depending on the circumstances. It's truly interactivity at it's purest form. > So, after all that, maybe I'm wrong when I slag off Philip Glass ("How many > arpeggios can you listen to in one sitting!?"). Not really, that's just your opinion which you have a god given right to. The key point is this: you must have a reason for your opinion, meaning you've thought about the music, not just reacted to it. A little wisdom from my music history professor. As long as you respect it and recognize it, that's all that's needed. > Any thoughts? (The ethnomusicologists are going to flame me!) > If they do, send 'em my way. I eat ethnomusicologists for lunch.... (ha ha, only kidding-I prefer them as appetizers) Paul ========================================================================= Date: Thu, 3 Aug 1995 12:04:32 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Morphing >Pick pick pick, but I'd call this crossfading, not morphing. The only two >boxes I've ever seen that actually morph anything are the Vortex and the >Emu Z-plane synths. (i) That's three boxes. (ii) MicroWave does wave interpolation. Do I get a prize? Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Success can be measured by only one thing: the hairs on the back of your neck." -- Twyla Tharp ========================================================================= Date: Thu, 3 Aug 1995 11:03:46 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: NEC_CEELY@FLO.ORG Subject: Re: Stuck in a rutt? Waddya do? CALL triple A and they'll send a tow truck. RPC ========================================================================= Date: Thu, 3 Aug 1995 13:41:14 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Alan Bookmiller Subject: SY-77 MY SY-77 has a high pitched tone emanating through the outputs and can be heard when recording. This has been the case since I bought it several years back. My efforts to solve the problem have been met with no success; Yamaha has said "...it meets all specs." Has anyone else had this problem and have you found a cure short of filtering or trying to equalize it away? Is anyone using the SY anymore? ========================================================================= Date: Thu, 3 Aug 1995 14:32:24 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Gus Alden Subject: Re: Stuck in a rutt? Waddya do? >On Thu, 3 Aug 1995, David Rodger asked: >> Is this a peculiarly Western thang that we need to be doing something >>new all the time? Paul LaVigne's response: >Probably. Western culture tends to feed off of a competetive energy, even >if it's challenging yourself. Hello Paul- Yes, it's the great thing about Western capitalism that it fuels this huge competitive engine, which has produced this fantastic technological revolution we are all part of, that not only has the ability to respond to our wants and needs, but simultaneously instills more wants and needs into us (i.e. the neverending longing for one more piece of gear). On a recent trip to Senegal (W. Africa), I found people dancing in the streets, and beating the same drums that they've been beating probably since the beginning of time. A saying that I heard there more than once went something like this: "In America, time is money; here, time is not money." When I'm feeling up against the wall without a clue, I try to remember that, and it helps me see things with a fresh perspective. On the other hand, one thing I came to more fully appreciate during my stay in Senegal was that rhythm is music's most basic foundation. Since then, it seems that I'm turning to drum patterns more & more for inspiration. When I feel stuck in a rut, I'll surf my way through the internet and yes, downloaded drum patterns have sometimes proven to be an open door for me. Continuing with David's train of thought: >> If you listen to the music of many non-Western cultures, >> you'll notice a similarity between different pieces. Of course the musical >> genre is the same, but the characters of pieces are often very similar, >> whereas here in the West a rock'n'roll song ain't necessarily similar to a >> rock'n'roll song. Paul's response: >Yes. Music means different things to different people. I live in Hawaii, >and it's the same thing. To the "untrained" ear, all Hawaiian music sounds >the same, Yeh, I would suppose it does, just as I would surmise that, to the 'untrained ear', all rock n' roll sounds the same. Which brings me back to the original question. What does one do when stuck in a rut? Well, this is a good time as any, wouldn't you say, to train your ear in an unfamiliar genre, for example, a 19-tone tuning table? $.02. -Gus Gus (curiously anxious) Alden ------------ aldenoob@biddeford.com ========================================================================= Date: Thu, 3 Aug 1995 14:30:00 MDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Curt B. Schatz" Subject: Re: Stuck in a rutt? Waddya do? >On the other hand, one thing I came to more fully appreciate during my stay >in Senegal was that rhythm is music's most basic foundation. Since then, it >seems that I'm turning to drum patterns more & more for inspiration. When I >feel stuck in a rut, I'll surf my way through the internet and yes, >downloaded drum patterns have sometimes proven to be an open door for me. I'm not sure if this is appropriate, but where on the Internet do you go to download drum patterns? Thanks! **************************************************************************** These are the thoughts of Curt B. Schatz and should not be mistaken for the thoughts of anybody else!!!!!!!!!!!!!!!!!!!!!!!! If you need me, I'll be.....................................surprised!!!!!!! Come on by---------------- http://thales.nmia.com:80/~cbs/ **************************************************************************** ========================================================================= Date: Thu, 3 Aug 1995 21:28:02 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Stuck in a rutt? Waddya do? >I wish I could have the luxury of carrying around a laptop to do my >sketching. Now *thats* the best of both worlds. :-) No it's not. Computers are vampyric. The most valuable addition to my studio this year cost me about $5: an A4 hardcover plain-paper sketchbook. I don't read or write music very well, but I just scribble diagrams of audio, track/chunk layout, effects routing, names for sounds, maybe some images, maybe some text, maybe just doodling. Paper calms the mind, I find; computers do the opposite. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Success can be measured by only one thing: the hairs on the back of your neck." -- Twyla Tharp ========================================================================= Date: Thu, 3 Aug 1995 21:27:36 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Stuck in a rutt? Waddya do? >There are pieces of music which don't inspire a wow, but which hold enough >interest to make you listen again. Repeated listenings enable you to >discover what is really there, and the satisfaction which comes from that >is, in my experience, more rewarding than a quick buzz! Yes, but for live performance, what you're after is the "wow." The music is not going to be heard again. My live music is different from anything I'd want to appear on disc. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Success can be measured by only one thing: the hairs on the back of your neck." -- Twyla Tharp ========================================================================= Date: Thu, 3 Aug 1995 18:15:36 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: RonG225zt@AOL.COM Subject: Re: My new piece and need spoken word >While you're doing this, have your friend listen to one or both of the >following albums: _X_ by Klaus Schulze (especially "Ludwig II von Bayern") >and _Slow Dance_ by Anthony Phillips. Both are extended compositions of >what I would term modern classical music, for traditional orchestra with >electronic accompaniment. In particular, I was only talking about the concert that we had attended. Not e-music in general. >>At first I picked a bunch of meaningless sample loops, but I wasn't thrilled >>by the way they came across. Also, they didn't give any meaning or direction >Sample loops aren't designed to give meaning, they're designed to let you >graft someone else's talent into your music as a sort of vampiric youth elixir. I wasn't talking about musical sample loops. I was looking for sounds in general. Talking, trains, clanging, who knows. I never found anything worthwhile so this whole direction was abandoned. >What I'm worried about is what you were doing editing OJ and Red Dwarf...8-\ Ok, well I never actually edited OJ. I was just using that as an example of the mindless/useless clutter that I collected off my TV. However, somebody suggested the Discovery Channel, which I didn't stop to tape at... Ron rong225zt@aol.com ========================================================================= Date: Thu, 3 Aug 1995 16:14:07 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Timothy Kelly Subject: Re: SY-77 hum Hi, I use all the SY's. Still use the 22 daily. Does this happen wherever and whenever you use the SY77. If happens in one place , could be line noise or ground loop hum. Especially if happens only when recording. Could be the power supply, or just a bad power chord, or bad audio out jack if happens everywhere. Have a tech check for a bad solder connection. As far as solid state boards are concerned that is the most common cause of audio hum. I would also write the president of Yamaha directly. If the best they can do is - its within specs, you should have gotten a whole other keyboard. The hum is not built in to all SY's. Good luck, Happy Hum hunting. Timothy Kelly MidiVox -- MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays. Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some Drums, Sing a Cello. Become a Human Sequencer, Human Vocoder, Human Breath Controller. AES "Best in Show." EM "Editors Choice." " MidiVox Roars." Keyboard. ========================================================================= Date: Thu, 3 Aug 1995 21:26:59 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Stuck in a rutt? Waddya do? >Is this a peculiarly Western thang that we need to be doing something new >all the time? Interesting question. Of course, I could argue that the pop-oriented music industry these days is not interested in anything new, but just more of each successful, pigeon-holed formula. Hey, I've watched MTV. (Once.) I'm definitely after the new and previously-unheard. It's deep-seated and fundamental to what I'm trying to do. Why? I don't know. Perhaps the drive of discovery. Perhaps a sense of competition with other musicians to sound distinctive in a crowded marketplace. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Success can be measured by only one thing: the hairs on the back of your neck." -- Twyla Tharp ========================================================================= Date: Thu, 3 Aug 1995 21:27:47 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Morphing > The Morpheus definitly can and does sound morph. Depends what you mean. It doesn't morph between samples, only filter parameters. 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, 4 Aug 1995 11:45:56 GMT+10 Reply-To: jason@normanby.general.monash.edu.au Sender: Electronic Music Discussion List From: Jason Park Organization: Monash Uni English Language Centre Subject: about proteus... Hello.. Does anybody know about Proteus series? please, tell me about it.. Is it good or not? and please, gvie me the spec and information all Proteus series, if you know. Thanks a lot...! ========================================================================= Date: Thu, 3 Aug 1995 22:56:11 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark Bostel Subject: Re: Morphing >> The Morpheus definitly can and does sound morph. > >Depends what you mean. It doesn't morph between samples, only filter parameters. > > 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 > > I agree with Nick. It's close, but no cigar. ========================================================================= Date: Fri, 4 Aug 1995 01:23:31 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Davvid Brooks Subject: Re: ESI-32 samples.. i transfered my emax 1&2 banks to the esi32. we can do this.! ========================================================================= Date: Thu, 3 Aug 1995 23:34:30 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Timothy Kelly Subject: Re: Morphing Hi All, The Morpheus not only morphs between sound A and sound B, say a flute and a trumpet, but sound morphs within any single patch. Most analog and digital synths playback a sound or sample through different kinds of filters before it reaches out ears. So as far as our ears are concerned, morphing between filters in the same or different sounds; is the same thing as morphing between the actual samples. We hear the sound after it has gone through the filters, or while it is going through the filters also, in the Morpheus design. The sounds our ears hear, is morphing and changing in real time, just like visual morphing in a sci fi movie. And real time sound changes is what sound morphing is all about. So, whether the Mopheus technology is actually morphing the samples or the filters, it doesn't matter. All that matters is the sounds one ends up with. Happy Sounds. Timothy Kelly MidiVox -- MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays. Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some Drums, Sing a Cello. Become a Human Sequencer, Human Vocoder, Human Breath Controller. AES "Best in Show." EM "Editors Choice." " MidiVox Roars." Keyboard. ========================================================================= Date: Fri, 4 Aug 1995 11:01:03 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Herbert Janssen Subject: Re: Morphing Hi, > >Pick pick pick, but I'd call this crossfading, not morphing. The only two > >boxes I've ever seen that actually morph anything are the Vortex and the > >Emu Z-plane synths. > > (i) That's three boxes. (ii) MicroWave does wave interpolation. > > Do I get a prize? Sorry Sir. The Microwave does *crossfade* between the waves. Easy to quick-check by setting up a wavetable with a waveform followed by its negative version: no sound in between. There's a nice little article on how it works on MIDI archives like ftp.cs.ruu.nl; written by Georg M"uller. Anyway: how about defining what audio morphing is before claiming it for synths. My suggestion: it's hype. Just like virtual analog, virtual guitar, composite synthesis or - some time back - AI and AI^2 synthesis. ciao Herbert ========================================================================= Date: Fri, 4 Aug 1995 11:24:49 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Marc Resibois Subject: Re: Morphing Herbert wrote: | Anyway: how about defining what audio morphing is before claiming | it for synths. My point of view is that there is now _LAW_ to describe morphing. The best way to describe it ( If there's one ;) is that you hear something going from one tone to another without being able to catch how the transition is done. Thus _CLEVER_ crossfade might be called so as _CLEVER_ filter interpolation or _CLEVER_ effect interpolation. The whole point is about the _CLEVER_ stuff ;) | My suggestion: it's hype. Just like virtual analog, virtual guitar, | composite synthesis or - some time back - AI and AI^2 synthesis. I think there were a lot of hype but now things are really moving. For example, I do not think that what is behind "virtual analog" ( thinking about the North Lead ) is a hype. As long as they can reproduce the analog feel using equations and model, the concept is there ( I do not say it is better - just from the tech point of vue ). There was a lot more hype some times ago while they where building synth the same way as ever, claiming it was a technological breakthrough. -+-> Marc. <100126,1007> ========================================================================= Date: Fri, 4 Aug 1995 12:53:09 +0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Uri Bruck Subject: Re: Morphing In-Reply-To: <9508040901.AA29601@dol.neuroinformatik.ruhr-uni-bochum.de> On Fri, 4 Aug 1995, Herbert Janssen wrote: > Anyway: how about defining what audio morphing is before claiming > it for synths. > My suggestion: it's hype. Just like virtual analog, virtual guitar, > composite synthesis or - some time back - AI and AI^2 synthesis. > > ciao > Herbert > Audio morphing is not hype, I can describe at least one process of audio morphing, which intuitively I would call THE process of audio morphing, however I can't be certain that it is the only method. Any morphing is achieved by changing parameters is samll steps between their value for object A and their values for object B An object may be a graphic, a sound, etc. In a graphic 2d morphing the parameters are the coordinates of all the end point that describe the figure. In order to morph we map each point in figure A to a point in figure B. The next step can described in more than way. I'll start with a mathematical description. Let obeject A be defined by the the vector (Xa1,Ya1,Xa2,Ya2,Xa3,Ya3....,Xan,Yan) where n is the number of points defining the figure. Similarly - let B be defined by the vector (Xb1,Yb1,Xb2,Yb2,Xb3,Yb3 .....,Xbn,Ybn) Now we have to pick the number of steps for the morphing, and for each parameter choose a function that will take it from its A value to its B value Xa1 morphs into Xb1 Ya1 morphs into Yb1 etc. The simplest morph is a linear morph. For a linear morph we first calculate the distance between the two figures this means that we divide the difference between the starting (a) value of each parametr and the ending (b) value oif each parameter by the number of steps, and use the result as as a constant increment per step. Other functions can be used, a different function for each parameter can be used. Relevance to music: Each sample can also be broken into parameters. By using Fourier Transform, any wave can be broken down into a bunch of sine waves. This should be done for both the starting waveform/sample, and the ending waveform/sample. The parameters for the wave would be the amplitudes for the each frequency. We have a starting a stariting amplitude and a an ending amplitude for each frequency. To morph the sound we need to do the same thing described above. Create intermediary steps to change each value in the A sample to the analogous value in the B sample. This can be done by dividing the morph time into short time-windows. The example I have seen used 5mili-second. This can get very high resolution morphing, but one loses the integrity of any frequency below 200 Hz. One possible solution is to do the morphing seperately for high and low freqeucy waves. In a manner similar to the one described earlier, the intermediate steps can be chosen according to any function. Just like in synthesizing - trial and error, experience etc. count for a lot. Forthis you would need either a dedicated machine, or a computer to handle the morphing. Uri Bruck bruck@actcom.co.il ========================================================================= Date: Sat, 5 Aug 1995 10:46:49 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Stuck in a rutt? Waddya do? Hi Gus, Yu've been to Senegal? I'm jealous as hell. :( :( :( > Well, this is a good time as any, wouldn't you say, to train your ear in an > unfamiliar genre, for example, a 19-tone tuning table? $.02. Is that an equally-tempered scale!? Regards, David musddr@lure.latrobe.edu.au ========================================================================= Date: Sat, 5 Aug 1995 11:11:05 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Stuck in a rutt? Waddya do? Hi rutt-bound folks... Nick said > Paper calms the mind, I find; computers do the opposite. I find that, with e-mail, the niceties and considered etiquette of snail mail, fly out the window. Perhaps some of us have become so accustomed to working with computers in our music and it's so fast working this way, that we have discarded paper (whether for the dots and lines or conceptual drawings or textual notes). Writing by hand is slower so allows you more time to plan. Anyone interested in this should read "The Metaphysics of Virtual Reality" by Michael Heim (1993). Thanks, Nick. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Sat, 5 Aug 1995 11:16:01 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Stuck in a rutt? Waddya do? Hi Nick... > I'm definitely after the new and previously-unheard. It's deep-seated and > fundamental to what I'm trying to do. Why? I don't know. Perhaps the drive > of discovery. Perhaps a sense of competition with other musicians to sound > distinctive in a crowded marketplace. OTOH, you've got to admit that certain artists (hacks!?) beat the crap out of the competition by sounding like everyone else. (Gee, I'm reminded of all those MT interviews of spotty teenagers who claim incredible originality in their techno music when it really _does_ sound like everyone else's.) Or those artists who only sound like themselves, aed infinitum. How amny times has Elton John made the same album? (Ooh, did _I_ say that!? :) ) Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Sat, 5 Aug 1995 00:23:14 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Gus Alden Subject: Re: Stuck in a rutt? Waddya do? I (Gus) said: >> When I feel stuck in a rut, I'll surf my way through the internet and >>>>yes, downloaded drum patterns have sometimes proven to be an open door for >>me. Curt Schatz replied: >I'm not sure if this is appropriate, but where on the Internet do you go to >download drum patterns? Thanks! Hello Curt- You may well be right. However, one of the freedoms I enjoy as an amateur is that I can do anything I want. Until I get my own set of drums and learn how to play them, this works for me. Ah, but would I be a happier man if I could have afforded to invite a Senegalese drummer back to the States with me! I was on AOL for awhile. Well, I inappropriately took advantage of the free hours they offer ;->. I found all kinds of midi files there, I think in the Entertainment Section, and amongst them were some (IMHO) very cool drum patterns. Also, there's a Usenet newsgroup (alt.binaries.sounds.midi) where uploaded midi files can be found. I'm still searching for more sources. By the way, I just got the feeling that this may be an inapproprate discussion for this particular discussion list. Joe, any comment? -Gus Gus (Curious) Alden ------------ aldenoob@biddeford.com ========================================================================= Date: Sat, 5 Aug 1995 10:30:50 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Morphing >>> The Morpheus definitly can and does sound morph. >>Depends what you mean. It doesn't morph between samples, only filter >parameters. > I agree with Nick. It's close, but no cigar. My point was that there *is* no cigar, since morphing only makes sense if one decides what the parameters are to alter. 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: Sat, 5 Aug 1995 10:31:40 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Morphing >Sorry Sir. The Microwave does *crossfade* between the waves. I was in the middle of typing in a humble, self-effacing apology until it suddenly occurred to me that actually I'm right. In terms of the interpolation of wavetable entries (which was what I was thinking of) it does indeed crossfade (i.e. interpolate sample-for-sample); I was mistaken there. My original statement - that the MicroWave *does* "morph" in some sense - is still true, due to the provision of algorithmic wavetables (UPAW's) in the v2.0 firmware. These provide parameterised generation of waves (using FM, waveshaping and so on) but with several degrees of load-time modulation to fill the virtual table with wave values. Sweep a wavetable and you sweep the parameter settings in effect. >Anyway: how about defining what audio morphing is before claiming >it for synths. See the other flame-fest, on a mailing list near you. At this stage we could argue that any synth which does PWM or ring-mod is morphing in some sense... 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: Sat, 5 Aug 1995 10:31:18 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Morphing >Hi All, Hi. > The Morpheus not only morphs between sound A and sound B, say a >flute and a trumpet, but sound morphs within any single patch. It doesn't "morph between sounds" in that sense; it can do crossfade between the samples/filters of its two-oscillator voice architecture. > So as far as our ears are concerned, morphing between filters in >the same or different sounds; is the same thing as morphing between the >actual samples. No it's not. For anything more than a single-cycle wave, the qualities of the sample data have an impact. Especially in the Morpheus which is still heavily ROM sample-based. > We hear the sound after it has gone through the filters, or while >it is going through the filters also, in the Morpheus design. We hear the sound while it is going through the filters also? What do you mean? > The sounds our ears hear, is morphing and changing in real time, >just like visual morphing in a sci fi movie. It's operationally analogous, and no more, since my UltraProteus at no time shape-shifts to look like a tiger or a Ferrari. the Morpheus uses filter program parameters as the reference points in the morphing operation. This is not "just like" visual morphing since in the former the sample data is unchanged. > So, whether the Mopheus technology is actually morphing the samples >or the filters, it doesn't matter. Yes it does. > All that matters is the sounds one ends up with. Oh, joy! We agree! 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: Sat, 5 Aug 1995 09:02:34 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Gus Alden Subject: Re: Stuck in a rutt? Waddya do? >> Well, this is a good time as any, wouldn't you say, to train your ear in an >> unfamiliar genre, for example, a 19-tone tuning table? $.02. >Is that an equally-tempered scale!? Not sure, David. Though I've messed around with it a bit, it's not my own creation. It came already programmed into my Proteus. But give me some time and I'll try to analyze it. But remember, you're talking to the ( ) who uses presets & downloaded drum patterns. It might be awhile before I'm able to figure it out. Whatever it is though, it works real well with flute patches. Regards, Gus Alden ------------ aldenoob@biddeford.com ========================================================================= Date: Sat, 5 Aug 1995 07:45:03 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Lorne Hammond Subject: Re: Stuck in a rutt? Waddya do? In-Reply-To: <199508050419.AAA25553@river.biddeford.com> Curt sources for midi/drum/interesting stuff/editors for synths (shareware). seems to be a good BBS in San Francisco 1-415-771-1788 I think it is s.f. midi users group or some such. don't know if they are on the net, must be somehow Lorne ========================================================================= Date: Sat, 5 Aug 1995 19:15:39 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: h a u s Subject: New Powers Music --- Online Zine Comments: To: AMO's Music Magazine , "Joe Germuska (Blink Magazine)" , "Jeff Kellem (Boston Music Zines)" , "Stephen Buckley (Capacity)" , "Christof Damian (DeRave)" , Dickson Christy , "Brendon Macaraeg (Dreampop)" , Escape from Noise , Fifth World , Erwin van der Zande , Hype , Media Maniacs , Music World III , Nexus , Richard Payne , The Universe Out There , Spontaneous Combustion , Sonic Boom , Sound Constructors , Sound Wire , "Erik Hornfeldt (z.mag@zine)" , Chico IN , Analogue Heaven , To the subscribers of daw-mac , Multiple recipients of list SYNTH-L , MUTE Czech , Jeff Ibsen , Al Ritchie , 10 Things , ARC Magazine , Axcess Magazine , Caffeine , Chaos Control E-Zine , Computer Music Journal , Lubo Pozgay , Eye , Front Magazine , Andy Jones , Nexus 6 , Andres Lokko , Reverb , Shift Magazine , Greg Clow , Street Sound Magazine , Strobe Magazine , The Unit Circle , Tiny Satyrs <160313@newschool.edu>, Zine #9 New Powers Music ----> http://www.io.org/~haus/Newpowers or can be accessed through the Electro-Body Cafe` found at http://www.io.org/~haus. Hey it's August 1995 and I hope you're all enjoying your summer. I've been chilling out and working on music articles. Among the new postings you'll find new and interesting discussions with Genesis P Orridge (from an article done for a new Toronto magazine you should all look for - Vanishing Point (it's free - like all the best things) Gen has news of his latest endeavor, The Process, and some theoretical possibilities for the 'net - the transcript will be posted later); Future Sound Of London (with news on their upcoming tv series Teachings From The Electronic Brain); articles on Bill Nelson, Massive Attack, Prick, Dasein, Instinct's SETI and a McLuhan-influenced statement on the DJ as Artist, which I wrote for a Toronto magazine into the arts & technology CyberStage (who will publish an article of mine on analogue sound - from synth-rock to the experimental tones of La Monte Young - don't miss it). You'll also find three of my Electronic Culture columns, with news from the techno, chill out and industrial scenes (including new releases from Touch and Staalplaat). And for you groovers out there check out my latest reviews from Exclaim's Slow Groove Nooze section. My regular genre listings and news will return by September. Please send me what you're interested in reading about at costan@fis.,utoronto.ca. My special order buying service is also available. You can subscribe for weekly updates of new import releases via fax, send wants and fax number to the above address. My next video show is at the Limelight Sunday August 20th (250 Adelaide W). Check out the video lounge from 11 - 2 am for Wax Trax! and related videos. Send me your address and I'll mail you free passes. -DJ New Powers --- 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: Sun, 6 Aug 1995 03:45:20 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Justin Hardison Subject: D.J.'s and musicians wanted!!!!! Comments: To: bvux.74b@prodigy.com, Synklavier@aol.com, SERAVES@american.edu, SAYmike@aol.com, Xgirl2727@aol.com, fiction8@rmii.com, br656@freenet.hsc.colorado.edu, SPROTHER@nyx.cs.du.edu, email@fringeware.com, Mymask1@aol.com, Mainline@netcom.com, bbum@friday.com Comments: cc: Julian@ares.csd.net, ritchie@vilas.uwex.edu, djeter@cs.utk.edu, undrwrld@gate.net, MelHAVOC@aol.com, AKIRA1407@aol.com O.K. The deadline has been slightly extended but this is the final call for all Musicians, D.J.'s, and publications interested in carrying their material in the 1995 Solar Vapor Catalog. This catalog will be distributed internationally and will also be promoted on the new Solar Youth web site currently under construction. Don't miss out on this chance to promote your talent around the globe. All deals are based on a consignment basis. If interested, contact Solar Youth direct A.S.A.P.!!!!!! To all of the individuals that we have already spoken to, please get your items in right away. Thanks again! S O L A R Y O U T H R E C O R D S------- P.O. Box 6391 Denver. Co. 80206-0391 (303) 634-4228 Contact: Justin Hardison ========================================================================= Date: Mon, 7 Aug 1995 14:49:54 +1200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tim Robinson Subject: Recording Can anyone recommend a reasonably priced machine to record onto audio cassette from my SK-50 organ (Via RCA standard stereo sockets). I've tried an ordinary stero tape deck and the results were pretty poor - tape speed was not stable enough. Tim Robinson, (tim@liro.fri.cri.nz) _ NZ Logging Truck Logging Industry Research Organisation, / | =|====|= =|====|= PO Box 147, Rotorua, New Zealand |_| =|====|= =|====|= Ph. 0064-7-3487-168 Fax. 0064-7-3462-886 OO~~~~~~OO~---OO~~~~OO ========================================================================= Date: Sun, 6 Aug 1995 23:35:53 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Blaine Young Subject: Re: SY-77 hum I had an SY77 for a few years. I had the same annoying hum in the output. It was like a dirty gritty unstable high-piched whine. It came from my headphone output and all four line outputs. For as much I loved the SY77 that was part of the reason I sold it and bought an SY85. Recently, I purchased probably the last new in the unopened box TG77s left for $850.00. Now I have all of my favorite sounds again. The TG77 doesn't seem to have the same problem. (BTW, I have created a sample library of around 100 floppy disks for SY85 using SDS from some Roland samplers. Anyone interested? Email me.) ========================================================================= Date: Sun, 6 Aug 1995 17:57:05 -1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul LaVigne Subject: Doin' somethin new In-Reply-To: <01HTPN7DU4AC90MUSO@LURE.LATROBE.EDU.AU> On Sat, 5 Aug 1995, David Rodger wrote: > Hi Nick... > > > I'm definitely after the new and previously-unheard. It's deep-seated and > > fundamental to what I'm trying to do. Why? I don't know. Perhaps the drive > > of discovery. Perhaps a sense of competition with other musicians to sound > > distinctive in a crowded marketplace. > > OTOH, you've got to admit that certain artists (hacks!?) beat the crap out of > the competition by sounding like everyone else. (Gee, I'm reminded of all > those MT interviews of spotty teenagers who claim incredible originality in > their techno music when it really _does_ sound like everyone else's.) Or > those artists who only sound like themselves, aed infinitum. How amny times > has Elton John made the same album? (I though I was the only one who thought that) Anyway, two of the greatest masters of the 19th century proved their genius in two completely different ways. Mozart took the established norms of the Viennese style, and worked them to it's fullest, without drastically breaking many boundaries. Tonality was becoming spent. Then Beethoven took over at the right time with the proper affliction, and began to stretch the rules. Maybe the revolutionaries *need* someone to first bore the public to death before they can move in ... BTW, speaking of Beethoven, has anyone seen "Immortal Beloved" yet? I want to know if it's worth renting when it comes on video. Paul ========================================================================= Date: Mon, 7 Aug 1995 04:03:37 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Sean Wolfe Subject: New adventure In sound Give Anything... Expect Nothing... Recieve Everything... the AKIRA project A new experiment in sound. For More Info E-Mail: Spindle303@aol.com ========================================================================= Date: Mon, 7 Aug 1995 01:21:37 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Herbert Janssen Subject: Re: Morphing Hi, sorry if people felt offended after my last mail - this was not my intention. First: I agree with Nick that the programmable wavetables on the Microwave can generate a "morphing" between spectra that is not a crossfade. So nothing against him getting a price - to the contrary: thanks for the hint, I will try to find out what I can do musically with this feature ;-) Now about the definition of "morphing". I think there are two ways (at least) one can be concerned with morphing: one is the preceptual resp. musical effect of one sound transforming into another one. Crossfading (i.e. changing the volume balance) between two timbres certainly is one way to achieve this, and it is one known for a long time (orchestration). However, crossfading isn't always convincing for a seamless change between timbres. For images AFAIK the term morphing was introduced after somebody found that defining relevant corresponding points in two images and interpolating not only the image intensity but the position of image features would generate a much better illusion than simple crossfading. This is the technical aspect: how is it done? IMO the best audio analogy to image morphing would thus be changing the formant frequencies *and* crossfading the underlying spectrum. But what about the temporal characteristics that are so important for timbral perception? I'm no expert on all this but if I understand Uri Bruck's mail correctly, there are people trying to find out what the technical possibilities and their perceptual effects are. What I criticize about the use of the term morphing with currently available audio products ("gear"), is that the term is used in a rather arbitrary way and probably has caused a lot of confusion about what morphing - in a technical and musical sense - could be. I'm not saying that the companies aren't making efforts or that there is no progression, I'm just trying to distuingish between marketing and hard facts. When I wrote that I consider audio morphing as hype, I was talking about the ads/reviews in some of the magazines I read, not about the concept in general or the efforts being made to realize it. I confess that my underlying assumption is that it is musically useful to know the technical aspects of sound and hearing rather than just be artistically inspired by diffuse wordings - especially if they are propagated by companies acting on the superficial music market. ciao Herbert ========================================================================= Date: Mon, 7 Aug 1995 08:32:02 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Caren Buffum Subject: Re: Also stuck in a rut... Comments: cc: synth-l@american.edu Hi, everyone. I'm stuck in a rut too, but it's not writer's block, it's buyer's block. I posted this request before, but maybe some of you missed it and I'm really in need of info. I need recommendations for a sequencing program for a PC w/8MB Ram running Windows 3.11connected to a KORG Concert 5000 MIDI keyboard. (I've gotten only a few responses and some good suggestions, but I'd really like to hear from more of you, especially any personal experience with the programs out there.) I'd like to be able to print out scores with it too. Some have suggested I get two separate programs if I want really good scores. Besides recommending the best software, can anyone tell me: if I use two separate programs, will I be able to print out on the scoring program whatever I create on the sequencing progra?. How compatable are different programs? Please, any help is greatly appreciated. Also, please E-Mail me directly as I'm not sure how much longer I'll be on this list. Thanks! Caren katnah@aol.com ========================================================================= Date: Mon, 7 Aug 1995 08:57:12 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Define Term (was Re: Morphing) Herbert Janssen said: > [...snip...] > However, crossfading isn't always convincing for a seamless change between > timbres. For images AFAIK the term morphing was introduced after somebody > found that defining relevant corresponding points in two images and > interpolating not only the image intensity but the position of image > features would generate a much better illusion than simple crossfading. > [...snip...] Please define AFAIK for me. Bill Fox wbf@aloft.att.com ========================================================================= Date: Mon, 7 Aug 1995 09:59:41 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pete Schoenhoff Subject: Re: Define Term (was Re: Morphing) In-Reply-To: <9508071257.AA02124@acropolis>; from "william.b.fox" at Aug 7, 95 8:57 am These are the graceful words of william.b.fox: ->> timbres. For images AFAIK the term morphing was introduced after somebody -> ->Please define AFAIK for me. "as far as I know" -- -Pete Schoenhoff _\|/_ pschoenh@pen.k12.va.us ========================================================================= Date: Mon, 7 Aug 1995 10:21:12 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pete Schoenhoff Subject: Re: Doin' somethin new In-Reply-To: ; from "Paul LaVigne" at Aug 6, 95 5:57 pm These are the graceful words of Paul LaVigne: ->Anyway, two of the greatest masters of the 19th century proved their ->genius in two completely different ways. Mozart took the established ->norms... ThenBeethoven took over.... Mozart: 1756-1791 = 18th Century Beethoven: 1770-1827 = 18th & 19th Century Sorry. Just trying to prevent confusion. :-) Thanks, -Pete Schoenhoff _\|/_ pschoenh@pen.k12.va.us ========================================================================= Date: Mon, 7 Aug 1995 08:22:33 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: My new piece and need spoken word In-Reply-To: from "Mark G Simon" at Aug 2, 95 02:11:51 pm Mark G Simon writes-- > >Aw gee, Mike, if I had known you were itching for a rant on this subject >I would have gladly stepped aside. Tellya what, next time it's all yours. Dashed good of you, old man. Knives don't rust through use, and all that. >I have vowed to get ahold of the Klaus Schulze and Anthony Phillips >records if I can. I will write in as soon as I do. I'm going to feel pretty damn st00pid if you don't like what you buy; you and I have demonstrated significant divergences in taste in the past, and _X_, in particular, is a very expensive import if you can find it at all. Maybe I could loan you my copies to listen to first or something. mike -- mike metlay * atomic city | .......one new telephone - a pressure cooker - a = atomic@netcom.com = | ventilator - four bars of chocolate - six pairs cd mailorder po box 81175 | of socks - a yellow clock - a pink ski shell - a pittsburgh, pa 15217-0675 | box of condoms - one baby leopard - a pot of jam or order from our website | - a safety pin - an iron - a red shoe - a camera http://pd.net/atomic-city | - one ton of peanuts - a black bra - a silver or via infinite illusions | fork - a typewriter - an electric train - three toll free: 1-800-548-6724 | tons of strawberriestrawberriestrawberries...... ========================================================================= Date: Mon, 7 Aug 1995 08:24:42 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: Meaningless Sample Loops In-Reply-To: <950803031145_129374399@aol.com> from "Dustin McIntyre" at Aug 3, 95 03:11:47 am Dustin McIntyre writes-- > >>>Sample loops aren't designed to give meaning, they're designed to let you >graft someone else's talent into your music as a sort of vampiric youth >elixir.<< > > This is a tad heavy handed. It depends who, what and where. No generalizations are 100% correct, but let's just say that I have yet to hear a convincing counterexample to my statement. mike (who has decided to let the morph thread drop ...) -- mike metlay * atomic city | .......one new telephone - a pressure cooker - a = atomic@netcom.com = | ventilator - four bars of chocolate - six pairs cd mailorder po box 81175 | of socks - a yellow clock - a pink ski shell - a pittsburgh, pa 15217-0675 | box of condoms - one baby leopard - a pot of jam or order from our website | - a safety pin - an iron - a red shoe - a camera http://pd.net/atomic-city | - one ton of peanuts - a black bra - a silver or via infinite illusions | fork - a typewriter - an electric train - three toll free: 1-800-548-6724 | tons of strawberriestrawberriestrawberries...... ========================================================================= Date: Mon, 7 Aug 1995 08:27:50 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: Stuck in a rutt? Waddya do? In-Reply-To: <01HTPM9Q2B3Q90MUSO@LURE.LATROBE.EDU.AU> from "David Rodger" at Aug 5, 95 10:46:49 am David Rodger writes-- > >> Well, this is a good time as any, wouldn't you say, to train your ear in an >> unfamiliar genre, for example, a 19-tone tuning table? $.02. > >Is that an equally-tempered scale!? If he's referring to an African scale, probably not, but the 19-tone scale I know of was actually popularized by Harry Partch. It was equally tempered, and had excellent thirds and fifths, as I recall. I programmed my Xpander for it as a hoot, some 8 years ago or so, but it's been a while. mike -- mike metlay * atomic city | .......one new telephone - a pressure cooker - a = atomic@netcom.com = | ventilator - four bars of chocolate - six pairs cd mailorder po box 81175 | of socks - a yellow clock - a pink ski shell - a pittsburgh, pa 15217-0675 | box of condoms - one baby leopard - a pot of jam or order from our website | - a safety pin - an iron - a red shoe - a camera http://pd.net/atomic-city | - one ton of peanuts - a black bra - a silver or via infinite illusions | fork - a typewriter - an electric train - three toll free: 1-800-548-6724 | tons of strawberriestrawberriestrawberries...... ========================================================================= Date: Mon, 7 Aug 1995 08:29:52 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: Stuck in a rutt? Waddya do? In-Reply-To: <199508050419.AAA25553@river.biddeford.com> from "Gus Alden" at Aug 5, 95 00:23:14 am Gus Alden writes-- > >Curt Schatz replied: > >>I'm not sure if this is appropriate, but where on the Internet do you go to >>download drum patterns? Thanks! > >By the way, I just got the feeling that this may be an inapproprate >discussion for this particular discussion list. Joe, any comment? I'm not Joe, but I count too. :) This is actually VERY appropriate material, but not for EMUSIC-L. Please move it over to SYNTH-L, where there's always room to discuss resources for loops, patches, SMFs, and so forth. And for God's sake, thanks for caring enough to ask! mike -- mike metlay * atomic city | .......one new telephone - a pressure cooker - a = atomic@netcom.com = | ventilator - four bars of chocolate - six pairs cd mailorder po box 81175 | of socks - a yellow clock - a pink ski shell - a pittsburgh, pa 15217-0675 | box of condoms - one baby leopard - a pot of jam or order from our website | - a safety pin - an iron - a red shoe - a camera http://pd.net/atomic-city | - one ton of peanuts - a black bra - a silver or via infinite illusions | fork - a typewriter - an electric train - three toll free: 1-800-548-6724 | tons of strawberriestrawberriestrawberries...... ========================================================================= Date: Mon, 7 Aug 1995 10:36:00 MDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Curt B. Schatz" Subject: Re: Doin' somethin new Paul wrote: >BTW, speaking of Beethoven, has anyone seen "Immortal Beloved" yet? I >want to know if it's worth renting when it comes on video. I have seen it. I don't know how accurate the story line is but I did find it very enjoyable. Gary Oltman(Oldman?) has really come into his own as a fine actor. BTW, it is available on video. **************************************************************************** These are the thoughts of Curt B. Schatz and should not be mistaken for the thoughts of anybody else!!!!!!!!!!!!!!!!!!!!!!!! If you need me, I'll be.....................................surprised!!!!!!! Come on by---------------- http://thales.nmia.com:80/~cbs/ **************************************************************************** ========================================================================= Date: Mon, 7 Aug 1995 10:15:22 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Timothy Kelly Subject: Re: Recording The Tascam 424 and any of the higher end 4 track cassette decks are amazingly clean and easy to use. ( $575 US. ) At the time I got mine, it was also the only 4 track cassete that would play a normal store bought or 2 track cassette. Better specs on these today than what the Beatles, Stones, and everyone else used in the 60's, and early 70's. I've also gotten very good results using one live with grand pianos and string quartets, guitar, vocal, demos, and MidiVox pieces. Happy Recording. Timothy Kelly MidiVox -- MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays. Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some Drums, Sing a Cello. Become a Human Sequencer, Human Vocoder, Human Breath Controller. AES "Best in Show." EM "Editors Choice." " MidiVox Roars." Keyboard. ========================================================================= Date: Mon, 7 Aug 1995 10:50:41 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: Stuck in a rutt? Waddya do? Gus Alden on the 19-tone scale: > creation. It came already programmed into my Proteus. But give me some time > and I'll try to analyze it. But remember, you're talking to the ( ) who If you can get your hands on a frequency counter and determine the frequency of 19 pitches in an octave, you can tell if they're equally tempered by checking to see if the frequencies increase by the 19th root of two. f1 * 2**(-19) = f2 where 2**(-19) ~= 1.037155044 Bill Fox wbf@aloft.att.com ========================================================================= Date: Mon, 7 Aug 1995 14:19:58 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: Meaningless Sample Loops Mike: > Sample loops aren't designed to give meaning, they're designed to let you > graft someone else's talent into your music as a sort of vampiric youth > elixir. Dustin: > This is a tad heavy handed. It depends who, what and where. Mike, again: > No generalizations are 100% correct, but let's just say that I have yet to > hear a convincing counterexample to my statement. Mike, may I safely assume that you are referring to loops from a sample disk or loops made from a lift off of another's work? If one creates a loop from scratch, i.e. not borrowed or stolen or used with permission, then that's a different situation than what I perceived you to say. May I safely further assume that this is OK in your opinion? After all, BANDWIDTH and BALLISTIC both seem to have loops (or repeated patterns) as far as I can tell. Please correct any and all faulty logic I may have spewed forth. > (who has decided to let the morph thread drop ...) Agreed. Bill Fox wbf@aloft.att.com ========================================================================= Date: Tue, 8 Aug 1995 12:33:55 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Doin' somethin new Hi Paul, about MOzart... IMO, _he_ wrote the same piece about 100 times! (Flamebait.) Honestly, I can only take him in small doses, though I;ve got to admit that Don Giovanni is a good romp! Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Mon, 7 Aug 1995 23:43:50 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark Hodgson Subject: "stuck in a rut" thread My US$0.02: try rhythmic (and not so rhythmic) white noise sources: waterfalls, trains, cicadas roaring, rain, wind in the trees, brooks, surf, etc., etc. O.K., only 3 of those have any kind of rhythm. The important point seems to be to present the senses with a wash of stimuli, and let the perceiver (read "composer" or "composer wannabe") pick and choose from it all (at some not-necessarily-conscious level). And, with the exception of the above comment, has anyone out there been keeping a coherent, non-redundant listing of the comments on this thread--or do I have to start cutting and pasting? It's made for interesting reading even for sometime-perusers of the digest like myself! ========================================================================= Date: Tue, 8 Aug 1995 00:49:53 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Meaningless Sample Loops In-Reply-To: <9508071819.AA05071@acropolis> from "william.b.fox" at Aug 7, 95 02:19:58 pm > Mike, may I safely assume that you are referring to loops from a sample > disk or loops made from a lift off of another's work? i If I may speak for myself, that's certainly how *I* feel about it. I have nothing against loops, as long as it's me who gets the credit or the blame. I believe this is Mike's angle as well. Stealing loops is bad. Richard Basehart is good. --- Joe M. ========================================================================= Date: Tue, 8 Aug 1995 01:08:04 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Gus Alden Subject: Re: Stuck in a rutt? Waddya do? I (Gus) said: >>> Well, this is a good time as any, wouldn't you say, to train your ear in an >>> unfamiliar genre, for example, a 19-tone tuning table? $.02. David Rodgers inquired: >>Is that an equally-tempered scale!? Mike Metley responded: >If he's referring to an African scale, probably not, but the 19-tone scale >I know of was actually popularized by Harry Partch. It was equally tempered, >and had excellent thirds and fifths, as I recall. I programmed my Xpander >for it as a hoot, some 8 years ago or so, but it's been a while. David, does this get me off the hook? I believe, from Mike's description, that the 19-tone scale that I've got here is the same thing that he is speaking of. And, I tell you, it is one hell of a hoot. Regards, Gus Alden ------------ aldenoob@biddeford.com ========================================================================= Date: Mon, 7 Aug 1995 19:35:24 -1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul LaVigne Subject: Re: Doin' somethin new In-Reply-To: <199508071421.KAA25800@pen1.pen.k12.va.us> On Mon, 7 Aug 1995, Pete Schoenhoff wrote: > These are the graceful words of Paul LaVigne: > > ->Anyway, two of the greatest masters of the 19th century proved their > ->genius in two completely different ways. Mozart took the established > ->norms... ThenBeethoven took over.... > > Mozart: 1756-1791 = 18th Century > Beethoven: 1770-1827 = 18th & 19th Century > > Sorry. Just trying to prevent confusion. :-) > Thanks, Thanks, I went goofy there. I hate this century system. It's 19xy, but the 20th century... go figure. Stupid one way-space time continuum. :-) Paul