========================================================================= Date: Fri, 29 Sep 1995 07:01:40 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Ronald S. Herhuth" Subject: Re: samples/overuse, repeat repete Hmmm...Isnt an Ultraproteus a sample based synth?? ========================================================================= Date: Fri, 29 Sep 1995 09:37:39 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: overuse cont'd... In-Reply-To: <199509290228.TAA18177@ix8.ix.netcom.com> from "Todd Eric Moore" at Sep 28, 95 07:28:16 pm > Crap! The synthesizer swells of Tom Sawyer still sound good dude! > It's your ears that are getting tired. The point is NOT that they don't sound good. The point is that the sound is inextricably linked with the song. Listeners will hearken back to Tom Sawyer when they hear them. This may not be what you want, but it still will happen. The argument is that for a composer who does not want to sound derivative, the sound is no longer a useful part of her or his compositional toolbox. --- Joe M., who really likes "Tom Sawyer" ========================================================================= Date: Sat, 30 Sep 1995 00:38:06 +0900 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Masayuki Okada Subject: M.E.S.A. Hi, I just bought a S2000 sampler by trading X2 in. Since I am strictly a beginner with this kind of gear, I can't possibly tell you what's the highs about this new lines but two points. 1. Pricing is exellent. 2. MESA comes with it for free. The price varies according to the goodies they got, but I think it is a bargen. (e.g. S3000XL, which replaces S3000, comes @189.000 yen, or $1.900. ) I bought my S2000 at $880 with 2mb on board. Masa Okada p.s. Now you don't have to waste your money on Akai's expensive memories. Instead, 4 or16mb SIMMs can do. I thought I could transplant a 8mb on my mac, but it seems I have to chop it into two 4mbs. Could I borrow your knife? I am not a karate kid. ========================================================================= Date: Thu, 28 Sep 1995 15:07:03 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: John Krikawa Subject: Re: EASE OF OVERUSE, ETC.... At 08:36 AM 9/28/95 -0500, you wrote: > >But there are less of us, and less of it. > > > But enough of us and it that there's definitely a niche. > God, this is getting cryptic... > > Joel Stern Ah, but keep it up. . .keeps the sightseers outta here. Weren't you all pleasantly surprised that EMUSIC-L was ommitted from EM's Oct 95 roundup of 'cool' music lists? SYNTH-L was included, however. -john JKRIKAWA@CCIT.Arizona.Edu ========================================================================= Date: Fri, 29 Sep 1995 14:47:08 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: ===>> FREE 1 yr. Magazine Sub sent worldwide- 300+ Popular In-Reply-To: <950929113002_32441170@emout06.mail.aol.com> from "James Snipes" at Sep 29, 95 11:30:03 am > > E-MAIL: JJJJJJJ@AOL/COM > > S-Mail: James Snipes > 51000 Mott rd. Suite 94 > Canton MI. 48188 > Oh for heavens sake. James. please do NOT support these assholes in making every goddam corner of the net into a screaming bazaar. You'll get a better deal subscribing directly to the magazine. Second, posting your mailing address on a public Internet forum is very ill-advised. Who KNOWS who is reading this? Get a PO box. It's safer for you and your equipment. Third, the mailing address is faked. There's no point in replying direct. Fourth, DON'T REPLY TO THE LIST with private transactions. Sorry. The exhibition of gullibility combined with not listening to or understanding all the effort I put in to keep this crap OUT combined with SUPPORTING it... yargh. --- Joe M. ========================================================================= Date: Fri, 29 Sep 1995 15:01:39 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Wise, Dale" Organization: National Law Center Subject: Re: Spammers geting smarter I don't want to sound silly, and its not that important, but what's a spammer. Just curious. -DTW ========================================================================= Date: Fri, 29 Sep 1995 14:31:02 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: crap? normally i don't rise to this kind of bait, but this struck me as more than usually out of place, here. "crap"? did i say that tom sawyer didn't sound good, "dude"? did i say that i was tired of it? did i even say that i wouldn't use that sound? no. i said (rather rhetorically, i admit) the sound was "dead" as far as new composition went. that particular tone is now easily and thoroughly identified. to use it is to invoke its associations. is that clearer? btw... joel, thanks for your reply. that was a very cogent exraction, and i think captured something i was trying to get at very well. ========================================================================= Date: Fri, 29 Sep 1995 17:57:28 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "H.J. Craver" Subject: Re: Electronic Music Composition Course Syllabus Please keep me informed by e-mail if the course materials are available online. I have unsubscribed from the Electronic music mailing list (gone too much to keep up) but I would be interested in such a course. Thanks. ========================================================================= Date: Fri, 29 Sep 1995 14:55:00 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter Mueller Subject: FW: Spam Haiku ---------------------------- Forwarded with Changes --------------------------- From: mikeh@atl.com at @UCSD Date: 9/26/95 2:18PM To: peter mueller at UCSDLIBRARY Subject: FW: Spam Haiku ------------------------------------------------------------------------------- > > >In light of recent traffic in re: SPAM on the list, I thought the following >(thoughtfully sent me by the chair of our Engl. dept. here) might hit the >spot at the end of the week. > >Bob Kaster >(r-kaster@uchicago.edu) >================== > >two questions: > >1) What is a haiku? >2) What is spam? > >Answer to #1 >hai.ku \ 'hi = (.) ku:\ n An unrhymed Japanese poem of three lines >containing 5,7 & 5 syllables respectively. > >Traditionally a haiku should refer in some way to one of the seasons but, >I've also been told that it can describe any one thing. In this case spam. >So the answer to question #2 is available to you this morning in haiku form >only. > > >A collection of SPAM Haiku > > > >Pink tender morsel, > >Glistening with salty gel. > >What the hell is it? > >--------------------------------------------------------------------------- > >Ears, snouts and inards, > >A homogeneous mass. > >Pass another slice. > >--------------------------------------------------------------------------- > >Cube of cold pinkness > >Yellow specks of porcine fat. > >Give me a spork please. > >--------------------------------------------------------------------------- > >Old man seeks doctor. > >"I eat SPAM daily", says he. > >Angioplasty. > >--------------------------------------------------------------------------- > >Highly unnatural, > >The tortured shape of this "food": > >A small pink coffin. > >--------------------------------------------------------------------------- > >Sliding from the can > >Fully saturated fat > >Makes me want to wretch > >--------------------------------------------------------------------------- > > > > > > ========================================================================= Date: Fri, 29 Sep 1995 10:48:38 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: overuse cont'd... (In a TV announcer's voice:) Previously on EMUSIC-L... > will happen. The argument is that for a composer who does not want to > sound derivative, the sound is no longer a useful part of her or his > compositional toolbox. > > --- Joe M., who really likes "Tom Sawyer" I think that Joe has a good point here. But let's say, for example, that I like that filter sweep so much that I want to use it without sounding so derivative. What's a composer to do? What if I use a differntly shaped control voltage, either by changing the envelope shape, using a totally different control source, or a summation of multiple control sources? Will this make it sound less derivative or has "Tom Sawyer" effectively eliminated _all_ filter sweeps from my composers toolbox? Bill Fox wbf@aloft.att.com ========================================================================= Date: Fri, 29 Sep 1995 14:14:24 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: samples/overuse, repeat repete Previously, on EMUSIC-L... > Is a good instrument one which can give you the sound that's in your head, > or one which puts a new sound there instead? (Hey, I like that.) > Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com To answer your question, Nick; in my opinion, yes! ;-) Bill Fox wbf@aloft.att.com ========================================================================= Date: Fri, 29 Sep 1995 20:45:54 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Todd Eric Moore Subject: Re: Spammers geting smarter You wrote: > >I don't want to sound silly, and its not that important, but what's a >spammer. Just curious. > >-DTW > Someone who posts a message to the wrong USENET group. For example, some who post messages on business opportunities to the EMUSIC group which is for the discussion of electronic musical instruments. If people are not flamed for such behaviour, then there would be no use for discussion groups. We might as all well post one large usenet. Try reading about 50,000 plus messages a day when you are only interested in 1 topic - like electronic music instruments. ========================================================================= Date: Sat, 30 Sep 1995 08:11:17 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter K Schoenhoff Subject: Re: Spammers geting smarter In-Reply-To: <199509300345.UAA09158@ix7.ix.netcom.com>; from "Todd Eric Moore" at Sep 29, 95 8:45 pm These are the graceful words of Todd Eric Moore: ->>I don't want to sound silly, and its not that important, but what's a ->>spammer. Just curious. ->Someone who posts a message to the wrong USENET group. ->For example, some who post messages on business opportunities ->to the EMUSIC group which is for the discussion of electronic ->musical instruments. A spammer is also a *program* which is designed to post a message (often a business message) to many multiple groups, (most of which are not interested in the message.) -- -Pete Schoenhoff _\|/_ pschoenh@pen.k12.va.us ========================================================================= Date: Sat, 30 Sep 1995 08:17:38 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter K Schoenhoff Subject: Re: samples/overuse, repeat repete In-Reply-To: <9509291814.AA02135@rosalind>; from "william.b.fox" at Sep 29, 95 2:14 pm These are the graceful words of Roth Nickwell -> Is a good instrument one which can give you the sound that's in your head, -> or one which puts a new sound there instead? (Hey, I like that.) -> Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com As long as I have been subscribed to this group, never has a question made me just sit and stare and ponder, *knowing* I wouldn't come up with an answer. How very "Zen" of you, Nick :-) If an instrument puts a sound in your head, and there's no one there to hear it.... -- -Pete Schoenhoff _\|/_ pschoenh@pen.k12.va.us ========================================================================= Date: Sat, 30 Sep 1995 10:37:58 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Todd Eric Moore Subject: Re: Spammers geting smarter You wrote: I understand that. I just got a 'mindless' Spam from a political group on my music reader. > >These are the graceful words of Todd Eric Moore: > >->>I don't want to sound silly, and its not that important, but what's a >->>spammer. Just curious. > >->Someone who posts a message to the wrong USENET group. >->For example, some who post messages on business opportunities >->to the EMUSIC group which is for the discussion of electronic >->musical instruments. > > A spammer is also a *program* which is designed to post > a message (often a business message) to many multiple > groups, (most of which are not interested in the message.) > >-- > -Pete Schoenhoff _\|/_ pschoenh@pen.k12.va.us > ========================================================================= Date: Thu, 14 Sep 1995 00:26:55 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: isor Subject: cliche sounds In-Reply-To: a while back where was a very informative discussion on over used sounds. so i have a question in relation. What do all you people thing of the use of sound bites (samples) in music. I'm not referring to loops or samples of 'music' but say something like "I am not a number" from the prisoner. (never watched it myself). In all honesty i think some (ok -many) "dance-industrial" people use them in breaks in the music just because it is the kool thing to do or because there is just a hole in the 'music.' So back to the real issue. What types of samples or specific samples have been overused or should not have been used. I myself think they can be a usefull and enhancing 'vehicle' within the music but if you believe they are all just useless please voice your oppinion and tell me. I'm not one to be offended by different opinions, just please tell me why. thanks a million - love eric allen seale ========================================================================= Date: Wed, 13 Sep 1995 23:54:23 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Eric Sluyter Subject: Re: Help for Electronic Music Project Research In-Reply-To: Futureman's "kit" is a Drumitar, by Synthaxe, and I believe Synthaxe is produced in England, if that might be of any help to you. Incidentally, after admiring Bela and the Flecktons on record for years, I finally had the privilage of seeing them perform two weeks past at Seattle's annual musical extravaganza, "Bumbershoot". Yikes! Oh, and Futureman added another trigger to his arsenal. Various sized round pads mounted on a V-shaped body, about three feet from head to tail, suspended on a stand. He hit it, only occasionally, to trigger some twisted vocal sample. One thing more: Bela's bango is now MIDIed. --=[ E r i c I a n S l u y t e r ]=-- 2021 4th Avenue #405, Seattle, WA 98121-2421 email: bc492@scn.org telephone: (206)728-7145 On Wed, 13 Sep 1995, Spamboy wrote: > I don't know if this will help you, but the "drummer" of Bela Fleck and > the Flecktones plays a guitar-like MIDI drum set that fits the > description of your invention exactly. I hope I didn't ruin your day. > Maybe the guy who invented that could help you. Bela records on Warner > Brothers records. > > Randy Budnikas * * * * * * * * * * * * * * Randy@isaac.biola.edu > 8182 Glengarry Green *SPACE MONKEY ENTERPRISES * 714-522-BITE > Buena Park, CA 90621 * * * * * * * * * * * * * * fax/modem:714-522-6323 > > > On Tue, 12 Sep 1995, Urip Wisnuardi wrote: > > > > > > > > > > > I am new MUSPRF-L discussion list subscriber and hope to get any help > > from anyone who are interested with my project. > > Actually, I have designed and built MIDI Percussion Controller in portable > > shape (something like guitar/banyo ). so I can play this instrument look > > like the guitar player. I have tried every music style such as Jazz, Country > > and Rock well. > > > > However, I need to doing research to improve the methods of arranggement of > > finger position and develop the layout of pads (touch sensitive sensors ). > > My background was bacheloor of Electrical Enginnering but I would like to > > doing research in School of Music (Master graduate program ) because the > > point is performance and how to play it. > > > > Anyone who give me suggestion or email/adress of departement of music that > > interested with my project will be appreciated. I am ready to videograph > > my performance upon request. > > > > URIP WISNUARDI > > 2410 10th Street. #2 > > Lubbock, TX 79401 email : z8k13@ttacs.ttu.edu > > > ========================================================================= Date: Wed, 13 Sep 1995 16:38:47 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: ease/use...snobbery...emusic crit 0. this post constitutes a bit of a test. new mailing software, dontchya know. 1. metlay said something about the jd800 being difficult? did i get this right? i am, of course, a jd800 advocate, but i think that even if i weren't i wouldn't understand how one could find the instrument difficult. all those sliders? i mean, direct access to all critical parameters... that's what we all want, right? i must have misread... please elaborate. on the other hand, i have to say that, from the instructor's perspective i have discovered that, while it certainly seems open and intuitive to *me*, the modular moog is one of the most imposing devices my students ever come across. i think it has to do with the necessity to think the whole thing out. in any other instrument the bulk of the patching has been done for you, and you have limited options. for many people, especially beginners, more choices simply means more confusion. as to where i personally stand on the usability issue... well, i have no stance. cost/benefit (impenetrability/extremity of noise) is an evaluation i make independently for every instrument. i have several instruments that i find a drag to program, but that i keep because they a particularly worthwhile set of sounds. some of them i spend little time actually tweaking, some of them i just force myself to sit down and deal with every now and then, because i know that i can get out of the box (away from the conventional) pretty quickly with the device. in the latter category, i include particularly the K5, a fourier synthesizer with way too damn many envelope parameters and an invariably machine-like sound. i love it. i hate it. i rarely touch it. but when i do, it never winds up sounding like a chiff flute or epiano. it buzzes, honks, gets up your nose. it's worth it. and maybe for something like that i'd like a computer editor... but that's about how bad it has to get before i would prefer one (and believe me, it's bad. the K5 has absolutely the worst editing system i've ever worked with. while on the envelope screen, it takes up to 10 keypresses just to get from a segment in one envelope to a different segment in a different envelope). it's alot like windows programs. the mouse is cute, but any operator will tell you that once you've got the keystrokes down you can move at least twice as fast. so, personally i'll put up with alot for an interesting sound (i'd gladly exchange body parts for a microwave... i've played with them, and know how silly the interface is... but wheee!! what a sound), but by the same token i do tell my students that one of the rational criteria for purchasing an instrument is how long it takes you to get a standard effect out of it (like the lowpass filter sweep), when encountering it cold. if it's a standard acrhitecture, it should take about 2 minutes. if it takes more than 5, the OS truly sucks. 2. just to weigh in, here. yeah, the midivox ad sig is too long. tighten it up a bit, willya? or do what metlay's started doing (a reasonable compromise, i think)... putting a pointer to info in sig one-liner. purely an esthetic response, mind you... i don't really have strong feelings on the subject. but the flame against it was unbelievably snobbish. who the hell says, either that music education has nothing to do with us, or that there's only one valid pedagogy? sheesh. 3. one of the things i like about emusic is that, for the most part, its criticism is comparitively unpretentious. for some odd reason (i think they either ran out of adjectives or took too damn many courses in postmodern theory, in which "the text" is the only universe of discourse), rock critics stopped talked about music (beyond "it rocks" or "it sucks" or trying to evoke weird combinatory similes like "imagine spinal tap with william buckley in drag on lead bongos") and started bulking out their writing with analysis of the *writing*, of all things. as if anyone actually listens to the lyrics. (yeah, yeah, i know we do, but you know what i mean... i don't buy or reject most [repeat, most] music on the basis of the lyrics). in emusic, this is pretty much a moot point. and the music is still different enough that serious critics of it don't have a meaningless stock vocabulary to pass it off with (with the possible exception of the new age/space categories, which seem to be getting thin analysis these days). so when people talk about it, they pretty much actually *talk* about it... in terms of affect, effect, technique, and so on. of course, it's difficult, which is why this group spends so much time on what amounts to easier discourse: straightforward gearheadedness and simple questions. but i still think that we start from a somewhat different place, and tend to share in general a preference for meaningful communication on our topic. hmmm. it just occurred to me that maybe we should make free verse the standard of expression on this group. i mean, after all, once you get past the hardware, how else do you say anything meaningful about the nature of experience? and i think most of us are here because we find something about the *experience* of emusic that we want to share. ok, that's it... everyone please submit your queries and reviews in haiku from now on. <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 ========================================================================= Date: Thu, 14 Sep 1995 14:26:34 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Boris Baskevitch Subject: Re: Help for Electronic Music Project Research In-Reply-To: Your message of "Thu, 14 Sep 95 01:00:23 EDT." You wrote about MUSPRF-L, what kind of list is that ? How do I subscribe ? I'm also doing so development on electronic music, there was a discution on this list about the CAN network, my research are still going, i'm currently on the prototyping phase, but the way is long to get a final product... If you're interested in talking about that, just ask ! Boris... ========================================================================= Date: Thu, 14 Sep 1995 15:37:16 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: use/ease...snobbery...emusic crit -1. if this is a repeat, my apologies. just delete it. see #0 below. 0. this post constitutes a bit of a test. new mailing software, dontchya know. 1. metlay said something about the jd800 being difficult? did i get this right? i am, of course, a jd800 advocate, but i think that even if i weren't i wouldn't understand how one could find the instrument difficult. all those sliders? i mean, direct access to all critical parameters... that's what we all want, right? i must have misread... please elaborate. on the other hand, i have to say that, from the instructor's perspective i have discovered that, while it certainly seems open and intuitive to *me*, the modular moog is one of the most imposing devices my students ever come across. i think it has to do with the necessity to think the whole thing out. in any other instrument the bulk of the patching has been done for you, and you have limited options. for many people, especially beginners, more choices simply means more confusion. as to where i personally stand on the usability issue... well, i have no stance. cost/benefit (impenetrability/extremity of noise) is an evaluation i make independently for every instrument. i have several instruments that i find a drag to program, but that i keep because they a particularly worthwhile set of sounds. some of them i spend little time actually tweaking, some of them i just force myself to sit down and deal with every now and then, because i know that i can get out of the box (away from the conventional) pretty quickly with the device. in the latter category, i include particularly the K5, a fourier synthesizer with way too damn many envelope parameters and an invariably machine-like sound. i love it. i hate it. i rarely touch it. but when i do, it never winds up sounding like a chiff flute or epiano. it buzzes, honks, gets up your nose. it's worth it. and maybe for something like that i'd like a computer editor... but that's about how bad it has to get before i would prefer one (and believe me, it's bad. the K5 has absolutely the worst editing system i've ever worked with. while on the envelope screen, it takes up to 10 keypresses just to get from a segment in one envelope to a different segment in a different envelope). it's alot like windows programs. the mouse is cute, but any operator will tell you that once you've got the keystrokes down you can move at least twice as fast. so, personally i'll put up with alot for an interesting sound (i'd gladly exchange body parts for a microwave... i've played with them, and know how silly the interface is... but wheee!! what a sound), but by the same token i do tell my students that one of the rational criteria for purchasing an instrument is how long it takes you to get a standard effect out of it (like the lowpass filter sweep), when encountering it cold. if it's a standard acrhitecture, it should take about 2 minutes. if it takes more than 5, the OS truly sucks. 2. just to weigh in, here. yeah, the midivox ad sig is too long. tighten it up a bit, willya? or do what metlay's started doing (a reasonable compromise, i think)... putting a pointer to info in sig one-liner. purely an esthetic response, mind you... i don't really have strong feelings on the subject. but the flame against it was unbelievably snobbish. who the hell says, either that music education has nothing to do with us, or that there's only one valid pedagogy? sheesh. 3. one of the things i like about emusic is that, for the most part, its criticism is comparitively unpretentious. for some odd reason (i think they either ran out of adjectives or took too damn many courses in postmodern theory, in which "the text" is the only universe of discourse), rock critics stopped talked about music (beyond "it rocks" or "it sucks" or trying to evoke weird combinatory similes like "imagine spinal tap with william buckley in drag on lead bongos") and started bulking out their writing with analysis of the *writing*, of all things. as if anyone actually listens to the lyrics. (yeah, yeah, i know we do, but you know what i mean... i don't buy or reject most [repeat, most] music on the basis of the lyrics). in emusic, this is pretty much a moot point. and the music is still different enough that serious critics of it don't have a meaningless stock vocabulary to pass it off with (with the possible exception of the new age/space categories, which seem to be getting thin analysis these days). so when people talk about it, they pretty much actually *talk* about it... in terms of affect, effect, technique, and so on. of course, it's difficult, which is why this group spends so much time on what amounts to easier discourse: straightforward gearheadedness and simple questions. but i still think that we start from a somewhat different place, and tend to share in general a preference for meaningful communication on our topic. hmmm. it just occurred to me that maybe we should make free verse the standard of expression on this group. i mean, after all, once you get past the hardware, how else do you say anything meaningful about the nature of experience? and i think most of us are here because we find something about the *experience* of emusic that we want to share. ok, that's it... everyone please submit your queries and reviews in haiku from now on. <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 ========================================================================= Date: Thu, 14 Sep 1995 10:41:19 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Eric Sluyter Subject: BRAIN WAVE MUSIC Hi, all, Two or three days ago (can't remember, exactly: braim danage), I caught most of a broadcast on National Public Radio, when they were discussing the positive effects of music instruction and auditing on the higher brain functions. They included a few seconds of a recording of a computer's interpretion and musical realization of the brain's activities. Would anyone out there in Listland happen to know where I mind find a recording of said or similar recording(s)? Thanks in advance, --=[ E r i c I a n S l u y t e r ]=-- 2021 4th Avenue #405, Seattle, WA 98121-2421 email: bc492@scn.org telephone: (206)728-7145 ========================================================================= Date: Thu, 14 Sep 1995 11:01:00 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Eric Sluyter Subject: FUTUREMAN'S GEAR It was late last night when it attempted to post regarding the above, and I have reason to believe I sent it to the Phantom Zone, rather than this list. If not, please forgive the double posting. The instrument in question is dubbed the "Drumitar" and is manufactored by Synthaxe, an English company, I believe. I recently had the pleasure of seeing/hearing the Flecktones perform at Seattle's annual "Bumbershoot" music festival. In addition to the Drumitar, Futureman sporatically hit a pad on another instrument. In this case, it triggered some weird vocal sample. I would describe the instrument as (come to think of it) a Startrek insignia, turned on its side. A beautiful wood finish, and about 3 1/2 feet in length. A dozen or so round pads from one to several inches in diameter. Gotta run... --=[ E r i c I a n S l u y t e r ]=-- 2021 4th Avenue #405, Seattle, WA 98121-2421 email: bc492@scn.org telephone: (206)728-7145 ========================================================================= Date: Thu, 14 Sep 1995 13:25:12 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ken White Subject: Re: rp-1 manual I did the same with another digitech piece, and I just called digitech, asked if there was any way to get a manual. The girl there photocopied the manual and mailed it to me FREE. I couldn't believe it. I'll be loyal to them forever now. Anyway, call them (I can't remember if they have an 800 number, but I think I got the town name off the equipment, and called information to get a number.) >Hello. I recently picked up a Digitech RP-1 in a pawn shop, but it >didn't have the manual with it. Anybody know where I can pick one up? > >Thanks > >sarrowoo@email.unc.edu > > ========================================================================= Date: Thu, 14 Sep 1995 01:37:22 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: me Subject: Re: D-110 initialization, etc. >"D_GM.EXE," a self extracting file which contains: > D_GM.MID (GM setup file) > D_R_ELEC.MID (GM rhythm setup file) > D_R_STND.MID (GM rhythm setup) > D_R_ORCH.MID (GM rhythm setup) does anyone know if these are available anywhere? if i read this correctly, these will set up older equip (like the d-110) to be more GM compatible. that sounds like what a lot of folks would find handy. i also own an alesis d4 drum module that is anything but gm friendly. ....andy ------------------------------------------------------- andy mcdonough at&t bell labs (908)957-6674 abm@mtispan.att.com Date: 09/14/95 Time: 01:37:22 ------------------------------------------------------- This message was sent by me and not a Newt or Chameleon. ========================================================================= Date: Thu, 14 Sep 1995 16:23:50 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Baron Garth Subject: new web site On September 14, 1995 IN:EMUSIC-L@AMERICAN.EDU wrote to Baron Garth ... I> Original Sender: Greg Loveria -snip- I> ......I've got a web site comimg on-line that will be explaining I> advanced audio and video recording procedures, but in the most I> basic of terms for the benefit of all, in the very near future. I> Anyone that would like can email me and I'll put them on the mailing I> list for the announcement of the http and ftp addresses. I'm interested Greg. thanx for the post.. Baron Garth barongar@uswinfo.com ... MBase 3.7 ========================================================================= Date: Thu, 14 Sep 1995 18:13:48 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Matthew Witten Subject: Re: BRAIN WAVE MUSIC In-Reply-To: from "Eric Sluyter" at Sep 14, 95 10:41:19 am I don't know exactly the realization you mention, but I published an article on this subject in 1991. It is an interesting problem but not impossible to program into CSound or something like that. Matthew > > Hi, all, > > Two or three days ago (can't remember, exactly: braim danage), I caught > most of a broadcast on National Public Radio, when they were discussing > the positive effects of music instruction and auditing on the higher > brain functions. > > They included a few seconds of a recording of a computer's interpretion > and musical realization of the brain's activities. > > Would anyone out there in Listland happen to know where I mind find a > recording of said or similar recording(s)? > > Thanks in advance, > > --=[ E r i c I a n S l u y t e r ]=-- > > 2021 4th Avenue #405, Seattle, WA 98121-2421 > email: bc492@scn.org telephone: (206)728-7145 > -- ---------------------------------------------------------------------- Matthew Witten Computational Medicine, Public Health, and Biotechnology Group IOG, University of Michigan Ann Arbor 300 N. Ingalls Ann Arbor, MI 48109-2007 Office: (313) 936-2102 Fax: (313) 936-2116 Email: wittenm@umich.edu ------------------------------------------------------------------------ ========================================================================= Date: Thu, 14 Sep 1995 19:05:11 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: h a u s Subject: TRANCE MISSION CONCERT ANNOUNCEMENT Comments: To: nec@u.washington.edu, Sonic Verse magazine , Multiple recipients of list SYNTH-L , Waldorf Users , Jeff Ibsen , Eye , John Jones CFNY TRANCE MISSION CONCERT ANNOUNCEMENT If you love the sound of the aboriginal instrument the didgeridoo then you won't want to miss the Toronto appearance of San Francisco's Trance Mission featuring Stephen Kent (formerly of Lights In A Fat City). Kent is the best didg player I've heard, so check him out at The Horseshoe (370 Queen St W) on Sunday October 1st. You may know Kent's collaboration with author/theorist Terence McKenna & the techno group Spacetime Continuum on the amazing "Alien Dreamtime" performance video/CD (from Astralwerks/Caroline). Trance Mission will be a three piece (didg, percussion and synths) and their 1995 release "Meanwhile..." is as good a tribal-ambient disc as Lights In A Fat City's excellent 1988 debut "Somewhere" (both releases on City Of Tribes label, distributed in Canada by Serendipity). Only 300 tickets for Trance Mission are available for $10 plus service charge at the following stores: Record Peddler, Rotate This, Vortex (Queen W), X Static (162 John), Earwax (162 John) and Omega Center (29 Yorkville). The performances start with Toronto's "Ron Korb and Kappa Band" at 9 pm (doors open at 8:30pm). More info contact: COSTAN@FIS.UTORONTO.CA --- 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: Thu, 14 Sep 1995 23:27:45 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark Bostel Subject: Re: sound-to-sample, PC > I use a 486 PC with Soundblaster's AWE_32 (value edition), and I want >to be able to take wav files and make them into usable samples (presumably >by making them *.sbk files and loading them as instrument banks). I have all >the files to do this: creative wave studio, jesus villena's sound file >conversion program, and two bank managers. But I always get a "fluttery" >tremolo effect in the sounds. Is this just a bad conversion program, or do >I need to change the sample rate before I convert? Does anybody out there >know what the problem might be? > Morgan Ellington Smith > > Mark sez... I am probably way off here (cos its too obvious?) but I often get this when sds-ing to my akai S2800 and it's simply cos I've got an LFO set on by default. I've yet to work out what I'm doing wrong because I know how to fix it quickly (by turning the LFO assignment off). Your problem is probably a lot more complicated ... or not! ========================================================================= Date: Fri, 15 Sep 1995 07:45:42 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: TRANCE MISSION CONCERT ANNOUNCEMENT In-Reply-To: <199509142308.TAA02659@io.org> from "h a u s" at Sep 14, 95 07:05:11 pm Sounds great - post us a review, for those of us who can't be there. --- Joe M. ========================================================================= Date: Fri, 15 Sep 1995 08:58:08 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Macalester College Music Department Subject: Re: BRAIN WAVE MUSIC In-Reply-To: "Your message dated Thu, 14 Sep 1995 18:13:48 -0400" <9509142213.AA18959@umaap.macalstr.edu> > I don't know exactly the realization you mention, but I published > an article on this subject in 1991. It is an interesting > problem but not impossible to program into CSound or something > like that. > > Matthew > > > > Hi, all, > > > > Two or three days ago (can't remember, exactly: brain damage), I caught > > most of a broadcast on National Public Radio, when they were discussing > > the positive effects of music instruction and auditing on the higher > > brain functions. > > > > They included a few seconds of a recording of a computer's interpretion > > and musical realization of the brain's activities. > > > > Would anyone out there in Listland happen to know where I mind find a > > recording of said or similar recording(s)? > > > > Thanks in advance, > > > > --=[ E r i c I a n S l u y t e r ]=-- > > > > 2021 4th Avenue #405, Seattle, WA 98121-2421 > > email: bc492@scn.org telephone: (206)728-7145 > > > > > -- > ---------------------------------------------------------------------- > Matthew Witten > Computational Medicine, Public Health, and Biotechnology Group > IOG, University of Michigan Ann Arbor > 300 N. Ingalls > Ann Arbor, MI 48109-2007 > Office: (313) 936-2102 > Fax: (313) 936-2116 > Email: wittenm@umich.edu > ------------------------------------------------------------------------ For clarity I have included the above postings. I believe I can add something to this. About 15 years (perhaps more) ago, David Rosenboom was doing work on Alpha wave-generated sound. At that time, I believe he was on a faculty in Canada, seems to me it was McGill. Last I heard of him he was at Mills College in California, but the CMS directory no longer lists him. I hope I have the correct name, in any case, I don't believe I am not too far off. There were some recordings made, one of which I had. If I can locate it I will add that in one more brief posting. A request to the Music Librarians Association list might also turn up material. At the time of this work, bio-feedback techniques were receiving much attention, and it is possible that this general interest sparked some work on musical applications. In any case, going from an A-wave monitor through an A-D converter would certainly allow one to use MIDI these days, with perhaps interesting results. The inherent unpredictability of the process is probably one reason why this never became generally used. Some of my students tried it with fair success when it first became general knowledge, but in those days we simply stayed within analogue formats, and it worked just fine. With appropriate amps, one could get some interesting results, even using voltage control to run filters and such on various analogue synths. I will post info on that recording right away if I can locate it. As to your specific question on computer realizations of printouts, there is the work done by Charles Dodge, and released on a vinal called Earth's Magnetic Field (came out on Nonsuch, I think). There have been others. regards +-----------------------------------------------------------------------+ + Ed Forner Macalester College Music Department + + forner@macalstr.edu voice (612) 696-6189 + +-----------------------------------------------------------------------+ ========================================================================= Date: Fri, 15 Sep 1995 11:11:48 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Crandall Subject: Hacking old MIDI keyboards/microcontrollers Comments: To: Discussion of interactive music/multimedia Here's a couple of questions relating to using MIDI for automation, interactive installation, etc. First, I'm ultimately looking for an elegant solution to taking analog triggers (voltages, switch closings, etc. from optical/motion sensors) and using them to trigger MIDI, but in the meantime, wouldn't mind a quick & dirty means of experimenting. It's occurred to me that I might get an old, fixed-velocity keyboard and wire into the key contacts to generate MIDI from closed circuits. Anybody tried this? Any boxes I should avoid/seek out, etc.? In the same vein, I have a Casio FZ-1 with a key that is putting out decidedly less velocity than the other notes, and even sounds like there's a bit of a delay when I hit the key. Any advice or sources of info on *literally* "getting into keyboards?" The other question concerns microcontroller chips. Everybody seems to have a favorite: Troika ranch uses one, Dan O'Sullivan mentions several, PAVO equipment is based on yet another. Is there a source of info that compares these chips as to capabilities/ease of programming, or would anybody like to share horror/success stories? Thanks in advance. dcrand1@gl.umbc.edu ========================================================================= Date: Fri, 15 Sep 1995 08:56:36 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Shawn T. Rutledge" Subject: Re: Hacking old MIDI keyboards/microcontrollers In-Reply-To: from "David Crandall" at Sep 15, 95 11:11:48 am > The other question concerns microcontroller chips. Everybody seems to > have a favorite: Troika ranch uses one, Dan O'Sullivan mentions several, > PAVO equipment is based on yet another. Is there a source of info that > compares these chips as to capabilities/ease of programming, or would > anybody like to share horror/success stories? Check out the microcontroller faq at http://www.ba-karlsruhe.de/automation/ctrl/microFAQ/ No comment on which would work best for a keyboard...I guess since there are more keys on a keyboard than inputs on any micro, you're going to need multiplexing (ie decode an address for every 8 keys if you want simple on/off, or more inputs if you want velocity, perhaps 2 addresses for 8 keys) and you need something to generate the MIDI. I was reading about the 68HC16 the other day... it's very fast, and has nice timers. It was intended for automotive applications. It strikes me the timers would be useful for generatign the MIDI signals directly, but then, lots of micros have timers. What I'm thinking is that all you need is 2 or so pins on the micro which you can toggle on and off at will, and the optocoupler circuit for isolation, and the rest could be done in software. But timing is important; you need to scan all the keys on the keyboard, and change the levels on the midi port, at regular intervals; a timer for each task which brings the micro out of sleep mode when you need to do each of these might work. -- _______ KB7PWD @ N7MRP.AZ.US.NOAM shawn.rutledge@asu.edu (_ | |_) html: http://enuxsa.eas.asu.edu/~rutledge/home.html __) | | \__________________________________________________________________ * alternative energy * RISC * X window * ham radio * mad science * Linux * ========================================================================= Date: Fri, 15 Sep 1995 10:28:47 PDT Reply-To: dunn@intellicorp.com Sender: Electronic Music Discussion List From: dunn@INTELLICORP.COM Subject: Re: TRANCE MISSION CONCERT ANNOUNCEMENT In-Reply-To: <199509151145.HAA26475@clark.net> I've seen different configurations of this team, and the kent-1 with D'Cuckoo, and say GO! casey ========================================================================= Date: Fri, 15 Sep 1995 22:49:26 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ed Shurtleff Subject: Files Conversion This fall I started a course in Electronic Music and MIDI at my local University. I have just found out that it is all conducted using MAC equipment and software. I believe there are programs available to allow reading of MAC-style disks (or at least to convert MIDI files) on DOS/Windows computers, but haven't connected with the right faculty people yet to help me. If any of you know of such ( PD, freeware, shareware preferably, otherwise cheap) will you please let me know names and sources. Thanks in advance! BigEd ========================================================================= Date: Fri, 15 Sep 1995 11:26:03 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Music Librarians Association list Ed Forner said: > There were some recordings made, one of which I had. If I can locate > it I will add that in one more brief posting. A request to the Music > Librarians Association list might also turn up material. Please tell me about the Music Librarians Association list. Can they help me locate certain LPs? Bill Fox wbf@aloft.att.com ========================================================================= Date: Sat, 16 Sep 1995 14:49:03 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: quicky midi control first, don't kill me if this is still ugly. i'm working on it. in fact, i just may repost my last thing, since it was so unreadable, it that's ok. anyway... the alesis d4 drum module has 12 trigger inputs, that can take anything from a mic signal to a simple voltage pulse. when it accepts the signal, it not only responds with the programmed drum sound, it also generates the assigned midi keyon event, with velocity dependent on the strength of the trigger signal, mapped to a programmable scaling function. in other words, the d4 is probably the most straightforward trigger-to-midi converter i've ever seen, and it also makes good sounds for the same buck. for triggers, hit radio shack and pick up a bunch of $2 piezo impact sensors. they come as little plastic discs with two dangling wires. attach a 1/4 inch plug to those wires, and you've got a velocity-sensitive trigger source to plug into the d4. cheap. fun. what i want to do is attach the sensor to a djembe or a dumbek, postprocess the midi data to map velocity to key number, and mic the drum at the same time, so that the resultant sound is of a manually played drum mixed with triggered samples selected by the strength of the drum strokes. <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 ========================================================================= Date: Sat, 16 Sep 1995 13:19:33 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Crandall Subject: Re: Files Conversion In-Reply-To: <199509160549.WAA09282@calweb.calweb.com> On Fri, 15 Sep 1995, Ed Shurtleff wrote: > I believe there are programs available to allow > reading of MAC-style disks (or at least to convert MIDI files) on > DOS/Windows computers... As far as I know, it's the other way around. Macs will read PC disks through PC Exchange, but PC's don't read Mac disks. Although if I'm wrong, I'll be glad to hear it... ========================================================================= Date: Sat, 16 Sep 1995 22:19:48 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Uri Bruck Subject: Re: Files Conversion In-Reply-To: On Sat, 16 Sep 1995, David Crandall wrote: > As far as I know, it's the other way around. Macs will read PC disks > through PC Exchange, but PC's don't read Mac disks. Although if I'm > wrong, I'll be glad to hear it... > Actually there are such programs. Mac-In-Dos is one of them. Seen it in PC Magazine a coupl'a years back. It read,writes and formats Macintosh diskettes. Uri ========================================================================= Date: Sat, 16 Sep 1995 13:37:42 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dave Rosborough Subject: Re: Files Conversion >> I believe there are programs available to allow >> reading of MAC-style disks (or at least to convert MIDI files) on >> DOS/Windows computers... > >As far as I know, it's the other way around. Macs will read PC disks >through PC Exchange, but PC's don't read Mac disks. Although if I'm >wrong, I'll be glad to hear it... Yes, one option would be to use the macs at your school to copy the midi files onto a PC-formatted disk (just change the filename to end with ".mid")... But I'm quite sure there is a shareware program that allows you to read Mac disks on PC's... anyone know what it is called? If I find it's name, I'll let you know... DaveR ========================================================================= Date: Sat, 16 Sep 1995 16:45:07 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Robert Gibson Subject: Max Mathews Lecture The Department of Music of the University of Maryland at College Park is pleased to announce that Professor Max Mathews of Stanford University will present a lecture entitled "The Beginnings of Computer Music at Bell Labs" as part of the department's Lectures in the History and Theory of Music series. Prof. Mathews will speak at 3:00 PM on October 16, 1995 in Room 2154 of the Tawes Fine Arts Building. The lecture is free and open to the public. Bob Gibson ---------------------------------------------------------------------------- --Robert Gibson Department of Music Associate Professor University of Maryland Theory and Composition College Park, MD 20742 (301) 405-5611 rg8@umail.umd.edu ========================================================================= Date: Sat, 16 Sep 1995 23:08:47 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Prophecy Think of this as an EMUSIC-L topic rather than a SYNTH-L one: Proposition: for a musician wanting just one synthesiser, the Prophecy would be ideal. 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, 16 Sep 1995 18:29:54 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter K Schoenhoff Subject: Re: Files Conversion In-Reply-To: ; from "David Crandall" at Sep 16, 95 1:19 pm These are the graceful words of David Crandall: ->On Fri, 15 Sep 1995, Ed Shurtleff wrote: -> ->> I believe there are programs available to allow ->> reading of MAC-style disks (or at least to convert MIDI files) on ->> DOS/Windows computers... ->As far as I know, it's the other way around. Macs will read PC disks ->through PC Exchange, but PC's don't read Mac disks. Although if I'm ->wrong, I'll be glad to hear it... Everything I've read posted here on the subject so far is correct. Programs are available on Macs to read and write MS-DOS disks. Programs are available for PC's to read and write Mac Disks. Also, I believe that the Macintosh "Power PC" series can do both without additional software - it has both a Mac and a PC motherboard and processor, so both are easily possible. Note - I'm note positive that A Mac MIDI file and a PC MIDI file are identical (except for the .MID tag...) I think there are other differences, such as the graphic tag on a Macintosh which identifies it as a MAC application file or a PC general file. PC's don't recognize that data. Then again, I may be wrong ... :-) -- -Pete Schoenhoff _\|/_ pschoenh@pen.k12.va.us ========================================================================= Date: Sat, 16 Sep 1995 18:50:55 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Rande Dager Subject: Re: Files Conversion I happen to own a Power Mac 7100 and it does NOT handle PC software without additional software such as Soft Windows by Insignia Solutions or an additional card. RND ========================================================================= Date: Sat, 16 Sep 1995 18:50:55 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Rande Dager Subject: Re: Prophecy What is the Prophecy? ========================================================================= Date: Sat, 16 Sep 1995 18:54:22 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: KeithCross@AOL.COM Subject: CAKEWALK w/SR-16 Just got an Alesis SR-16 drum machine that I'm trying to use with Cakewalk for Windows (v2.0). I can't seem to get any MIDI data from the SR-16 to be recognized by Cakewalk. I can play back sequences fine but can't record anything. I've tried all the various MIDI settings and can't get anything to work. I assume it should be set for DRUM OUT -ON, DRUM IN -ON. I've tried using OMNI mode as well as individual MIDI channels but nothing works. Cakewalk doesn't receive the SR-16's SYSEX data either. I'm able to send and receive from my keyboard without a problem so my midi card (MQX-32M) seems to be working OK. If anybody has any suggestion please let me know. WHAT AM I DOING WRONG?? ========================================================================= Date: Sat, 16 Sep 1995 16:42:06 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Lorne Hammond Subject: Re: Files Conversion In-Reply-To: Ous university uses mac-link and I can put files on a pc-formatted disk inserted into a mac. It does add some mac finder files etc. but i just delete them. Not interested in macs generally. lorne ========================================================================= Date: Sun, 17 Sep 1995 10:26:14 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Uri Bruck Subject: File conversions - Mac & Windows and never the twain shall meet Rudyard Kipling ---------- Forwarded message ---------- Date: Thu, 31 Aug 1995 12:37:35 CHT From: Patricio Mason To: Multiple recipients of list LANTRA-L Subject: Re: MacLink (Windows and Mac) On Thu, 31 Aug 1995, Christopher Kronen wrote: > >Does anyone know about the Windows equivalent of MacLink? > >I'm looking for any utility that will allow me to read > >Mac disks and CD-ROMs on Windows PC. > > > I know of three utilities that might be of interest: 1)MacAccess (US $39.95), 2) > Mac-In-DOS for Windows (US $99.95) and 3)Conversions Plus (US $94.95). 1.You can also try Mac-ette 3.0, a shareware utility -a simple executable file- you can download for free from any well-stocked Mac archive. It will read Mac floppies in a PC. 2.The thing is called MacSEE. Ask you software vendor for it. (US$ 39) ========================================================================= Date: Sun, 17 Sep 1995 03:24:00 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Trish O'neil Organization: NWCS Online * Oregon USA * 503-655-3927 Subject: Files Conversion B>From: Ed Shurtleff B>To: Multiple recipients of list EMUSIC-L B>Date: Fri, 15 Sep 1995 22:49:26 -0700 B>Subject: Files Conversion B> B> This fall I started a course in Electronic Music and MIDI at B>my local University. I have just found out that it is all conducted B>using MAC equipment and software. I believe there are programs B>available to allow reading of MAC-style disks (or at least to convert B>MIDI files) on DOS/Windows computers, but haven't connected with the B>right faculty people yet to help me. If any of you know of such ( B>PD, freeware, shareware preferably, otherwise cheap) will you please B>let me know names and sources. Thanks in advance! B> BigEd Macs will read PC files if you set it up to in PC-exchange on thee Mac (If the Macs are new enough....) Then you save the file on a DOS formatted disk. If the Mac is older and won't do that, there are programs that will do it- I used a program called MacSee, which translated files back and forth, and would recognise a Mac-formatted floppy and get the file- I still had to save them in MIDI format, but it did work (we were on Mac SE's at school. This year we get System 7 and pc exchange should take care of it. If you need MacSee, e-mail me and I'll dig up the address and phone... --- * CMPQwk 1.4 #313 * File not found,I'll load something *I* find interesting. ========================================================================= Date: Sun, 17 Sep 1995 09:07:44 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jason Rumohr Subject: Re: Hacking old MIDI keyboards/microcontrollers In a message dated 95-09-15 14:45:14 EDT, David Crandall writes: > I have a Casio FZ-1 with a key >that is putting out decidedly less velocity than the other notes, and even >sounds like there's a bit of a delay when I hit the key. Any advice or >sources of info on *literally* "getting into keyboards?" Sorry, I don't know any sources of info to help you. From your post, you seem to have much more knowledge on synths in general than I. I just recently read about someone with the same problem with one of the keys on their keyboard. The response they got was to replace the keypad that the key strikes. You probably already know that, but thought I'd mention it anyway. ========================================================================= Date: Sun, 17 Sep 1995 09:03:36 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jason Rumohr Subject: Re: Files Conversion In a message dated 95-09-16 02:13:18 EDT, BigEd writes: > I believe there are programs available to allow >reading of MAC-style disks (or at least to convert MIDI files) on >DOS/Windows computers, but haven't connected with the right faculty people >yet to help me. If any of you know of such ( PD, freeware, shareware >preferably, otherwise cheap) will you please let me know names and sources I have seen such a program called MacSee. I believe it is shareware. I THINK I remember seeing it for about $35 (don't quote me though). I would imagine that most major online services would have such a thing, if not MacSee specifically. Check local BBSs too. I took a class once using Macs, and there was a program on the Mac that allowed the reading of PC files. I think it was called the Apples Exchange, and seemed to be an integral part of the Mac (ie, not a 3rd party program). Good luck! ========================================================================= Date: Mon, 18 Sep 1995 12:25:43 BST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: jpff@MATHS.BATH.AC.UK Subject: RFD: Reorganisation of comp.music Comments: To: max@vm1.mcgill.ca, smt-list@husc.harvard.ed.ac.uk, daw-mac@netcom.com, synth-l@american.edu Message written at 16 Sep 1995 14:34:27 +0100 This is a revision of an earlier proposal. It includes comp.music.research, but also a reorganisation of comp.music. ------------------------------------------------------------------------ REQUEST FOR DISCUSSION This proposal is to reorganise comp.music into three groups, all with worldwide distribution. One is moderated and the other two unmoderated. The general reason for the proposal is that the original charter for comp.music was for research, but the growth in personal computers with sound cards has led to a large increase in volume, and a lack of descrimination. This proposal aimed at rectifying this situation. Summary: ======= Group name: comp.music.research comp.music.midi comp.music.misc Status: moderated unmoderated unmoderated Distribution: worldwide worldwide worldwide The proposed summaries and reasons for the split are given below. GROUP NAME: comp.music.research Summary: Discussion of the use of Computers in Music Research and Music Composition Proposed by: John ffitch This is a request for discussion (RFD) about creating a new moderated Usenet newsgroup, comp.music.research. This RFD will be cross-posted to news.announce.newgroups news.groups comp.music rec.music.makers.synth rec.music.compose bit.listserv.emusic-l alt.emusic and the mailing lists Music-Research Digest (Music-Research@comlab.ox.ac.uk) csound (csound@maths.ex.ac.uk) pcsound (pcsound@maths.bath.ac.uk) ICMA (icma@umich.edu) SOUND (SOUND@acm.org) Algorithmic Composition (algo-comp@heinous.isca.uiowa.edu) Smallmusic list (smallmusic@xcf.berkeley.edu) MAX list SMT Digital Audio Workstation emusic-l@american.edu synth-l@american.edu Please post any responses to this message in news.groups; Follow-ups have been set accordingly. CHARTER comp.music.research is a moderated newsgroup for discussion of the uses on computers in any aspect of research into music, including composition, analysis, synthesis and sound generation. It also includes music representation systems, information retrieval systems for musical scores, music printing (but not commercial advertising) and computer-based musicology and ethnomusicology. It is a forum to ask questions, share information, and to announce new results. It is expected that the information may be used by the Music-Research Digest for their mailing list. RATIONALE The news group comp.music was originally intended as a forum for Computer Music Research, but the rapid growth in availability of MIDI and multimedia personal computers, together with the number of sites who do not take rec.music.makers.synth has meant that for many months over 90% of postings within that group have related to the use of computers to make music rather than research in such subjects. This dilution has led to the reearch community leaving the group, and the growth in specialist mailing lists. By creating this new news group we wish to provide a publically available single resource. It will not replace the mailing lists, but complement them in a more general context. The creation would leave comp.music as a home for general music playing on computers, including MIDI and synthesiser equipment. The group needs to be moderated at least intitally to maintain the separation of topic from comp.music. MODERATION POLICY Jeff Harrington has volunteered to be the moderator, with John Fitch as backup moderator. Both are participants in many of the mailing lists mentioned above. The purpose of moderation is to maintain the focus of the group on research issues and to prevent dilution with other computers-and-music material which properly belongs elsewhere. ------------------------------------------------------------------------ GROUP NAME: comp.music.midi Summary: Discussion of the use of Computers as controllers and components in MIDI music systems. Proposed by: John ffitch CHARTER: An unmoderated group for the discussion of all aspects of MIDI and computers, including selection of equipment, organisations and control of synthesisers. RATIONALE: As a consequence of the proposal for comp.music.research there needs to be a replacement for comp.music. The majority of the current traffic could losely be called MIDI based, and so the proposal is to create this group to reflect this usage. ------------------------------------------------------------------------ GROUP NAME: comp.music.misc Summary: Miscenalleous Discussions of the use of Computers in Music, not covered by comp.music.midi or comp.music.research. Proposed by: John ffitch CHARTER: A general group for the discussion of an aspect of computers related to music. It is expected that the other two more specialist groups will carry the bulk of the traffic. ========================================================================= Date: Mon, 18 Sep 1995 09:50:56 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: casio keys sorry if this is redundant: the casio probably uses the little rubber squishy pads that come into contact with intertwined circuit traces on the board, closing the circuit between them when the key goes down. first, just try cleaning the surface og that pad. i've revived several keyboards just by giving those pads a good swipe. if that doesn't work, then it's time to replace 'em. yes, by the way, this would account for the delay... if the contact is intermittent, then the circuit might not close at the time you get the key down, but would eventually kick in as small motions of your hand either slide the pad into a good spot or finally squish it down enough to get some coverage on those traces. ========================================================================= Date: Mon, 18 Sep 1995 11:24:14 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Shawn T. Rutledge" Subject: Re: Files Conversion In-Reply-To: <950917090334_101528403@emout04.mail.aol.com> from "Jason Rumohr" at Sep 17, 95 09:03:36 am > In a message dated 95-09-16 02:13:18 EDT, BigEd writes: > > > I believe there are programs available to allow > >reading of MAC-style disks (or at least to convert MIDI files) on > >DOS/Windows computers, but haven't connected with the right faculty people > >yet to help me. If any of you know of such ( PD, freeware, shareware > >preferably, otherwise cheap) will you please let me know names and sources > > I have seen such a program called MacSee. I believe it is shareware. I THINK You sent this message to the wrong person - JIC you want to resend it... must have been replying to a USENET posting; you have to be careful that it sends to the original poster; if you reply to a followup it goes to the person that did the followup. Also the one about hacking keyboards. -- _______ KB7PWD @ N7MRP.AZ.US.NOAM shawn.rutledge@asu.edu (_ | |_) html: http://enuxsa.eas.asu.edu/~rutledge/home.html __) | | \__________________________________________________________________ * ham radio * freedom of information * PIC * fusion * SunSparc * ARS * ========================================================================= Date: Mon, 18 Sep 1995 19:52:59 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Todd Eric Moore Subject: Re: CAKEWALK w/SR-16 You wrote: > >Just got an Alesis SR-16 drum machine that I'm trying to use with Cakewalk >for Windows (v2.0). > >I can't seem to get any MIDI data from the SR-16 to be recognized by >Cakewalk. I can play back sequences fine but can't record anything. I've >tried all the various MIDI settings and can't get anything to work. I assume >it should be set for DRUM OUT -ON, DRUM IN -ON. I've tried using OMNI mode as >well as individual MIDI channels but nothing works. Cakewalk doesn't receive >the SR-16's SYSEX data either. > >I'm able to send and receive from my keyboard without a problem so my midi >card (MQX-32M) seems to be working OK. > >If anybody has any suggestion please let me know. WHAT AM I DOING WRONG?? > Can you draw a map of how you have everything hooked up. I would suspect you need to do the following: Midi Interface <- Input - > Keyboard <- Output -> Keyboard <- Thru on keyboard -> D4 I believe the MXQ has two outputs, if so go to Cakewalks Output and makes sure it is highlited. ========================================================================= Date: Tue, 19 Sep 1995 19:29:56 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: samples/overuse, repeat repete --- appropriateness of sound samples, overused sounds in general --- i see the use of recognizable samples, especially of speech, as having a couple of layers of meaning in current electronic music. first, it seems to be the audio equivalent of the MTV editing effect... really rapid flashes of image/sound that suggest a certain idea or feeling by the fact and sequence of their presentation, deliberately bypassing the analytic filters in your perceptual system. second, there is the notion of explicit commentary... juxtaposition of supporting or contradictory information to make a point, like perhaps quoting one of Bush's "kindler, gentler..." soundbites in a song about urban violence. third, there is just humor. "i am not a number" was meant as a profound statement in its context, but seems a bit pompous or naive viewed from certain angles, and thus funny. further, the show that it comes from was at the same time a little eery and quite a bit of a hoot, because it was so thoroughly odd. using the sample recalls that for the listener, and perhaps even induces a laugh. all of which is to say that i can't think of a reason not to use such a sample, if you think it works. even gratuitousness has purpose, if it's the effect you're looking for. as for overuse, i am of two minds. one of the things i've been trying to stress recently, in thinking, teaching, and writing about emusic, is that it is a full-fledged idiom. it has a history, and a tonal vocabulary. why should one necessarily mind the re-use of a synthesizer tone, when no-one complains about the prevalence of the stratocaster in performances of the blues, for instance? is it that synth voices are inherently less rich than other instrumental sounds, and thus more quickly boring or fatiguing? is it that the music is so uninteresting that the audience must have a compensating breadth of tonal variation among compositions? rather, i think the synthesizer suffers from a phenomenon of its own creation, that people's expectations of electronically generated sound are that it should always be something they haven't heard before. but, as i said before, emusic is an idiom. the lowpass filter sweep constitutes a 'lick' for this kind of music. the sampled orchestra hit has the familiarity of an old shoe. ok, so an old smelly shoe. at the same time, i am one who frequently rants about overused sounds on commercials and such, so i guess i have to decide on what i mean by "overused", since i clearly am a defender of unoriginality. just off the top of my head, i guess i would consider a sound overused it if it is used not only frequently but inappropriately or lazily. for instance, the "digital native dance" on the D50 actually sounds kind of nice at the opening of Miles Davis' "Amandla", but for the life of me i couldn't figure out what it was supposed to connote in the car commercial. or just using the M1 epiano over and over again, without any tweaking whatever, or any thought as to whether it is even really what one ought to use... "oh, a newage-ey kinda feel? yeah sure... we gotchyer piano and flute ensemble right *here*..." (rude gesture). this is getting too long. let someone else mumble on the topic a little bit, and then i'll come back to it. rerepost: ----- ease of use, snobbery, emusic crit ------ -2. o.k., so i'm compulsive. but i suspect that very few people read this the first couple of times i sent it, since it was so illegible. here it is again again... -1. if this is a repeat, my apologies. just delete it. see #0 below. 0. this post constitutes a bit of a test. new mailing software, dontchya know. 1. metlay said something about the jd800 being difficult? did i get this right? i am, of course, a jd800 advocate, but i think that even if i weren't i wouldn't understand how one could find the instrument difficult. all those sliders? i mean, direct access to all critical parameters... that's what we all want, right? i must have misread... please elaborate. on the other hand, i have to say that, from the instructor's perspective i have discovered that, while it certainly seems open and intuitive to *me*, the modular moog is one of the most imposing devices my students ever come across. i think it has to do with the necessity to think the whole thing out. in any other instrument the bulk of the patching has been done for you, and you have limited options. for many people, especially beginners, more choices simply means more confusion. as to where i personally stand on the usability issue... well, i have no stance. cost/benefit (impenetrability/extremity of noise) is an evaluation i make independently for every instrument. i have several instruments that i find a drag to program, but that i keep because they have a particularly worthwhile set of sounds. some of them i spend little time actually tweaking, some of them i just force myself to sit down and deal with every now and then, because i know that i can get out of the box (away from the conventional) pretty quickly with the device. in the latter category, i include particularly the K5, a fourier synthesizer with way too damn many envelope parameters and an invariably machine-like sound. i love it. i hate it. i rarely touch it. but when i do, it never winds up sounding like a chiff flute or epiano. it buzzes, honks, gets up your nose. it's worth it. and maybe for something like that i'd like a computer editor... but that's about how bad it has to get before i would prefer one (and believe me, it's bad. the K5 has absolutely the worst editing system i've ever worked with. while on the envelope screen, it takes up to 10 keypresses just to get from a segment in one envelope to a different segment in a different envelope). it's alot like windows programs. the mouse is cute, but any operator will tell you that once you've got the keystrokes down you can move at least twice as fast. so, personally i'll put up with alot for an interesting sound (i'd gladly exchange body parts for a microwave... i've played with them, and know how silly the interface is... but wheee!! what a sound), but by the same token i do tell my students that one of the rational criteria for purchasing an instrument is how long it takes you to get a standard effect out of it (like the lowpass filter sweep), when encountering it cold. if it's a standard acrhitecture, it should take about 2 minutes. if it takes more than 5, the OS truly sucks. 2. just to weigh in, here. yeah, the midivox ad sig is too long. tighten it up a bit, willya? or do what metlay's started doing (a reasonable compromise, i think)... putting a pointer to info in sig one-liner. purely an esthetic response, mind you... i don't really have strong feelings on the subject. but the flame against it was unbelievably snobbish. who the hell says, either that music education has nothing to do with us, or that there's only one valid pedagogy? sheesh. 3. one of the things i like about emusic is that, for the most part, its criticism is comparitively unpretentious. for some odd reason (i think they either ran out of adjectives or took too damn many courses in postmodern theory, in which "the text" is the only universe of discourse), rock critics stopped talked about music (beyond "it rocks" or "it sucks" or trying to evoke weird combinatory similes like "imagine spinal tap with william buckley in drag on lead bongos") and started bulking out their writing with analysis of the *writing*, of all things. as if anyone actually listens to the lyrics. (yeah, yeah, i know we do, but you know what i mean... i don't buy or reject most [repeat, most] music on the basis of the lyrics). in emusic, this is pretty much a moot point. and the music is still different enough that serious critics of it don't have a meaningless stock vocabulary to pass it off with (with the possible exception of the new age/space categories, which seem to be getting thin analysis these days). so when people talk about it, they pretty much actually *talk* about it... in terms of affect, effect, technique, and so on. of course, it's difficult, which is why this group spends so much time on what amounts to easier discourse: straightforward gearheadedness and simple questions. but i still think that we start from a somewhat different place, and tend to share in general a preference for meaningful communication on our topic. hmmm. it just occurred to me that maybe we should make free verse the standard of expression on this group. i mean, after all, once you get past the hardware, how else do you say anything meaningful about the nature of experience? and i think most of us are here because we find something about the *experience* of emusic that we want to share. ok, that's it... everyone please submit your queries and reviews in haiku from now on. Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 ========================================================================= Date: Tue, 19 Sep 1995 17:11:02 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Baron Garth Subject: Re: CAKEWALK w/SR-16 On September 18, 1995 EMUSIC-L@AMERICAN.EDU wrote... I> Original Sender: Todd Eric Moore I> You wrote: I> > I> >Just got an Alesis SR-16 drum machine that I'm trying to use with I> Cakewalk I> >for Windows (v2.0). I> > I> >I can't seem to get any MIDI data from the SR-16 to be recognized by I> >Cakewalk. I can play back sequences fine but can't record anything. I> I've I> >tried all the various MIDI settings and can't get anything to work. I I> assume I> >it should be set for DRUM OUT -ON, DRUM IN -ON. I've tried using OMNI I> mode I> as I> >well as individual MIDI channels but nothing works. Cakewalk doesn't I> receive I> >the SR-16's SYSEX data either. I> > I> >I'm able to send and receive from my keyboard without a problem so my I> midi I> >card (MQX-32M) seems to be working OK. I> > I> >If anybody has any suggestion please let me know. WHAT AM I DOING I> WRONG?? I> > I> Can you draw a map of how you have everything hooked up. someone else wrote... I> I would suspect you need to do the following: I> Midi Interface <- Input - > Keyboard I> <- Output -> Keyboard I> <- Thru on keyboard -> D4 I> I believe the MXQ has two outputs, if so go to Cakewalks Output and I> makes I> sure it is I> highlited. Try a message to: listproc@lists.colorado.edu and in the body type: subscribe cakewalk they are constantly dealing with setups etc..... BG ... MBase 3.7 ========================================================================= Date: Tue, 19 Sep 1995 22:00:40 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Stephen R. Snyder" Subject: Re: Files Conversion At 10:49 PM 9/15/95 -0700 on Electronic Music Discussion List , Ed Shurtleff wrote: >equipment and software. I believe there are programs available to allow >reading of MAC-style disks (or at least to convert MIDI files) on >DOS/Windows computers, but haven't connected with the right faculty people >yet to help me. If any of you know of such ( PD, freeware, shareware >preferably, otherwise cheap) will you please let me know names and sources. >Thanks in advance! I don't know if this qualifies as **cheap**, but I have two shareware programs, (typically they support read/write/format, etc. on Mac disks) TMAC14.ZIP (TransMac, Windows) $64.00 MACETTE3.ZIP (DOS/Windows) $34.00 I am **not** the author of either. If there is still sufficient interest, I can e-mail copies (up to 5) or post to the list (if you request a list post, please send by private e-mail to be courteous to the rest of the list members who may not be further interested. Sorry for the delay in posting. It took a while to dig these programs out. --Steve ========================================================================= Date: Wed, 20 Sep 1995 03:03:38 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Deved Smith Subject: That Rare CD again... Comments: To: wonderland@tcp.com > > > > You can Sample the sounds, import into Sample Cell (MAC) or Sound Blaster > > AWE-32 (PC) and play those instruments with your music in your sequencers. > > Sample Cell and Sound Blaster are worlds and technologies apart...Sound Blaster is only but a computer component...Sample Cell is a SAMPLING INSTRUMENT. The MAC software is also much easier to use..(you don't have to "get it to work"). d:) ========================================================================= Date: Wed, 20 Sep 1995 13:14:13 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: WALLACE B BOYD Subject: Interactive Music Instruction In-Reply-To: <199509200203.WAA21930@bogon.tach.net> Hello everyone. My name is Wallace Boyd. I am trying to find interactive music instruction programs. Can anyone help? ========================================================================= Date: Wed, 20 Sep 1995 13:46:55 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: bradley main ellen Subject: sound sites: ftp or netscape In-Reply-To: <950919120421_23420826@emout05.mail.aol.com> hi... i am looking for ftp sites for the following synthesizers: K2000s Yamaha SY99 also: does anyone have the email address i must mail to subscribe to analogue heaven mailing list? please email me directly. thanks in advance, ken hankins