========================================================================= Date: Thu, 21 Mar 1996 02:20:24 GMT Reply-To: jetman@tunanet.com Sender: Electronic Music Discussion List From: jetman Organization: tunanet Subject: Re: suggested listening Comments: To: homer!AMERICAN.EDU!EMUSIC-L@dresden.american.edu >Critic: "Your music is terrible, it sounds like two skeletons fornicating >on a tin roof." I guess the main objection w/ this criticism is that skeletons actually are not able to fornicate - for several reasons. ========================================================================= Date: Thu, 21 Mar 1996 12:05:04 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Billboard and Don Quixote >Guess I missed that one. Grants for Cassiel? That leads into a whole selection box of other threads, but in brief: the arts organisations and funding bodies cannot handle someone who does not fit into their particular categories of artist or performer. (Note similarity to current discussion.) Musicians are supposed to be musicians. Dance companies are supposed to be run by dancers/choreographers. Musicians are not supposed to have anything to do with the conception or creation of dance projects. They are supposed to collaborate with choreographers - which is fine - but there's no actual support for that kind of collaboration, except as a ghettoised "cross media" project, and we are not encouraged to gain any insight or grasp of the other medium. Whenever I've talked to intelligent dancers (stop sniggering at the back) or choreographers, they have had no problem with my expressing opinions and being analytical of their work - indeed, Rosemary Butcher claimed to value my opinion of her work more than that of someone in the dance discipline itself - but the critics and arts beaurocrats can't handle it at all. They have no vision or imagination. Then again, if they had imagination, they wouldn't be beaurocrats. >There is no innovation going on here! None. >Give me something altogether new. Something never heard before. Are we >experiencing the death knell of musical innovation? Excuse me, but that's where I came in in the first place, and you all started trying to give me a really hard time over it. Nick Rothwell, CASSIEL http://www.cassiel.com years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Thu, 21 Mar 1996 12:05:11 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Billboard and Don Quixote >[and get away from those dancers] Krikawa, you know me too well. >I am quite convinced that artists do fine when they set out to do artwork, >and do less than so when they set out to challenge commerce. I am unsure of this, as I suggested in a previous message; my personal experience is that my own creative process works best to constraints, self-imposed or otherwise. Didn't Freff say something about Art versus Communication? I suspect I disagree with him - I am into communication. To an extent, that is a commercial concern. On the other hand, in some respects I am spoilt: one is allowed to innovate when creating soundtracks for dance performance, just so long as one does not attempt to innovate away from the pigeonhole of being a musician. There is a degree of protection and nurturing here, much as it surprises me to say it. If I were aiming for commercial success in terms of recordings (CD's), I would certainly agree with you; get the material right, don't try to address the market, because the market is manifestly totally fucked. Nick Rothwell, CASSIEL http://www.cassiel.com years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Thu, 21 Mar 1996 12:04:59 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: suggested listening >>Critic: "Your music is terrible, it sounds like two skeletons fornicating >>on a tin roof." > >I guess the main objection w/ this criticism is that skeletons actually are >not able to fornicate - for several reasons. An excellent example that critics don't know what they're talking about. Film at 11. Nick Rothwell, CASSIEL http://www.cassiel.com years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Thu, 21 Mar 1996 07:21:59 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Thomas M. Melville" Subject: Instruments In-Reply-To: <960320234141_451287383@emout09.mail.aol.com> Greetings musicians! I am new to this list. I just downloaded a program called Track Screamer 3. How do I go about getting instruments to compose music with? Any help would be appreciated. Tom Melville ========================================================================= Date: Thu, 21 Mar 1996 09:47:30 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: harry haecker Subject: Creative Frameworks Nick writes: >I am, but am currently totally gobsmacked over the twists and turns that >this thread has taken... My wife and I have conversations like this thread, in that we'll get so sidetracked that it may take days before the original topic is redressed and finally laid to rest. Neither of us usually seem to mind this, because we learn so much during the process. >My basic statement was that I wanted to do an album which sounded eclectic >or unusual in some way, and could not easily be characterised. Aha, Re: the original pigeon/cubbyholing thread. Do you like systematically building a piece, _a la_ through-composing, or do you enjoy jamming (improvising) on a track, polishing, jamming on another, polishing, etc.? I ask this because, to me, the most important initial decision in composing is where in my brain the piece is coming/will come from. Am I mentally hearing rudiments of the piece in terms of timbre, melody, or rhythm? Because of my limited brain pan, I can admit to all of y'all that this seldom happens: Schubert I ain't. However, I am working on that facet of composing. I think that when one uses a particular technique as a crutch, the final _werk_ is hackneyed. >Firstly, I hate it when I find myself falling back on old cliches when >composing: the boring triad chords, suspensions and neopolitans, the usual >reverb settings, the 4/4 time signature. Then by all means, compose a cliche...and find some way to pervert it! With all of that gear I see on your Web page, you _must_ be able to pull an Uncle Ernie on it! For example, one trick I have to vary time signature is to go ahead and write schlock in 4/4, change the time sig to, say, 10/8 and change the velocities to match it thusly: 2 + 3 + 3 + 2 ^ - * - where ^ is the primary accent (vel. ~110), - is the tertiary accent (~75), and * is the secondary accent (~90). All of the other velocities will be between 1 and 74. Then, go back to 4/4 and insert CC's that control, say, the resonance or width of a 4-pole lopass filter every 2nd and 4th beat. Voila! a schlocky piece now is subtly Uncle Ernie-ized (when I use the Shaper function on the K2k it's Cousin Kevin-ized, I guess.) >Secondly, I've always felt that creativity comes from constraint as much as >from freedom, and what more creative constraint that one which dictates >that the result be new and interesting? I totally agree with you that "creativity comes from constraint as much as from freedom," but thinking that you have to be writing something completely new and refreshing puts way too much pressure on you, man! Besides, it hardly constrains you at all: there's just as much music that hasn't been heard as there is that has been...maybe more? You end up in a tizzy, saying to yourself (in the style of Lewis Carroll's white rabbit), "Oh my, oh my... is it _different_ enough?" and you'll most likely not be satisfied. Instead, why not contrain yourself by using only one synth, or one FX, or picking up the newspaper and writing a song inspired by the shenanegans of Parliment. >Sure, there is some body of technique, some notion of process, which >characterises my work, and I can't throw out the technique (or the music in >my head) without becoming a different person. Very true: you'd have to get a bottle-in-front-of-you to totally change styles. However, I think that process is one thing that you can vary with much success. For instance, I'm constraining my choices on a present piece by only using samples from a DAT tape that I recorded with 3 other wire-heads in the echoey stairwell of a building at the local University; the next one will only use my bowed psaltry run through my SE-70; the next one will employ samples taken from my TG-77 and run through the K2000; the next peice will involve the Well-Tempered Fractal. As for styles, I may try to be primal for one piece, and pseudo-discoey the next...or maybe I'll combine the styles. The resulting suite of music will hopefully not be recognized as coming from one composer, or sounding like a Mother's Finest, Negativland, Glenn Campbell, or Eno rip-off. >But I can at least use something other than the usual long reverb, try some >interesting chords, go microtonal, whatever, in the name of eclecticism. Why not make mistakes, and repeat them strategically throughout the piece? Oops, that's jazz... well It'll work here, too. But having the mindset of using "interesting chords" just for the sake of using them may bog you down into the question, "are they interesting enough?" >I wasn't thinking of commercial success at all, and am rather surprised >that my message was taken in that way. I'm not surprised: that's the way of e-mail, where your words and intents are taken the wrong way half the time. >Hell, right now I'm really pleased with a meeting I had with Britain's >foremost postmodern contemporary choreographer last night about future >work, and that's how I rate my own success (or Cassiel's), not in terms >of pop soundalikes or airplay charts. Congratulations for your meeting! Note that I did say I didn't think your music would probably sound like any pop stuff I've ever heard on Casey Kasom's (sp.) Top 40 radio program. High regards, Harry Haecker (haeckerh@nwrc.gov) ========================================================================= Date: Thu, 21 Mar 1996 16:50:38 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Fred MoTTe Subject: Re: Instruments (screamtracker) I believe you talk about Screamtracker 3 (and not Track screamer :). If I remember well you can use 8 bits raw samples with that. Try to download some tunes made with it (there are a lot of them on many ftp sites. Try on ftp.cdrom.com ...). The music files made with Screamtracker 3 are named *.S3M Sorry, I can't help you more as I don't use this program... Fred. ______________________________ Reply Separator _________________________________ Subject: Instruments Author: Electronic Music Discussion List at INTERNET Date: 21/03/96 05:11 Greetings musicians! I am new to this list. I just downloaded a program called Track Screamer 3. How do I go about getting instruments to compose music with? Any help would be appreciated. Tom Melville ========================================================================= Date: Thu, 21 Mar 1996 12:41:24 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Alone Subject: Midi Hello all- Well I have a question dealing with midi. I have to do a research project on MIDI for one of my classes and the only draw back is that I have to find a company that either makes only midi equipment and puts out an annual report. If anyone could help me let me know. Thanks in advance. O'yeah, the company can also have a division that makes midi equipment and still make other things. Thanks again. ------------------------------------{ALONE}------------------------------------- ttfn Jamie [jbarbour@jcvaxa.jcu.edu] [hl401@Cleveland.freenet.edu] ========================================================================= Date: Thu, 21 Mar 1996 14:13:29 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Thomas M. Melville" Subject: Re: ftp site Comments: cc: fmote@mindscape.com I tried that FTP site. It says Name (ftp.cdrom.com:mmi): So I tried entering mmi. It says Password Required for mmi. So I enter a password, then it says logon incorrect. Can you help me Fred? ========================================================================= Date: Thu, 21 Mar 1996 14:28:53 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Thomas M. Melville" Subject: Re: Midi In-Reply-To: <01I2LMWOL58I8Y76HF@jcvaxa.jcu.edu> Try KORG, INC. or Roland, Inc. Do A search in webcrawler (http://www.webcrawler.com) On Thu, 21 Mar 1996, Alone wrote: > Hello all- > Well I have a question dealing with midi. I have to do a research > project on MIDI for one of my classes and the only draw back is that I have to > find a company that either makes only midi equipment and puts out an annual > report. If anyone could help me let me know. Thanks in advance. > O'yeah, the company can also have a division that makes midi equipment > and still make other things. Thanks again. > > ------------------------------------{ALONE}------------------------------------- > ttfn > Jamie [jbarbour@jcvaxa.jcu.edu] > [hl401@Cleveland.freenet.edu] > ========================================================================= Date: Thu, 21 Mar 1996 12:23:58 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Alan M. Bookmiller" Subject: Re: Billboard, Don Quixote, and Nick >>Guess I missed that one. Grants for Cassiel? > >That leads into a whole selection box of other threads, but in brief: the >arts organisations and funding bodies cannot handle someone who does not >fit into their particular categories of artist or performer. (Note >similarity to current discussion.) Musicians are supposed to be musicians. >Dance companies are supposed to be run by dancers/choreographers. Musicians >are not supposed to have anything to do with the conception or creation of >dance projects. They are supposed to collaborate with choreographers - >which is fine - but there's no actual support for that kind of >collaboration, except as a ghettoised "cross media" project, and we are not >encouraged to gain any insight or grasp of the other medium. ---------------- Oh I see! I wonder why some funding can't be spread about in support of purely innovative new musical categories or novel musical/dance performining arts. Why does the backing only go to support the "known" categories and performances? Where, or to whom, does the return on investment go? And is the return on investment financial or is it an intangible, such as intellectual growth - advancing the arts if you will? What kind of pompous asses are controlling the funds, that they deny innovation a chance. Question: Does the choreographer interpret the composition, or does the composer interpret the dance? You can dance without music just as well as you can play music without giving a thought to dance. As a musician can improvise, so can a dancer. Forget the choreographer, and throw away the music. Nothing preconcieved or scored. It might be interesting to bring together a dancer and a musician in realtime. Now that's art! Just rambling here. Nick, for those of us who don't know, what is CASSIEL. ----------------- >Whenever I've talked to intelligent dancers (stop sniggering at the back) >or choreographers, they have had no problem with my expressing opinions and >being analytical of their work - indeed, Rosemary Butcher claimed to value >my opinion of her work more than that of someone in the dance discipline >itself - but the critics and arts beaurocrats can't handle it at all. They >have no vision or imagination. > >Then again, if they had imagination, they wouldn't be beaurocrats. > >>There is no innovation going on here! None. >>Give me something altogether new. Something never heard before. Are we >>experiencing the death knell of musical innovation? > >Excuse me, but that's where I came in in the first place, and you all >started trying to give me a really hard time over it. ------------------- I didn't give you a hard time over this, I agree with you 100%. What does it take to start a movement for innovation? Alan Bookmiller tabbooks@pa.net (Alan M. Bookmiller) ========================================================================= Date: Thu, 21 Mar 1996 13:41:28 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Robert Wright Subject: Re: EMUSIC-L Digest - 19 Mar 1996 to 20 Mar 1996 HI THERE, I AM ALSO A GRAD STUDENT, AND ALSO RECORDING MUSICIAN. I WOULD RECOMMEND CHECKING OUT THE FOLLOWING.... TANGERINE DREAM--try getting hold of some early, mid and current works(span is around 25yr.) early work suggestions:ZIET OR PHAEDRA mid work suggestions: RUBICON OR TANGRAM later work suggestions: UNDERWATER SUNLIGHT (this is a must have) WHITE EAGLE (you'll like this) more current suggestions: CANYON DREAMS OR TURN OF THE TIDE BRIAN ENO--AMBIENT 4 BRIAN ENO & DAVID BYRNE-- MY LIFE IN THE BUSH OF GHOSTS (excellent) Anyway I will provide you with more if you want...Good Luck in all your endeavors. Bob Wright rwright797@aol.com ========================================================================= Date: Thu, 21 Mar 1996 14:04:08 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Thomas M. Melville" Subject: Re: Instruments (screamtracker) In-Reply-To: <9602218274.AA827424068@smtpgate.mindscape.com> Thanks, Fred. Where are you writing from? P.S> I'll try that Web site. On Thu, 21 Mar 1996, Fred MoTTe wrote: > I believe you talk about Screamtracker 3 (and not Track screamer :). > If I remember well you can use 8 bits raw samples with that. Try to > download some tunes made with it (there are a lot of them on many ftp > sites. Try on ftp.cdrom.com ...). The music files made with > Screamtracker 3 are named *.S3M > Sorry, I can't help you more as I don't use this program... > > Fred. > > > ______________________________ Reply Separator _________________________________ > Subject: Instruments > Author: Electronic Music Discussion List at INTERNET > Date: 21/03/96 05:11 > > > Greetings musicians! I am new to this list. I just downloaded a program > called Track Screamer 3. > > How do I go about getting instruments to compose music with? Any help > would be appreciated. > > Tom Melville > ========================================================================= Date: Thu, 21 Mar 1996 21:00:51 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Thomas M. Melville" Subject: Re: EMUSIC-L Digest - 19 Mar 1996 to 20 Mar 1996 In-Reply-To: <960321134117_252139152@emout09.mail.aol.com> Do you have any text files I could read to learn more on how to compose electronic music? I am using ScreamTracker 3.2, and its all very confusing since I'm used to making music with my Korg M1 and not my computer. Thanks ========================================================================= Date: Fri, 22 Mar 1996 05:02:29 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: OEMER Subject: Re: suggested listening-agaaaaain In-Reply-To: "Alan M. Bookmiller" Sorry to bother the rest... To whom it may concern: Would you please sign-off me from this list? Thks in advance, Omer Goksel gokselo@doruk.com.tr ========================================================================= Date: Fri, 22 Mar 1996 07:15:22 +0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andre Fischmann Organization: Lycee Polytechnique - Mauritius Subject: Re: Midi Alone wrote: > > Hello all- > Well I have a question dealing with midi. I have to do a research > project on MIDI for one of my classes and the only draw back is that I have to > find a company that either makes only midi equipment and puts out an annual > report. If anyone could help me let me know. Thanks in advance. > O'yeah, the company can also have a division that makes midi equipment > and still make other things. Thanks again. > > ------------------------------------{ALONE}------------------------------------- > ttfn > Jamie [jbarbour@jcvaxa.jcu.edu] > [hl401@Cleveland.freenet.edu]I know a lot on MIDI, and I'm using every day Midi files or softwares. If you're using Netscape (I'm using Netscape 2 on PC/W95), I can send you my bookmark, and you'll have all my Midi'URL: including explanations on Midi systems, norms, proovedoores of equipments, midi files, composers using midi... -- Andre Fischmann & Diana Silva Santisteban - Fischmann fischman@netbox.com or fischman@bow.intnet.mu French man & peruvian girl living in Mauritius Island (tel. & fax 230-6963393) Interests : Music (sax, flute, keyboard, MIDI...), latin civilisation, Children, Atari - PC... ========================================================================= Date: Fri, 22 Mar 1996 11:56:26 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Fred MoTTe Subject: Re[2]: Instruments (screamtracker) Yo, I'm writing from France, homeland of Jean Michel Jarre (I can't stand him :) By the way, I think you'd better try to find Fastracker 2 which is more powerful than Screamtracker. FT2 can handle 16bits samples, and has a much more powerful enveloppe and panning editing tool included. (You can find it on ftp.cdrom.com too...) Catch ya. ______________________________ Reply Separator _________________________________ Subject: Re: Instruments (screamtracker) Author: Electronic Music Discussion List at INTERNET Date: 21/03/96 15:40 Thanks, Fred. Where are you writing from? P.S> I'll try that Web site. ========================================================================= Date: Fri, 22 Mar 1996 11:27:23 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Fred MoTTe Subject: Re[2]: ftp site Have you tried login as anonymous ? When it asks for a name, type anonymous, and then enter your email address as a password. And then, try to find the 'music' directory (I think it's somewhere below the 'demos' directory). You'll find there a directory dedicated to S3M files. Enjoy ! ______________________________ Reply Separator _________________________________ Subject: Re: ftp site Author: Electronic Music Discussion List at INTERNET Date: 21/03/96 11:48 I tried that FTP site. It says Name (ftp.cdrom.com:mmi): So I tried entering mmi. It says Password Required for mmi. So I enter a password, then it says logon incorrect. Can you help me Fred? ========================================================================= Date: Sat, 23 Mar 1996 00:46:00 +0900 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: BUYO-BUYO-IGOR Subject: ABOUT ON-LINE JAM Hi, all. Sorry for the mistake that I made last time. Could somebody inform about the on-line JAM kind of things? Does those things really exist a lot on the net? I can imagine that there would be a lot of trou ble doing things REAL TIME, but if your using things like MAX program things n ot like MIDI sequence can be exchanged......I just think so. Are there any goo d examples for this? A good WWW site or an alternative mail system????? THANX BUYO-BUYO-IGOR=Masaaki Tsuji=cxl03253@niftyserve.or.jp ========================================================================= Date: Fri, 22 Mar 1996 12:00:01 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Composer 11 Subject: Re: Midi I am trying to compile a list of adult/contemproary radio stations. (seeking airplay for my new A/C instrumental album "Occidental Tourist") If anyone has information about radio stations in your area, please send me E-mail with the particulars! Thanks in advance, KB Music ========================================================================= Date: Fri, 22 Mar 1996 11:24:57 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: Billboard, Don Quixote, and Nick Subject: EMUSIC-L Digest - 21 Mar 1996 to 22 Mar 1996 ---------------------------------------------------------------------- Date: Thu, 21 Mar 1996 12:05:04 +0000 From: Nick Rothwell Subject: Re: Billboard and Don Quixote >Guess I missed that one. Grants for Cassiel? That leads into a whole selection box of other threads, but in brief: the arts organisations and funding bodies cannot handle someone who does not fit into their particular categories of artist or performer. (Note similarity to current discussion.) Musicians are supposed to be musicians. Dance companies are supposed to be run by dancers/choreographers. Musicians are not supposed to have anything to do with the conception or creation of dance projects. They are supposed to collaborate with choreographers - which is fine - but there's no actual support for that kind of collaboration, except as a ghettoised "cross media" project, and we are not encouraged to gain any insight or grasp of the other medium. Whenever I've talked to intelligent dancers (stop sniggering at the back) or choreographers, they have had no problem with my expressing opinions and being analytical of their work - indeed, Rosemary Butcher claimed to value my opinion of her work more than that of someone in the dance discipline itself - but the critics and arts beaurocrats can't handle it at all. They have no vision or imagination. Then again, if they had imagination, they wouldn't be beaurocrats. >There is no innovation going on here! None. >Give me something altogether new. Something never heard before. Are we >experiencing the death knell of musical innovation? Excuse me, but that's where I came in in the first place, and you all started trying to give me a really hard time over it. Nick Rothwell, CASSIEL http://www.cassiel.com years, passing by, VCO, VCF, and again, and again ------------------------------ Date: Thu, 21 Mar 1996 12:23:58 -0500 From: "Alan M. Bookmiller" Subject: Re: Billboard, Don Quixote, and Nick >>Guess I missed that one. Grants for Cassiel? > >That leads into a whole selection box of other threads, but in brief: the >arts organisations and funding bodies cannot handle someone who does not >fit into their particular categories of artist or performer. (Note >similarity to current discussion.) Musicians are supposed to be musicians. >Dance companies are supposed to be run by dancers/choreographers. Musicians >are not supposed to have anything to do with the conception or creation of >dance projects. They are supposed to collaborate with choreographers - >which is fine - but there's no actual support for that kind of >collaboration, except as a ghettoised "cross media" project, and we are not >encouraged to gain any insight or grasp of the other medium. ---------------- Oh I see! I wonder why some funding can't be spread about in support of purely innovative new musical categories or novel musical/dance performining arts. Why does the backing only go to support the "known" categories and performances? Where, or to whom, does the return on investment go? And is the return on investment financial or is it an intangible, such as intellectual growth - advancing the arts if you will? What kind of pompous asses are controlling the funds, that they deny innovation a chance. Question: Does the choreographer interpret the composition, or does the composer interpret the dance? You can dance without music just as well as you can play music without giving a thought to dance. As a musician can improvise, so can a dancer. Forget the choreographer, and throw away the music. Nothing preconcieved or scored. It might be interesting to bring together a dancer and a musician in realtime. Now that's art! Just rambling here. Nick, for those of us who don't know, what is CASSIEL. ----------------- >Whenever I've talked to intelligent dancers (stop sniggering at the back) >or choreographers, they have had no problem with my expressing opinions and >being analytical of their work - indeed, Rosemary Butcher claimed to value >my opinion of her work more than that of someone in the dance discipline >itself - but the critics and arts beaurocrats can't handle it at all. They >have no vision or imagination. > >Then again, if they had imagination, they wouldn't be beaurocrats. > >>There is no innovation going on here! None. >>Give me something altogether new. Something never heard before. Are we >>experiencing the death knell of musical innovation? > >Excuse me, but that's where I came in in the first place, and you all >started trying to give me a really hard time over it. ------------------- I didn't give you a hard time over this, I agree with you 100%. What does it take to start a movement for innovation? Alan Bookmiller tabbooks@pa.net (Alan M. Bookmiller) ------------------------------ End of EMUSIC-L Digest - 21 Mar 1996 to 22 Mar 1996 *************************************************** Nick Rothwell: > but the critics and arts beaurocrats can't handle it at all. They > have no vision or imagination. Then why is it that these sorts always seem to be in control of the purse strings? > Then again, if they had imagination, they wouldn't be beaurocrats. Or maybe their creativity is of a different sort. They control money and artists and wield power. I'm thinking that there may be some sort of creativity going on there that's beyond my ken. After all, isn't "creative bookkeeping" the euphimism for embezzelement? This is a far cry from artistic imagination and creativity. Alan Bookmiller: > Why does the backing only go to support the "known" > categories and performances? The beaurocratic mentality demands that the tally sheet can only be used by them when thumping their chests and proclaiming their support of the arts, not by any of their detractors. The tally sheet will contain items showing the financial expenditures for Dance, Music, Sculpture, Painting, and possibly Mixed Media, but not for Other, a category that could be made to look like someone's on the take! If Nick's vision doesn't neatly fit into one of the existing categories, then he'll have to convince somebody to start a new category or lie and say it's music (with dance) or dance (with music) or collaborate with a luminary from the world of dance who is willing to be a participant on paper but let Nick's vision guide the project. Or get a beaurocrat to help with the creative grant writing. Or?... (brainstorming ideas go here) AB again: > What kind of pompous asses are controlling the funds, that they deny > innovation a chance. They're not interested in artistic innovation. Their interests are more of a self serving nature. Bill Fox wbf@aloft.att.com ========================================================================= Date: Fri, 22 Mar 1996 13:39:06 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Doug Sohn Subject: Upcoming conference on Interactive Media and Music In-Reply-To: The International Quality & Productivity Center is pleased to announce our "Interactive Media & Music" conference, scheduled for July 30, 1996 - August 1, 1996 in Nashville, TN. We are now accepting proposals for conference sessions and topics for discussion. If you have an idea for the conference, please submit them to Peter Yeager at pvy@pipeline.com. Thank You! -- Peter V. Yeager Conference Director International Quality & Productivity Center 150 Clove Road Little Falls, NJ 07424 phone: 201-812-5166 fax: 201-256-7186/4370 email: pvy@pipeline.com web: http://www.planet.net/iqpc ========================================================================= Date: Fri, 22 Mar 1996 15:02:58 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Thomas M. Melville" Subject: Re: Re[2]: Instruments (screamtracker) In-Reply-To: <9602228274.AA827497838@smtpgate.mindscape.com> I only have a 386/25, would it be worth using or would my computer be too slow? On Fri, 22 Mar 1996, Fred MoTTe wrote: > Yo, > > I'm writing from France, homeland of Jean Michel Jarre (I can't stand > him :) > By the way, I think you'd better try to find Fastracker 2 which is more > powerful than Screamtracker. FT2 can handle 16bits samples, and has a much more > powerful enveloppe and panning editing tool included. (You can find it on > ftp.cdrom.com too...) > > Catch ya. > > > ______________________________ Reply Separator _________________________________ > Subject: Re: Instruments (screamtracker) > Author: Electronic Music Discussion List at INTERNET > Date: 21/03/96 15:40 > > > Thanks, Fred. Where are you writing from? > > P.S> I'll try that Web site. > ========================================================================= Date: Fri, 22 Mar 1996 13:14:48 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Craig Marks Subject: K2000 Comments: cc: "Electronic music \"gearhead\" list" Well, I just got a K2000, but the learning curve is slightly steeper than I had hoped it would be. Does anybody know if there is a list (like this one) dedicated to the K2000? Thanks, Craig ========================================================================= Date: Fri, 22 Mar 1996 13:14:57 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Craig Marks Subject: Help!! In search of SMF sequence Comments: cc: "Electronic music \"gearhead\" list" I am looking for a sequence of the U2 song "I still haven't found what I'm looking for." If anyone has one that they would be willing to share, or can tell me where to find one, I would be forever grateful. Thank you very much. -Craig ========================================================================= Date: Fri, 22 Mar 1996 17:41:15 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Alan M. Bookmiller" Subject: Re: Midi >I am trying to compile a list of adult/contemproary radio stations. (seeking >airplay for my new A/C instrumental album "Occidental Tourist") If anyone has >information about radio stations in your area, please send me E-mail with the >particulars! > >Thanks in advance, >KB Music What are you hiding? Why don't you tell us who you are? Alan Bookmiller tabbooks@pa.net tabbooks@pa.net (Alan M. Bookmiller) ========================================================================= Date: Fri, 22 Mar 1996 17:43:57 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Alan M. Bookmiller" Subject: Re: Upcoming conference on Interactive Media and Music >The International "Quality & Productivity" Center ... Leaves me out! Al tabbooks@pa.net (Alan M. Bookmiller) ========================================================================= Date: Fri, 22 Mar 1996 22:03:32 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tom Martin Subject: Re: Midi my favorite is KALX(berkeley) at (510) 642-KALX they host a wide spectrum of music and have the best electronic/experimental shows ive heard(ie Aurora Borealis, Information Overload, the Avatar) try also KUSF in San Francisco ========================================================================= Date: Fri, 22 Mar 1996 23:52:29 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Thomas M. Melville" Subject: Re: Help!! In search of SMF sequence In-Reply-To: U2 ROCKS!!! On Fri, 22 Mar 1996, Craig Marks wrote: > I am looking for a sequence of the U2 song "I still haven't found what I'm > looking for." If anyone has one that they would be willing to share, or > can tell me where to find one, I would be forever grateful. Thank you very > much. > -Craig > ========================================================================= Date: Fri, 22 Mar 1996 23:52:06 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Thomas M. Melville" Subject: Re: K2000 In-Reply-To: You think the K2000 is bad? Have you seen the K2500? MOST AWESOME BOARD I HAVE EVER SEEN IN MY ENTIRE LIFE. Makes my Korg M1 look like a Casio toy. On Fri, 22 Mar 1996, Craig Marks wrote: > Well, I just got a K2000, but the learning curve is slightly steeper than I > had hoped it would be. Does anybody know if there is a list (like this > one) dedicated to the K2000? Thanks, Craig > ========================================================================= Date: Sat, 23 Mar 1996 13:12:53 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Rich Arnold Subject: Info on 01W upgrade chip? Hi- Does anyone have info on the 01W upgrade chip? I've heard rumors that it's not available in the states yet. Any info on features, ect.? TIA Rich ========================================================================= Date: Sat, 23 Mar 1996 16:58:45 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Gerry Pawluk Subject: BBE Sonic maximizer Anyone tried one?? ========================================================================= Date: Sun, 24 Mar 1996 12:02:27 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Creative Frameworks Hi Harry and Nick... > Congratulations for your meeting! Note that I did say I didn't think your > music would probably sound like any pop stuff I've ever heard on Casey > Kasom's (sp.) Top 40 radio program. Just remember that, while he is soothing the souls of sentimental baby boomers and youngsters who somehow didn't make it into Gen-X, Casey Kasem also provides voices for badly animated superheroes on those extended commercials disguised as superficial morality tales we know of as cartoons! Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Sun, 24 Mar 1996 12:11:18 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Billboard, Don Quixote, and Nick Hello Nick and Alan... Alan wrote... >Question: Does the choreographer interpret the composition, or does the > composer interpret the dance? You can dance without music just as well as > you can play music without giving a thought to dance. As a musician can > improvise, so can a dancer. Forget the choreographer, and throw away the > music. Nothing preconcieved or scored. It might be interesting to bring > together a dancer and a musician in realtime. Now that's art! Just rambling > here. This reminds me of a TV program I saw many years ago now about John Cage and Merce Cunningham. They worked separately. The only collaborative aspects were that the music and dance would be combined and, as a result, had to run for a certain time. The dance was shot on video; the music was recorded. The two were combined in post-production (producing a TV or video only work). Does anyone know of this or similar Cage/Cunningham collaborations. I don't remember the title of the program or the piece and , to my knowledge, it's never been repeated. I don't know where it would have been screened in the U.S. Here it was on the AUstralian Broadcasting Corporation TV. (ABC is like the CBC in Canada.) BTW, with all the argument about commercial interests and the market and what is supported/sold and what isn't, I note with some distress that certain politicians here are talking about dissolving the ABC. (Yes, Australia just took a mighty leap to the right -- in the last federal election!) Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Fri, 22 Mar 1996 21:27:17 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Gus Alden Subject: Re: BBE Sonic maximizer >Anyone tried one?? Yes. An 862. I'm recording midi tracks onto an analogue 4-track, and have been able to improve upon the sound quality 100% (to my ears anyhow) with the use of the the sonic maximizer. What it actually does, and how it does it, I have no idea, but I'm very happy with it's performance. Gus Alden aldenoob@biddeford.com ========================================================================= Date: Sat, 23 Mar 1996 23:34:02 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Benjamin Leon Subject: Re: BBE Sonic maximizer Yes, I hve used one in the studio and I bought one for my rack. It does add tons of life to synths in the studio! If used correctly on the gig, it can do the same. I have switched to the Behringer ultrafex. Also a very good unit. Ben ========================================================================= Date: Sun, 24 Mar 1996 02:14:11 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Rich Arnold Subject: Re: BBE Sonic maximizer Worth the $119 that I spent. Can use it for many different apps- From cleaning up cassette dups from friends- Adding a little sparkle to a mix- even strapped across a PA master out for a final touch. You won't be disappointed. A little bit goes a long way, however, and it's easy to overuse. You'll know because everything starts to sound way too bright and artificial. ========================================================================= Date: Mon, 25 Mar 1996 10:23:18 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re: suggested listening >>Mine sounds like two skeletons fornicating on a tin roof in an orange >>blizzard on a toboggan run through a flooded coalmine in the Sahara. >>Blindfolded. > >Drop the blindfold Clive, then be prepared!!!! > Can I keep my eyes shut? Regards Clive Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Mon, 25 Mar 1996 10:24:08 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re[2]: suggested listening >>Mine sounds like two skeletons fornicating on a tin roof in an orange >>blizzard on a toboggan run through a flooded coalmine in the Sahara. >>Blindfolded. >> >Heh! That's MY tune! I'm sueing your butt for copyright >infringement!!!! >-Peter Just so long as you don't sue it for retentiveness... Regards Clive Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Sun, 24 Mar 1996 20:22:03 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Edward Plant Subject: Re: BBE Sonic maximizer I've been using the 462 for a couple of years now, and it's wonderful. The best way to use it, IMO, is to put it between the stereo outputs of your board and your mixdown deck/disk. Leave it disabled until you've got everything in your mix just right and you're about to commit to tape/disk - then punch it in, twiddle the two knobs, and be amazed. Your vocals, acoustic guitars, flutes, etc., will jump right up front without getting any louder. What does it do? When used carefully (not too much!), it puts clarity and presence into the highs and lows that you didn't think were missing until you turned it on. How does it work? It's an all-pass filter that does phase correction on selected spectral components. In other words, it passes all frequencies without coloration, but it adjusts the time at which they reach your ears so that the hard to hear stuff gets there first. _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ Edward Plant, Digital Design Engineer Stanford Telecommunications, Applied Technology Division 141 National Business Parkway, Suite 200, Annapolis Junction, MD 20701 (301)497-9900 ext 113 ========================================================================= Date: Mon, 25 Mar 1996 01:29:39 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Clay Hammons Subject: REMOVE EMUSIC-L Clay Hammons REMOVE EMUSIC-L Clay Hammons ========================================================================= Date: Mon, 25 Mar 1996 01:30:08 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Clay Hammons Subject: REMOVE EMUSIC-L REMOVE EMUSIC-L ========================================================================= Date: Sun, 24 Mar 1996 23:48:26 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "David W. Dial" Subject: Re: Midi >Hello all- > Well I have a question dealing with midi. I have to do a research >project on MIDI for one of my classes and the only draw back is that I have to >find a company that either makes only midi equipment and puts out an annual >report. If anyone could help me let me know. Thanks in advance. > O'yeah, the company can also have a division that makes midi equipment >and still make other things. Thanks again. > >------------------------------------{ALONE}-------------------------------- ----- > ttfn > Jamie [jbarbour@jcvaxa.jcu.edu] > [hl401@Cleveland.freenet.edu] > Not so very long ago, your inquiry would have been simple to answer because MIDI equipment manufacturers were basically the same companies that manufacture synthesizers (Roland, Korg, Kurzweil, etc.). However, now that sound cards for computers also feature MIDI interfaces, *they're* in the mix, too (Soundblaster. Awe 32, Turtle Beach, Roland, etc.). Both "Keyboard Magazine" and "Electronic Musician" have published MIDI guides for several years. You should be able to find them at better music stores and well-stocked newsstands. And, of course, you should be able to order them through ads in those two magazines. Dave Dial Fumbling Amateur Musician and Fanatical MIDI File Collector ========================================================================= Date: Mon, 25 Mar 1996 08:40:45 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Alan M. Bookmiller" Subject: Re: Don Quixote, Nick, Harry, David Those interested in Dance and electronic/interactive media should visit the Troika Ranch via NetScape. The url is: http://www.art.net/Studios/Performance/Dance/Troika_Ranch/TroikaHome.html Early last year, Mark Coniglio and I got into a discussion about Yamaha equipment, and I found out a little bit about what he was up to through that. He and Dawn Stoppiello are into some very creative and INNOVATIVE stuff. Here is a little from their home page that will give you an idea of what they do: Troika Ranch is a performance group based in New York City that makes extensive use of interactive media in their live performances. Artistic directors Mark Coniglio and Dawn Stoppiello are committed to extending the notion of dance theater by developing new works of the slash arts: dance / music / theater / interactive media. The performances of Troika Ranch reflect issues of contemporary American urban life and resonate with the frenetic and chaotic rhythms of our time. Give them a peek - very interesting. Want to say hi to David, I saved your info on compression, very informative. Sorry to hear about ABC. If lost, perhaps something new will spring up to promote creative expression and the arts in general. Nick, I really would like to know what CASSIEL represents. Is this your music business and how does it tie into the dance arts? Hi Harry! Check out Troika Ranch, they aren't letting tradition get in their way! Alan tabbooks@pa.net (Alan M. Bookmiller) ========================================================================= Date: Mon, 25 Mar 1996 10:39:30 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Composer 11 Subject: Hiding Somethig? >What are you hiding? Why don't you tell us who you are? Greetings! I'm certainly not trying to hide!!!! My name is Kelly Bryarly, and my analog contact information is as follows: Kelly Bryarly KB Music 1570 Quail Lake Loop Colorado Springs, CO 80906 800-279-2759; local 719-579-9028 ========================================================================= Date: Mon, 25 Mar 1996 10:45:54 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Composer 11 Subject: Re: BBE Sonic maximizer Greetings! Yes -I have one of their 822s. They are very effective if you use them subtley. They can add definition in mixes and are nice for adding some gentle sparkle. Best Wishes, Kelly Bryarly ========================================================================= Date: Mon, 25 Mar 1996 08:21:48 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nathanael W Berry Subject: Re: BBE Sonic maximizer At 04:58 PM 3/23/96 -0800, you wrote: >Anyone tried one?? > I've had a 422 for years. I don't use it that often, but it comes in handy in a few conditions. Formost, if you are duplicating tapes, or even copying from CD to tape, the 422 can add clarity to the copy. For example, I have a CD that is a live recording - in one section, the croud noise sounds like a rumble - through the 422, it is clearly clapping/stomping. If you find that your mix is becoming cluttered and voices losing definition, the 422 can be used as a quick (minor) fix, rather than going back to sound editting and (individual) eq tweaking. There is a low end "contour" knob, I use this sparingly - it makes the output boomy real fast if boosting, as usual the cut function seems more natural. The processed sound is a mix of delayed frequency bands (lo, mid, hi) and active voltage controlled amplifiers (controlling mid and hi frequency band relative "loudness"). Effect in/out comparison is easy (front panel buttons). Since the effect is active, changing eq or other sound processing input to the 422 does not always result in the expected output - in the end, let your ears be the judge. The 422 can help bring out details if the mix is not _too_ cluttered. Nate ========================================================================= Date: Mon, 25 Mar 1996 12:49:25 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tim Pasch Subject: Re: REMOVE EMUSIC-L Clay Hammons In-Reply-To: <960325012938_255167696@emout07.mail.aol.com> On Mon, 25 Mar 1996 01:29:39 -0500 Object14@AOL.COM (Clay Hammons) wrote: >UNSUBSCRIBE ========================================================================= Date: Mon, 25 Mar 1996 12:17:03 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: k2000 list i believe that we started hosting the k2000 list here sometime last year. send INDEX to LISTSERV@AMERICAN.EDU and you'll see if we've got it. ========================================================================= Date: Tue, 26 Mar 1996 10:12:27 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Don Quixote, Nick, Harry, David Thanks for the commendation Alan. Now that I've had my 15 nanoseconds of fame and the back-patting is over ;-) I would also recommend that folks visit the Troika ranch site. Todd Winkler of Brown University has a particular interest in motion-sensing for musical control (as I have), and delivered a paper at ICMC last year. He played a short excerpt of a video of a Troika dance with a body suit. The body suit has flex sensors (not unlike -- or maybe even the same as -- those found in PowerGloves) feeding an MC68HC11-based processor and radio transmitter. The MidiDancer system is certainly intriguing. There are details at the WWW site. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Tue, 26 Mar 1996 09:25:32 +0900 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Osamu Fukuda Subject: REMOVE EMUSIC-L REMOVE EMUSIC-L $BJ!ED=$ (B $B9-EgBg3XBg3X1!!!?M4V9)3X8&5f<< (B fukuda@huis.hiroshima-u.ac.jp ========================================================================= Date: Tue, 26 Mar 1996 00:49:52 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Quianna C. Clay" Subject: Re: REMOVE EMUSIC-L What does this mean? ========================================================================= Date: Tue, 26 Mar 1996 11:45:02 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Billboard, Don Quixote, and Nick >I wonder why some funding can't be spread about in support of >purely innovative new musical categories or novel musical/dance >performining arts. Because it would all go Californian. A certain degree of conservatism is good; I don't really hold with the support of innovation for its own sake when it has nothing to say; content is more important than style. >Why does the backing only go to support the "known" >categories and performances? A lot of it is politics. There is justification for longer-term support so that artists and practitioners can develop their art with some small degree of security (and it is small), and pass this on to younger talent; on the other hand, established performers often continue to get supported even if their work is dreadful, denying other performers the foothold they need. >Where, or to whom, does the return on >investment go? And is the return on investment financial or is it an >intangible, such as intellectual growth - advancing the arts if you will? Financial return on arts funding? Certainly not in any direct sense, but any artist would argue that longer term returns, be they cultural or financial, are more important. Whether you believe that depends on your position in the political spectrum, but I think it's pretty clear that the pro-Arts argument wins out. >What kind of pompous asses are controlling the funds, that they deny >innovation a chance. I don't find them particularly pompous, just entrenched, lacking in vision and basically not very smart. >Question: Does the choreographer interpret the composition, or does the >composer interpret the dance? Depends; I've worked in both ways. The former is more usual, since choreographers often look for music first. This is one reason why the latter interests me. >You can dance without music just as well as >you can play music without giving a thought to dance. Agreed, but you then halve the leverage you have over imagery and content. >Forget the choreographer, and throw away the >music. Nothing preconcieved or scored. It might be interesting to bring >together a dancer and a musician in realtime. Sounds a little dogmatic to me. I've done this as well; sometimes it works, sometimes it doesn't. I rather like improvisation within larger choreographic structures as well. You can't argue in absolute terms between improvisation and composition (in any art form). Nick Rothwell, CASSIEL http://www.cassiel.com years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Tue, 26 Mar 1996 11:44:52 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Don Quixote, Nick, Harry, David >Those interested in Dance and electronic/interactive media >should visit the Troika Ranch via NetScape. I had a look over their site sometime last year; looked interesting. >Nick, I really would like to know what CASSIEL represents. Is this your >music business and how does it tie into the dance arts? The web site (URL below) probably says a lot of it, but to the outside, CASSIEL should really look rather like a dance company, but one which exploits a notion of process and interaction when it comes to the way dance and soundtrack are brought together to generate imagery; this is why performances use synthesisers but not samplers, not sequencers, not keyboards. We're into collaborations with choreographers, because of the way differing imageries can interact. The agenda also encompasses installation-specific work rather than theatre performances, but that requires more infrastructure than we have at present. On the other hand, a CASSIEL CD is in the works for the start of next year; the dancers have finally got me down. Oh: We don't do multimedia or mixed-media. We aren't into technology for its own sake. Nick Rothwell, CASSIEL http://www.cassiel.com years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Tue, 26 Mar 1996 11:45:22 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Creative Frameworks >Aha, Re: the original pigeon/cubbyholing thread. Do you like >systematically building a piece, _a la_ through-composing, or do you enjoy >jamming (improvising) on a track, polishing, jamming on another, polishing, >etc.? I'm rather a control freak when it comes to structure (by which I mean control structure as much as musical structure). I tend to work systematically, but will occasionally take off the seatbelts as well, although if I do jam something (which is tricky without a decent input controller) I will then do a lot of work turning it into a structure afterwards. Part of my agenda performance-wise is to prebuild software systems on a performance-specific basis, and then improvise using these, dependent on the control points designed into them. >Am I >mentally hearing rudiments of the piece in terms of timbre, melody, or >rhythm? That's certainly the way I work. Music isn't created, it's discovered, after all. The trick is to tease out the material via technique, orchestration, timbre and so on, and (in my case) develop the control points as well. Well, the real trick is to hear the raw stuff in the first place. >With >all of that gear I see on your Web page, you _must_ be able to pull an Uncle >Ernie on it! (Who?) Actually, most of that gear is gone now. My rig is really just the UltraProteus, Wavestation A/D's and Micro-Wave, plus effects. That's plenty powerful enough to do what I need, though. >I totally agree with you that "creativity comes from constraint as much as >from freedom," but thinking that you have to be writing something >completely new and refreshing puts way too much pressure on you, man! >Besides, it hardly constrains you at all: there's just as much music that >hasn't been heard as there is that has been...maybe more? Ah, but that's the freedom part, not the constraint part. I think they have to be kept in balance, which is damn tricky. >Instead, why not contrain yourself by using only one synth, or >one FX, or picking up the newspaper and writing a song inspired by the >shenanegans of Parliment. The performance piece I'm working on at present currently uses only malprogrammed sample ROM loops from the UltraProteus. Looks promising so far, although it's very hit-and-miss. >But having the mindset of >using "interesting chords" just for the sake of using them may bog you down >into the question, "are they interesting enough?" Making them more interesting than the usual ones is good enough for the present... >Note that I did say I didn't think your >music would probably sound like any pop stuff I've ever heard on Casey >Kasom's (sp.) Top 40 radio program. Who? (Here in the UK it's wall-to-wall Oasis-versus-Blur.) Nick Rothwell, CASSIEL http://www.cassiel.com years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Tue, 26 Mar 1996 11:45:34 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Billboard, Don Quixote, and Nick >The tally sheet will contain >items showing the financial expenditures for Dance, Music, Sculpture, >Painting, and possibly Mixed Media, I have it right here, and you're right...! >If Nick's vision >doesn't neatly fit into one of the existing categories, then he'll have >to convince somebody to start a new category or lie and say it's music >(with dance) or dance (with music) or collaborate with a luminary from >the world of dance who is willing to be a participant on paper but let >Nick's vision guide the project. So far I've been doing the lying thing to an extent, although as I've said I'm not into innovation for its own sake; I don't mind my stuff looking like dance performance - for now. I've not come across many crossover arts performances that have worked that well. As far as vision goes, one has to form political alliances first; and collaborating on other people's visions is fine too, as long as they're ones you can be happy with. >They're not interested in artistic innovation. Their interests are >more of a self serving nature. I just got a "customer satisfaction" questionnaire from the Scottish Arts Council. I'm going to enjoy filling it in. Nick Rothwell, CASSIEL http://www.cassiel.com years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Tue, 26 Mar 1996 11:45:14 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Billboard, Don Quixote, and Nick >This reminds me of a TV program I saw many years ago now about John Cage >and Merce Cunningham. They worked separately. Cunningham has always liked to work this way (as do his students, at least the ones I've met: I mean, rehearse/develop to Madonna and perform to Kate Bush?). When I saw his company a year or two ago it was done this way. It's a nice approach, but again, one has to be wary of dogma, and in the case of Cunningham's work I'm not terribly keen on the result; but that's just my personal taste. Nick Rothwell, CASSIEL http://www.cassiel.com years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Tue, 26 Mar 1996 07:17:11 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Alan M. Bookmiller" Subject: Re: REMOVE EMUSIC-L >What does this mean? It means these people are trying to unsubscribe from the list but don't know the correct procedure to do so. Alan tabbooks@pa.net (Alan M. Bookmiller) ========================================================================= Date: Tue, 26 Mar 1996 08:57:06 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul LaVigne Subject: Re: REMOVE EMUSIC-L At 07:17 AM 3/26/96 -0500, you wrote: >>What does this mean? > >It means these people are trying to unsubscribe from the list but don't >know the correct procedure to do so. > >Alan > What's even funnier is that people over at the cakewalk list keep writing "please unscribe". Someone sould send them the FAQ and a dictionary. ========================================================================= Date: Tue, 26 Mar 1996 12:19:45 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: harry haecker Subject: Creative Frameworks >Music isn't created, it's discovered, after all. The trick is to tease >out the material via technique, orchestration, timbre and so on, and (in >my case) develop the control points as well. Well, the real trick is to >hear the raw stuff in the first place. That's the way I feel about the process, too. For some lucky sots, they're more like a conduit that's mostly in the "ON" position. >>With all of that gear I see on your Web page, you _must_ be able to pull an >>Uncle Ernie on it! >(Who?) Heh, heh...You're right!! In The Who's movie version of their rock opera, "Tommy", Uncle Ernie was the pedophillic relative who enjoyed administering upper colonics; Cousin Kevin was the sado-masochistic one who'd put out cigarettes on Tommy's arm. Sorry for the obscure reference to them, but I sometimes refer to the conscious perversion of a formerly "pretty" sample, patch, motive, or song as "pulling an Uncle Ernie on it," and thought you might've seen the movie back in '76...it may not have made it to your neck of the planet, though. >My rig is really just the UltraProteus, Wavestation A/D's and Micro-Wave, >plus effects. That's plenty powerful enough to do what I need, though. Sounds like that would give you lots of permutations. >I think they have to be kept in balance, which is damn tricky. Yes, walking down that straight and narrow razor blade can be tricky and painful. >The performance piece I'm working on at present currently uses only >malprogrammed sample ROM loops from the UltraProteus. Looks promising so >far, although it's very hit-and-miss. There you go! I can't imagine that this piece would have too many tired-out I-IV-V-I progressions in it ;-) >>Casey Kasom >Who? Never mind...it's too insidious and convoluted to get into. >(Here in the UK it's wall-to-wall Oasis-versus-Blur.) I'm ignorant of their existance, although I get the idea. typing from my sickbed, I remain-- Harry Haecker (haeckerh@nwrc.gov) ========================================================================= Date: Wed, 27 Mar 1996 09:35:57 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Don Quixote, Nick, Harry, David Hi Nick, thanks for the account of CASSIEL. > Oh: We don't do multimedia or mixed-media. Don;t you ever have music _and_ dance in the same show!? ;-) Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Wed, 27 Mar 1996 09:39:18 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Billboard, Don Quixote, and Nick Hi again, Nick... > I just got a "customer satisfaction" questionnaire from the Scottish Arts > Council. I'm going to enjoy filling it in. Do you _ever_ want funding from them again? ;-) Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Wed, 27 Mar 1996 01:45:11 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Glen Tennison Subject: Re: Hiding Somethig? I have to start adding something to the group but I see most of you are way ahead of me in this area. I'm a Electronic Engineer that was a pretty good Drummer at one time. I am interested in Electronic Drums..... I have a good musical background and need to get up to speed with all these neat Keyboards I see in the group. Please E-mail me all sites I should check out. Thanks Glen ========================================================================= Date: Tue, 26 Mar 1996 22:47:38 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Larry Deckel Subject: Digest available Is there a way to get this list in Digest form? Please reply rtrout@earthlink.net Thanks ********************************************** Troutco - an R. Trout Company "I know I exist because things bump into me" ********************************************** ========================================================================= Date: Tue, 26 Mar 1996 23:50:38 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tony Cappellini Subject: Sound Diver Comments: To: synth-l@american.edu Can anyone tell me if Sound Diver has been reviewed, and what issue featured the review(s) ? Thanks Tony ========================================================================= Date: Wed, 27 Mar 1996 09:02:30 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Alan M. Bookmiller" Subject: Re: Don Quixote, Nick, Harry, David, and choreographers Nick: Thanks for the overview of CASSIEL. Not having worked with choreographers, when you say collaboration, how does the choreographer communicate what he wants - does he describe a setting, an image, a theme? Do you, as musician, provide a number of samples for the choreographer to choose from, or is it done more as a work-in-progress with changes in direction as suggested by the choreograher? Do you have a hand in the choreography? Also, what do you mean by installation-specific? When you say "the dancers have finally got me down," are you saying they are have worn you down and you desire to do something on your own - to get away from their influence (or BS)? On other subjects: >A certain degree of conservatism is good; I don't really hold with the >support of innovation for its own sake when it has nothing to say; content >is more important than style. Innovation always has something to say...at least it will always spawn debate as to what it is saying if nothing else. Content is more important than style? You sound like a choreographer here Nick. Can't style generate content? >A lot of it is politics. There is justification for longer-term support so >that artists and practitioners can develop their art with some small degree >of security (and it is small), and pass this on to younger talent; on the >other hand, established performers often continue to get supported even if >their work is dreadful, denying other performers the foothold they need. I agree totally. Have you ever noticed that in some cases when an established artist, or practitioner is given the boot, that they will come back with something totally new and refreshing. Some can pull themselves back up by seeing the end as a beginning point. This may be more true in the dance arts than in the music world. I notice in music, that an established artist may just bow out for years, then present his musical style unchanged to a new generation - Tony Bennett did this as an example. My fourteen year old son bought a CD and was anxious to play it for me, he said " this is really, really cool dad." It turned out to be "Inna Gadda Davida" (sp?) by the Iron Butterfly! Turns out these guys are selling the hell out of this to a new generation! I didn't have the courage to tell my son that when he played it for me that it was probably the first time I ever heard it straight! HA! >Financial return on arts funding? Certainly not in any direct sense, but >any artist would argue that longer term returns, be they cultural or >financial, are more important. Whether you believe that depends on your >position in the political spectrum, but I think it's pretty clear that the >pro-Arts argument wins out. Return on investment can turn out to be financial if a new art form arises from the funding - and any new art form can be exploited for financial gain. I was thinking that return on investment was more along the "intellectual growth" of both those who create art and those who percieve it. Fanancially, the gains are usually garnered by the established industry - those with the funds to mass market an art form. >I don't find them particularly pompous, just entrenched, lacking in vision >and basically not very smart. Ok...I see. But aren't they a little self-serving. Who do they answer to - Is someone looking at there tally sheet saying good job, all you have granted money are safe and doing traditional work - nothing far-out, good! >Sounds a little dogmatic to me. I've done this as well; sometimes it works, >sometimes it doesn't. I rather like improvisation within larger >choreographic structures as well. You can't argue in absolute terms between >improvisation and composition (in any art form). How can spontaneity be determined dogmatic? I was saying, throw away that which is dogmatic concerning the dance/music arts, improvise in real-time and create on the fly. If after that there are new movements discovered, either musically or through dance, then learn from it and use it - then let that become new doctrine. Best wishes to you Nick - you, as do many on this list, have many great thoughts and good points. Always a learning experience! Alan Harry.... >(Who?) >Heh, heh...You're right!! In The Who's movie version of their rock opera, >"Tommy", Uncle Ernie was the pedophillic relative who enjoyed administering >upper colonics; Cousin Kevin was the sado-masochistic one who'd put out >cigarettes on Tommy's arm. Sorry for the obscure reference to them, but I >sometimes refer to the conscious perversion of a formerly "pretty" sample, >patch, motive, or song as "pulling an Uncle Ernie on it," and thought you >might've seen the movie back in '76...it may not have made it to your neck of >the planet, though. Thanks for the explanation - I was wondering about the Uncle Ernie thing as well! tabbooks@pa.net (Alan M. Bookmiller) ========================================================================= Date: Wed, 27 Mar 1996 09:16:13 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Alan M. Bookmiller" Subject: Re: Hiding Somethig? >>What are you hiding? Why don't you tell us who you are? >Greetings! I'm certainly not trying to hide!!!! My name is Kelly Bryarly, and >my analog contact information is as follows: > >Kelly Bryarly >KB Music >1570 Quail Lake Loop >Colorado Springs, CO 80906 >800-279-2759; local 719-579-9028 Hi Kelly, What is your CD all about? Can you categorize the music? What equipment do you use and how do you create your music, or get in touch with your creative psyche? There was an email message sometime back from a radio announcer who was looking for music to play on a station (North-Western PA) that he worked at. He was putting together some new programming, but I didn't save the information but maybe somone else on the list saved it. Anyone? You might check some of the newsgroups, sometimes they have messages from people in broadcasting that are looking for new music to give airplay. Good luck. Al;an Bookmiller tabbooks@pa,net tabbooks@pa.net (Alan M. Bookmiller) ========================================================================= Date: Wed, 27 Mar 1996 17:45:45 PDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Fred MoTTe Subject: Re[4]: Instruments (screamtracker) Well, yes, I think it's ok. It's possible that you can't reach the maximum mixing rate though... Fred. ______________________________ Reply Separator _________________________________ Subject: Re: Re[2]: Instruments (screamtracker) Author: Electronic Music Discussion List at INTERNET Date: 22/03/96 15:53 I only have a 386/25, would it be worth using or would my computer be too slow? On Fri, 22 Mar 1996, Fred MoTTe wrote: > Yo, > > I'm writing from France, homeland of Jean Michel Jarre (I can't stand > him :) > By the way, I think you'd better try to find Fastracker 2 which is more > powerful than Screamtracker. FT2 can handle 16bits samples, and has a much more > powerful enveloppe and panning editing tool included. (You can find it on > ftp.cdrom.com too...) ========================================================================= Date: Wed, 27 Mar 1996 16:00:59 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Thomas M. Melville" Subject: Re: Sound Diver In-Reply-To: <2.2.32.19960327075038.006d9f90@best.com> What is Sound Diver? On Tue, 26 Mar 1996, Tony Cappellini wrote: > Can anyone tell me if Sound Diver has been reviewed, and what issue featured > the review(s) ? > > Thanks Tony > ========================================================================= Date: Wed, 27 Mar 1996 16:03:04 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Thomas M. Melville" Subject: Re: Re[4]: Instruments (screamtracker) In-Reply-To: <9602278279.AA827945919@smtpgate.mindscape.com> On Wed, 27 Mar 1996, Fred MoTTe wrote: > Well, yes, I think it's ok. It's possible that you can't reach the > maximum mixing rate though... > > Fred. I found a bunch of mods and learned that I can use their instruments as well. So I just need to figure out how to compose it on the computer. L8r! ========================================================================= Date: Wed, 27 Mar 1996 23:49:40 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Martin Russ Subject: Admin FAQs V1.3 (Last Changed 4th February 1996) Comments: To: SYNTH-L@LISTSERV.AMERICAN.EDU Warning: Long Document (384 lines, 3077 words, about 6 pages)-------------- EMUSIC-L and SYNTH-L Frequently Asked Questions: Administration This document is posted approximately every four weeks. It is intended that this document should answer many of the questions asked by newcomers to the lists. Comments and corrections should be sent to the maintainer, Martin Russ, at: mruss@midi.dungeon.com This is the 2nd posting of Issue 1.3, dated 4 February 1996. --------------------------------------------------------------------------- Changes since issue 1.2.: - Notes on multiple and long messages (messages, 2/3) - Notes on message rejection (messages, 2/3) - Moved Max, Soundcards and Music Mailing Lists topics to General FAQ TOPIC INDEX**************************************************************** - Background - Messages - Subscriptions etc BACKGROUND***************************************************************** "What are the EMUSIC-L and SYNTH-L lists for?"***************************** EMUSIC-L and SYNTH-L are for the discussion of electronic music in general: its history, practitioners past and present, equipment, techniques, trends, research, development, resources, you name it. They exist as a 'post-moderated' alternative to the rec.music.makers.synth newsgroup. (post-moderated means that the moderators monitor what is posted, and sometimes remind posters about the 'rules': see below for the 'rules'). A digest is also available for each list. This collects all the postings for a day into one e-mailing. "Who are the moderators?"************************************************** Joe McMahon and Mike Metlay have been on here for over seven years. Their aim is to keep the mail flowing and the illegal and blatantly out-of-line traffic to a minimum. Joe can be contacted at: mcmahon@clark.net Mike can be contacted at: atomic@netcom.com "So, can I post anything I feel like?"************************************* Well, no. There are some RULES. The basic thrust of EMUSIC-L is to provide a forum for the discussion of music made by electronic means. The actual means is secondary (and more the subject of SYNTH-L). What we are concerned with on EMUSIC-L is the music, composing, and related topics. Therefore: 1) Ads are not permitted on EMUSIC-L. Advising someone as to whether they are getting ripped off *if they ask the list* is permissible; otherwise, use private mail. Requests for addresses of mail-order firms, etc. are OK. Cutting deals on your own personal equipment is not OK. Please do it privately, or subscribe to SYNTH-L, where you'll reach a more responsive audience. Requests for advice as to whether a price is good or not are marginally OK, but would probably reach a more knowledgeable audience on SYNTH-L. Prices really aren't so much of interest unless either the entire world (literally) should know about this great deal, or you have inside information on a new product or upgrade. Exception: if someone has gone through the trouble of composing, recording, and pressing a CD or tape, submitting an article describing the process and their experiences and mentioning that the tape or CD is available for purchase is OK. Posting repeated ads for the CD is not. (A single mention is marginally acceptable; a short mention in a signature file is fine.) Here's a quick summary (it goes from 'admirable' to 'not acceptable'): - A ONE-TIME post mentioning that you have completed a CD or tape and a summary of experiences/etc. in making the recording is admirable. - An article which contributes to the discussion on the list AND contains a signature file which mentions CD/tape/album availability is acceptable. - Repeated postings saying nothing but "My recording is available" are bad. - Outright ads for records you did not make, hardware, software, used cars, etc. are very bad. 2) Discussions as to the relative merits of hardware/software/etc. are permissible, as long as the reviewers state evidence supporting their opinions. Ad hominem attacks will not be tolerated. Arguments based solely on personal taste are not acceptable. It is preferable to request private mailings, which you can summarize and post back to the list. Reviews are useful. Mutual admiration societies are not. 3) All members *will* be treated with kindness and respect. There is no such thing as a dumb question on this list. If you can answer, answer, and be nice about it. Otherwise, say nothing. If you've got a problem with what someone has had to say, discuss it in a civil manner. If you can't do that, take it to e-mail, or just forget about it. 4) EMUSIC-L is meant to be for the discussion of electronic music, in the studio, the classroom, in performance, and on recordings, including techniques, resources, user reviews and experiences, and speculation on futures. Some divagations will be tolerated, as it's rather nice to have a little humor on the list; however, the list owner(s) (Joe McMahon at the moment) will maintain the final say as to the subject matter on the list and will move to terminate off-topic, pointless, and (especially) rancorous discussions. 5) Please refrain from adding to the noise level by commenting about accidental private posts to the list or the accidental sendings of SUBSCRIBE requests or suchlike to the list. That is the administrators' job. If you must pour out your wounded feelings ;-), either to Joe, or to the offender, use private mail. 6) The listowner(s) are permitted to be as arbitrary as they please. We have only once had to take action against a member of the list for breaking these rules, even when they hadn't been stated explicitly. We will notify offenders via private mail and will wait for a response. But we don't have time to play Politeness and Germaneness Monitors. We will remove users from the list only if we must, and we always give people the benefit of the doubt when possible. But be assured that we will act to preserve the quality of discussion on this list. "How did EMUSIC-L and SYNTH-L start?"************************************** Perhaps a bit of ancient history is in order here, to show where these lists come from and why they are the way they are.... Many moons ago, when there was for all practical purposes no such thing as the Internet (and there were certainly few or no commercial online services), people had access to cyberspace only through a set of large but mutually exclusive network protocols, generally provided by and germane to their place of education or work. One of these was the USENET hierarchy of UNIX machines at universities and laboratories and a few commercial sites; another was BITNET, an international mail system for mainframe computers used by scientists. Communication between the two systems was possible only in a crude and roundabout manner, so they developed separate systems for dealing with the same needs. In a rough, very general sense, USENET developed the news hierarchy and BITNET developed list servers and mailing lists; in the subfield of electronic music, USENET had the once-quite-small newsgroup rec.music.synth and BITNET had EMUSIC-L. The 'feel' of these groups was in concert with the sort of people using them; rec.music.synth was more open, with college students and commercial users, whereas EMUSIC-L tended toward academic users. This tended to shape the level of discussion and the topics covered, but keep in mind that early on, the overlap between the two groups was relatively small. Some time later, as reliable gateways between BITNET and the rest of the growing Internet allowed for the redistribution of newsgroups as mailing lists, SYNTH-L was launched as a gateway of rec.music.synth posts, so BITNET users without USENET access could enjoy the news there. It was a short, hard-learned lesson; the lack of moderation and the huge number of news articles delivered as email (!) knocked many prospective users for a loop. It wasn't all that long before the USENET feed was cut and the gateways to the news hierarchy were removed, isolating SYNTH-L and effectively removing its reason for existence. At that point, with Joe's blessing, Mike stepped in as conceptual 'parent' of SYNTH-L, and began to promote it as a nice middle ground between EMUSIC-L's often rarified discussions and the daily mayhem on rec.music.synth (now rec.music.makers.s). It was semi-moderated, so postings stayed (by and large) polite and focussed, but long discussions of gear, software, technical problems, and so forth that were considered a waste of time by many EMUSIC-L readers were encouraged, and over the years since then a de facto division between the two groups, and a healthy relationship, has settled into place. It's true that the divisions between topics for the two groups are occasionally blurry, but that's something most folks simply learn to live with and get a feel for. "Is SYNTH-L supposed to be technical discussion of synthesizers?"********** "Does EMUSIC-L cover electronic music in general?"************************* Very roughly, SYNTH-L is for the detailed technical talk, like gear for sale, where to download patches, whether synth A is better than synth B (whatever 'better' means), technical problems and solutions, and so on. SYNTH-L is the stuff that people on EMUSIC-L don't want to have to wade through to discuss electronic music. Conversely, EMUSIC-L is for all the serious (and sometimes not so serious) philosophical discussion on electronic music in its widest sense. EMUSIC-L is the stuff that people on SYNTH-L don't want to have to wade through to discuss gear. In both cases, one could say that this sort of discussion has its place, but people sometimes like to see it, and sometimes don't. All the EMUSIC-L/SYNTH-L division purports to do is allow an approximate separation between the snobs and the plebs. Where people take that is up to them. It's true that there seems to be no set focus or set of aims in these lists. That's deliberate. We are like-minded individuals looking for someone intelligent and knowledgeable to talk to, and the topics range all over the place, as well they should in such a forum. One shouldn't expect any kind of focus in an environment where anything is a potential topic for discussion. "What's the point? It's not what I expected!"****************************** The point is that we don't want you to have unreasonable expectations of what EMUSIC-L and SYNTH-L are 'for'; they are what they are, and most people seem content to enjoy them as they are or guide them elsewhere, either for a while or for good... A good starting point for finding out what the electronic music of EMUSIC-L and SYNTH-L is all about is the EMUSIC-L World Wide Web page at: http://sunsite.unc.edu/emusic-l. MESSAGES******************************************************************* 'What about multiple and long posts?'************************************** MULTIPLE POSTS / CONFERENCE ANNOUNCEMENTS AND OTHER LENGTHY POSTS EMUSIC-L and SYNTH-L are delivered to many different types of mailboxes. While many of our readers have plenty of spool file space at their host machines and a lot of leisure time to delete unwanted mail, there are others who must download their mail via modem, often at low speeds while paying for connect time. For this reason, we discourage multiple postings of the same message, and ask that list members clear very long posts (over, say, 2000 lines) with the Co-Moderators before sending them along. While we do not have time to moderate every message to EMUSIC-L and SYNTH-L, we have no objection to scanning the occasional conference announcement or product profile for suitability, and would prefer to do so rather than see our readers suffer problems from lengthy files whose place on our lists may not be appropriate. One other note: keep in mind that the default behavior for the List Server is NOT to echo a copy of your post back to you. Posting the same announcement multiple times "just to make sure it's getting out" is wasteful and rude. If there has been no response to your post after three to five days, a followup message asking if the post got out, _along with a careful restatement of the original question,_ is probably okay. But there does exist the possibility that your question has gone unanswered because no one on the lists has the information you need. There's no guarantee that we can answer any question here, and we cannot force those who do have answers to also have an interest in providing them. As in so many areas of netiquette, let common sense be your guide in handling these posts. Being flamed for announcing a concert or conference, or for asking a reasonable question, is uncalled for. Being flamed for announcing the same event five times in an automailer, or for asking a question no one cares about ten times in a row in ever more strident tones, is to be expected. "Should I respond to a message on the list?"******************************* The whole point of this list is that we attract people who are smart enough to make these decisions for themselves, and do. You can be one of them, if you let yourself. Think and decide for yourself, make mistakes, correct them, learn, move on, and enjoy the trip. Or, if you're paralyzed by fear of doing or saying something wrong, you can choose to lurk forever. Please also read the "So, can I post anything I feel like?" 'Rules' section of this document before posting anything to the list. "How do I send a message to the list?"************************************* For EMUSIC-L, you send your posting to emusic-l@american.edu. It will be automatically sent to all of the other subscribers. You will not receive a copy of your own mail; LISTSERV does this to decrease mail traffic. For SYNTH-L, you send your posting to synth-l@american.edu. "Why did my posting get rejected?"***************************************** Postings to the list may be rejected for a number of reasons, most of them having to do with keeping unrelated material off the list, and keeping traffic to a reasonable level. If you are not subscribed to the list, you will not be able to post to it. Thes keeps random advertisers who are not members of the list from posting to it, and cuts down on mass crosspostings as well. If you really need to talk to the members of the lists, you'll have to make the commitment to read them for at least the amount of time that it takes to get your answer. Note that the listowners will frown on subscribing, posting, and unsubscribing in a very short period, especially if the material posted turns out to be unrelated to the list, or otherwise inappropriate. Postings more than 400 lines long (about 32K of text) will be rejected as well. This was instituted to stop things like errors resulting in massive postings to the list, and pranksters who uuencode core dumps and send them, attempting to overload the server and its customers. Such items will be returned to sender. "Where is the archive of FAQs kept?"*************************************** This is a new document (as of May 1995). As the maintainer adds new questions this document will be revised, and some questions and answers may be removed. You will be able to ftp previous FAQ files from the Internet. SUBSCRIPTIONS************************************************************** "How do I unsubscribe?"**************************************************** For EMUSIC-L, you send mail to listserv@american.edu with the text UNSUB EMUSIC-L as the body. No special subject is required. For SYNTH-L, you send mail to listserv@american.edu with the text UNSUB SYNTH-L as the body. Again, no special subject is required. If this does not work, you will get a message saying that no entry was found for your ID. Please contact Joe McMahon (mcmahon@CLARK.NET) directly. Do *NOT* post unsubscribe messages to the list. They don't help, and simply irritate other readers. AOL subscribers may experience some problems with unsubscribing from the listserv. This may be a communications problem or an incompatibility... If you cannot unsubscribe then please save any messages that you may receive from the listserv and send them to Joe McMahon (mcmahon@CLARK.NET). "How do I subscribe?"****************************************************** To join the discussion group on a message-by-message basis, send a mail message to listserv@american.edu with the text SUB EMUSIC-L where "" is your actual first and last name (at a minimum; LISTSERV insists on at least two blank-separated words here). Do not send subscription requests to the list address, as they only serve to annoy the other list members. For SYNTH-L, you do exactly the same, but replace the text 'EMUSIC-L' with 'SYNTH-L'. "How do I subscribe to the daily digest?"********************************** If you would like to get daily digests of the mail to EMUSIC-L, send the following mail to listserv@american.edu: SUB EMUSIC-L SET EMUSIC-L DIGEST where "" should be replaced by your first and last name (at a minimum; LISTSERV insists on at least two blank-separated words here). Note that these two commands should be on separate lines: SUB EMUSIC-L SET EMUSIC-L DIGEST so that the listserv will interpret them correctly. Do not send subscription requests to the list address, as they only serve to annoy the otherlist members. For SYNTH-L, you do exactly the same, but replace the text 'EMUSIC-L' with 'SYNTH-L'. "How do I unsubscribe from the full list and subscribe to the digest?"***** If you would like to get daily digests of the mail to EMUSIC-L instead of the message-by-message form, just send the following mail to listserv@american.edu: SET EMUSIC-L DIGEST You will then get one message per day, which consists of a list of topics, followed by all the messages which have been posted in the previous 24 hours. For SYNTH-L, you do exactly the same, but replace the text 'EMUSIC-L' with 'SYNTH-L'. AOL subscribers may experience some problems in changing their subscription details via the listserv. This may be a communications problem or an incompatibility... If you cannot change to a digest then please save any messages that you may receive from the listserv and send them to Joe McMahon (mcmahon@CLARK.NET). Contributors:************************************************************** Mike Metlay, Joe McMahon, Ned Kartchner, Clive McFarland and others --------------------------------------------------------------------------- ------------------------------------------------------------------------------ Martin Russ Reviewer & Columnist for Sound On Sound Magazine (UK) mruss@midi.dungeon.com Hi-Tech Music Technical Author & MIDI Consultant http://www.dungeon.com/~midi Macintosh & Synthesizer Programmer ========================================================================= Date: Thu, 28 Mar 1996 04:35:35 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Frank Graves Subject: SEQUENCING AND THEORY FAQ'S ? I'm looking for any available Music Theory and Sequencing FAQ's that are available. Thanks, +--------------------------------------------------------------------+ | Frank C. Graves C++ Software Development | | fgraves@worldnet.att.net Tenneco Energy, Houston, TX | | 713-353-8994 (H) 713-757-4433 (W) | +--------------------------------------------------------------------+