========================================================================= Date: Fri, 14 Jun 1996 02:28:09 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bacil C. Warren" Subject: Re: Hi All! Cody: Welcome. I wish I had all that stuff. If you don't mind, I'll keep you in mind for when I get my students on-line in (hopefully) about six months. Chris ========================================================================= Date: Fri, 14 Jun 1996 03:38:40 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bacil C. Warren" Subject: Re: Best Equipment Nick said-- Did the original poster actually say what he was wanting to use the keyboard for, education-wise? No--on purpose. I wanted to generate the widest possible set of responses, which all of you have been very kind enough to provide. Almost all the students I teach know about the basics of computers from other courses (business, math, etc.) Less than ten percent know that computers can do other things too, and those that do know because of the computer-generated classroom materials that I give them to perform or study (mostly notational items, for now). So far as I have been able to determine, none of my students currently has access to a computer at home. Any keyboard that we buy needs to support conventional needs that a Clavinova could do (theory drill, and so forth), while also providing a solid starting point for novice composers, performers and sound techs. Oh, one other thing. To prevent theft, the keyboard of choice should be about as heavy as Fort Knox, but portable enough to take to a gig in the park. I'm trying to make an intellegent choice in an difficult situation, and everyone's help has been wonderful and appreciated. Thanks again! --Chris ========================================================================= Date: Fri, 14 Jun 1996 03:47:29 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bacil C. Warren" Subject: Re: Bach-composing Dominikus-- I will admit that reading your messages is hard for me, BUT: the subject is wonderful, and I want to pursue it. I can't respond this instant. Give me a few days to consider it and I'll get back to you. --Chris ========================================================================= Date: Fri, 14 Jun 1996 04:19:47 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bacil C. Warren" Subject: Re: Best Equipment Ron-- The last I heard, no synth could teach anybody anything. My goal, and to be honest, I may not have articulated it clearly, is to teach young people the possibilities. I'm afraid I don't know waveform theory well enough to teach it (and I doubt that my science or math colleagues are focused there, either). The last I heard, come to think of it, waveforms don't come to high school students in the night and teach, either. I appreciate your response, Ron, but how do they create those sounds on a beat-up acoustic piano? I can't access any filters or envelope generators. They CAN play acoustical instruments (trumpets, clarinets, etc.), but that isn't the point. I've got some great potential 21st century musicians here who are coping with 1970 technology. I want to help them break out of that mold, not condemn them to stay there... Chris ========================================================================= Date: Fri, 14 Jun 1996 04:39:14 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bacil C. Warren" Subject: Re: Best Equipment, Filters, Waveforms. Tim-- Thanks for the info, and apologies to Ron. Maybe I should read all my mail before I respond. I said I was rusty, before, and I certainly wasn't wrong. The good news is that I'm getting plenty of good information, which can only benefit my students. --Chris ========================================================================= Date: Fri, 14 Jun 1996 04:51:15 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bacil C. Warren" Subject: Re: Best Equipment Bill-- NOW I think I get it. Great suggestions! The only problem which remains is this: I'm already overwhelmed with ancient equipment which barely works and needs constant attention. I'd love to get all of us to within a decade of the millenia. Is that too much to ask? --Chris ========================================================================= Date: Fri, 14 Jun 1996 11:27:46 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Alex Dippel Subject: a little help? Hey all, sorry to have to ask this here, but I lost my original file on how to unsubscribe to both EMUSI-L and SYNTH-L. if anyone could fill me in I'd appreciate it. a personal e-mail would be fine. thanks in advance. Alex AlDip@aol.com ========================================================================= Date: Fri, 14 Jun 1996 09:41:59 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ron Hillman Organization: Hollywood International Talents Subject: Re: Best Equipment Bacil C. Warren wrote: > > Ron-- > > The last I heard, no synth could teach anybody anything. My goal, and to be > honest, I may not have articulated it clearly, is to teach young people the > possibilities. What Possibilities? All synths have a slightly different operating system for getting sounds. I learned my basic electronic music theory on a two different synths an Arp Odyssey and a Serge modular system. I had a teacher, paid for my lessons and got the basics. This knowledge I applied to my Prophet 5, but when I went on to a Yamaha Dx7 I encountered a very complicated operating system, and resolved myself to just playing the synth as that was my job at the time. On my Korg M1 which I still have I have never even attempted to program a sound from scratch, but I can when asked tweak a sound because the basics still apply. When I bought my sampler a Emu Eiixp I have gotten back into programming somewhat but still it's main purpose is for recreating sampled sounds and sampling loops. When they took away the knobs and sliders on synths and replaced them with buttons it got to hard and time consuming. Why spend hours trying to create a sound when there are talented programmers out there doing it on a full time basis, at a mind boggling pace. This hit home when a friend of mine handed me a floppy of over 2,000 sounds for the dx7 all of them killer. I hope this helps, maybe I should have stopped after the first 3 sentences. If you know the basics the rest can usually be figured out. If you don't know the basics, your students better have a great ear and a fantastic memory. Also if you have any money and want to buy some of the old modular analog type stuff, there is a store in Los Angeles that is stuffed full of it. It is called Black Market Music I don't know the number it's in the 310 area code. Ron > I'm afraid I don't know waveform theory well enough to teach it (and I doubt > that my science or math colleagues are focused there, either). > > The last I heard, come to think of it, waveforms don't come to high school > students in the night and teach, either. > > I appreciate your response, Ron, but how do they create those sounds on a > beat-up acoustic piano? I can't access any filters or envelope generators. > They CAN play acoustical instruments (trumpets, clarinets, etc.), but that > isn't the point. > > I've got some great potential 21st century musicians here who are coping with > 1970 technology. I want to help them break out of that mold, not condemn them > to stay there... > > Chris -- RON HILLMAN reh@smartlink.net ========================================================================= Date: Fri, 14 Jun 1996 15:03:12 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Andrew Whittle. AWhit." Subject: MidiVox people please! >MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays. > >Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some >Drums, Sing a Cello. > >Become a Human Sequencer, Human Vocoder, Human Breath Controller. > >AES "Best in Show." EM "Editors Choice." " MidiVox Roars." >Keyboard. > This all looks very good, but where do I get it from? Is this program free (shareware, public domain) or do you have to buy it? But, I still don't know where to get it from. Oh, and I seem to remember someone from MidiVox putting up a message about the MidiVox web page, but I couldn't remember the address. I've tried http://www.midivox.com which most companies use, just by changing the company name. Thanks, Andy W. Andysmoke@aol.com ------------------------------------ HELP WANTED: Telepath. You know where to apply. ========================================================================= Date: Fri, 14 Jun 1996 18:41:22 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Benjamin McLean Subject: Re: a little help? Listerv@American.edu <---- E-Mail there Unsubscribe EMUSIC-L <---- Subject there Please Unsubscribe my subscription to EMUSIC-L. @---->---- thnx <------ Body of letter there. Your Welcome (in advance <-giggles-> ) CheckM69 ========================================================================= Date: Sat, 15 Jun 1996 18:56:35 +0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Juan Manuel Rodriguez C." Subject: I wanna shut them up! Hi partners I've a social question.... In your life you usually are surrounded by people who you consider friends or at last your mates , and when they like (or love) music that you consider "noisy" or better sh....t, what do you do to scape , at least , scape mentally. This's true when you gotta go into a party , you want to see the people, but hear the music??? :-( , you don't wanna lose your fantastic ear, intended for timbre , using it to measure amplitude over 100 db, "non-capisco?", no more for diis time... ========================================================================= Date: Sun, 16 Jun 1996 10:58:59 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Best Equipment >Why spend hours trying to create a sound when there are talented >programmers out there doing it on a full time basis, at a mind boggling pace. Because the sound is part of the music. Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Sun, 16 Jun 1996 19:05:08 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacky Schreiber Subject: Re: Best Equipment ------ =_NextPart_000_01BB5BB6.ED3A0A40 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit ---------- De: Nick Rothwell[SMTP:nick@CASSIEL.COM] Enviado: Domingo 16 de Junio de 1996 05:58 AM Para: Multiple recipients of list EMUSIC-L Asunto: Re: Best Equipment >Why spend hours trying to create a sound when there are talented >programmers out there doing it on a full time basis, at a mind boggling pace. Because the sound is part of the music. Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again =============================================================== ...And why make music with this sound or that one if one can build his/her own "pallette" of sounds... jacky schreiber jackysch@ven.net ------ =_NextPart_000_01BB5BB6.ED3A0A40 Content-Type: application/ms-tnef Content-Transfer-Encoding: base64 eJ8+Ih4XAQaQCAAEAAAAAAABAAEAAQeQBgAIAAAA5AQAAAAAAADoAAENgAQAAgAAAAIAAgABBJAG AOwDAAACAAAAFAAAAAMAADAFAAAACwAPDgAAAAACAf8PAQAAAFQAAAAAAAAAgSsfpL6jEBmdbgDd AQ9UAgAAAABFbGVjdHJvbmljIE11c2ljIERpc2N1c3Npb24gTGlzdABTTVRQAEVNVVNJQy1MQEFN RVJJQ0FOLkVEVQAeAAIwAQAAAAUAAABTTVRQAAAAAB4AAzABAAAAFgAAAEVNVVNJQy1MQEFNRVJJ Q0FOLkVEVQAAAB4AGgABAAAAFAAAAFJFUE9SVC5JUE0uTk9URS5ORFIAQAAyAEDmxzTYW7sBAwAE DAAAAAADAAUM/////wMAFQwAAAAQAwD+DwYAAAAeAAEQAQAAAE8AAABObyBoYXkgcHJvdmVlZG9y IGRlIHRyYW5zcG9ydGUgZGlzcG9uaWJsZSBwYXJhIGxhIGVudHJlZ2EgYSBlc3RlIGRlc3RpbmF0 YXJpby4AAB4AATABAAAAIwAAACdFbGVjdHJvbmljIE11c2ljIERpc2N1c3Npb24gTGlzdCcAAAIB CzABAAAAGwAAAFNNVFA6RU1VU0lDLUxAQU1FUklDQU4uRURVAAADAAA5AAAAAAIBEjoBAAAAVAAA AAAAAACBKx+kvqMQGZ1uAN0BD1QCAAAAAEVsZWN0cm9uaWMgTXVzaWMgRGlzY3Vzc2lvbiBMaXN0 AFNNVFAARU1VU0lDLUxAQU1FUklDQU4uRURVAB4AEzoBAAAAIwAAACdFbGVjdHJvbmljIE11c2lj IERpc2N1c3Npb24gTGlzdCcAAAIBFDoBAAAAGwAAAFNNVFA6RU1VU0lDLUxAQU1FUklDQU4uRURV AAALAEA6AQAAAAIB9g8BAAAABAAAAAAAAAUOAAAAAwAAMAYAAAALAA8OAQAAAAIB/w8BAAAAVAAA AAAAAACBKx+kvqMQGZ1uAN0BD1QCAAAAAEVsZWN0cm9uaWMgTXVzaWMgRGlzY3Vzc2lvbiBMaXN0 AFNNVFAARU1VU0lDLUxAQU1FUklDQU4uRURVAB4AAjABAAAABQAAAFNNVFAAAAAAHgADMAEAAAAW AAAARU1VU0lDLUxAQU1FUklDQU4uRURVAAAAHgAaAAEAAAAIAAAASVBNLk5PVEUDABUMAQAAAAMA /g8GAAAAHgABMAEAAAAjAAAAJ0VsZWN0cm9uaWMgTXVzaWMgRGlzY3Vzc2lvbiBMaXN0JwAAAgEL MAEAAAAbAAAAU01UUDpFTVVTSUMtTEBBTUVSSUNBTi5FRFUAAAMAADkAAAAAAgEUOgEAAAAQAAAA rnSd6KjHzxGcmkRFU1QAAAsAQDoBAAAAAgH2DwEAAAAEAAAAAAAABqjXAQiABwAYAAAASVBNLk1p Y3Jvc29mdCBNYWlsLk5vdGUAMQgBBIABABMAAABSRTogQmVzdCBFcXVpcG1lbnQAVwYBBYADAA4A AADMBwYAEAATAAUACAAAAAkBAQYABwAYAAAASVBNLk1pY3Jvc29mdCBNYWlsLk5vdGUAMQgBIIAD AA4AAADMBwYAEAATAAEACAAAAAUBAQmAAQAhAAAAQUU3NDlERThBOEM3Q0YxMTlDOUE0NDQ1NTM1 NDAwMDAAIQcBA5AGAMQEAAATAAAACwAjAAEAAAADACYAAAAAAAsAKQABAAAAAwA2AAAAAABAADkA 4PIvQ9hbuwEeAHAAAQAAABMAAABSRTogQmVzdCBFcXVpcG1lbnQAAAIBcQABAAAAFgAAAAG7W9gQ xOiddK/HqBHPnJpERVNUAAAAAB4AHgwBAAAABQAAAFNNVFAAAAAAHgAfDAEAAAARAAAAamFja3lz Y2hAdmVuLm5ldAAAAAADAAYQcgYhrgMABxBMAgAAHgAIEAEAAABlAAAALS0tLS0tLS0tLURFOk5J Q0tST1RIV0VMTFNNVFA6TklDS0BDQVNTSUVMQ09NRU5WSUFETzpET01JTkdPMTZERUpVTklPREUx OTk2MDU6NThBTVBBUkE6TVVMVElQTEVSRUNJUAAAAAACAQkQAQAAADMDAAAvAwAA8AUAAExaRnX0 vA7T/wAKAQ8CFQKoBesCgwBQAvIJAgBjaArAc2V0MjcGAAbDAoMyA8UCAHByQnER4nN0ZW0CgzN3 AuQHEwKAfQqACM8J2TvxFg8yNTUCgAqBDbELYMBuZzEwMzQK+xRRNQvyYwBAIAqFCotsaQgxODAC 0WktMTSeNA3wDNAc0wtZMTYKoOsDYBPQYwVALR73Cocdq8MMMB52RGU6ICHCHY9HHpQMggewaWNr B/F0AGh3ZWxsW1NNGFRQOgMAI/BAQ0EAU1NJRUwuQ0+MTV0fnyCtRW52BzDcZG8hsCIfIylEA3AL gChnbyAeQCANsCBKjnUDACrAKxExOTkq8KAwNTo1OBSwTSYfdSCtUArAYSGyKK8jKU1odWx0BSBs KyAWEGOPBSAIkAIwBCBvZiAcMBMTwCgATVUlgEMtTNMsryCtQXMrUHQocSHfNSLtUiGhQgeQJ/Fx dZ8FIAeAAjAa/xwDMzYddwMaRR52PldoeSBzYnAJ8GQgaAhhBCB0PHJ5KpE8wCrABQBlYTkT0CBh PAAIYDxBd2j/CfA8wD5wFhA90D7hAZAxQDcCMAmACoU+HnEJwGFtfweAPKEIYAVAPrQoYD0CafcF QAIgPdFmMPADIDEQB4DIIGJhAJBzLD3QBUDPPeAqgTxQBuBnZxwwPRExCrBjZS44zDfgY2H+dRGw PqI99QQARMEAIDIS/UaCbUZAI+BFHUlHI9tDgM8lVUlGBaA/kW1wBbAKwL078GQAcETwRMADYGoe sQpzSO5oAkBwOi8vundO4C5GIAQQCJBsTxDvA3BJRkgTPAB5AjA+cENRbz3QPEFLwgNgbEh/SUh5 Pz2QEaBDgAqwT0E9EWJ5bUOAViXQVMJGQ4E8QWHeZwtxVWk4zhnvPVjfWe/XWv9buQqFLl0wQT4z O/DdAMBrR/U+UEIQaD6hRyH/PgQFsSRAQ6ECICsgBpBgA2tGIAOgYjhQbDxRBAAv0z7BGuZvdwOg IgqwJIDbEcAT0CIyEj4Dc10xOMw6agDQazvxEXAWEGlipwSQZHplQUB2CfAuYCB+dDpfHpQ5PzpP aEwVMQABa/AAAwAQEAAAAAADABEQAAAAAEAABzCAamG011u7AUAACDCAamG011u7AQIBFDoBAAAA EAAAAK50neiox88RnJpERVNUAAAeAD0AAQAAAAUAAABSRTogAAAAADRd ------ =_NextPart_000_01BB5BB6.ED3A0A40-- ========================================================================= Date: Sun, 16 Jun 1996 19:05:50 +0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Juan Manuel Rodriguez C." Subject: Multitrack audio recording????? Comments: To: synth-l@american.edu Have a Good day partners, I've a little question, what means Multitrack audio recording, I mean, if about devices (hardware) it means multitrack recorders, something that records sound on a tape on independent parts, allowing to modify these parts without touching the others. Now software, if some programs in their publicity says "convert your PC into a profesional multitrack audio studio", that means that you can hear many waves, digitalized sound, at the same time? If it's so, what kind of programs let you to sequence audio, in real time?, that's like to do mixes between music and lyrics, but without altering both waves..... Waiting for some reply: Juman. juman@mercurio.ucauca.edu.co ========================================================================= Date: Sun, 16 Jun 1996 19:40:26 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Benjamin Leon Subject: Bass re-painting Greetings! Yes, I know this is not Electronic oriented, I have tons of midi and analog equipment and, for now, have a different question to ask.. I recently purchased a Fender 5 string El. Bass/Jazz. The only color the store had was black. I would like to eventually like to have the bass color changed. Anyone know of good people to send it to for re-painting?? I am considering sending it back to Fender, But that might be more than having someone else (an expert) doing it. Please let me know. Thanks! Ben BLeon@omnifest.uwm.edu ========================================================================= Date: Sun, 16 Jun 1996 19:11:46 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Timothy Kelly Subject: Re: Best etc, Why I Enjoy Creating Sounds Hi All, Because its fun, and doesnt take long at all once you are past your first synth. Give me any midi synth ever made and in an hour or less, I can give you a decent sounding dozen variations of one patch or a dozen interesting new sounds. With one hand yet. Its only ones first synth where you think a filter is somthing for your coffeemaker, an envelope is for mailing, and an osccillator is something under the hood of your car, after that creating sounds is just what does this synth co call this. Changing the sounds offers another way of expression. I do it caues its fun, and gives me a greater degree of sound freedom. I find it very relaxing to just grab a sound or a waveform, then start messing with it. You can always qucikly come up with something you like and find sonicly interesting. Some grab a drink at the bar. Me I turn on a synth, and have some sound fun. Thats the whole point to synths and electronic music. To have sound fun. Happy Emusic Timothy Kelly MidiVox -- MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays. Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some Drums, Sing a Cello. Become a Human Sequencer, Human Vocoder, Human Breath Controller. AES "Best in Show." EM "Editors Choice." " MidiVox Roars." Keyboard. ========================================================================= Date: Sun, 16 Jun 1996 18:46:22 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ron Hillman Organization: Hollywood International Talents Subject: Re: Best Equipment Jacky Schreiber wrote: > > ---------- > De: Nick Rothwell[SMTP:nick@CASSIEL.COM] > Enviado: Domingo 16 de Junio de 1996 05:58 AM > Para: Multiple recipients of list EMUSIC-L > Asunto: Re: Best Equipment > > >Why spend hours trying to create a sound when there are talented > >programmers out there doing it on a full time basis, at a mind boggling pace. > > Because the sound is part of the music. > > Nick Rothwell, CASSIEL contemporary dance projects > http://www.cassiel.com music synthesis and control > > years, passing by, VCO, VCF, and again, and again > > =============================================================== > ...And why make music with this sound or that one if one can build his/her > own "pallette" of sounds... > > jacky schreiber > jackysch@ven.net > > --------------------------------------------------------------- This is what I was referring to in the above, why spend ions of time programming when you are scratching out a living as a player and composer, which in my position is a full time job. When I need a sound I need it now. I don't have the programming background, but I do have the playing and writing background. I can't cover all the bases at this point in my carreer. Simplicity and the basics, that's what works for me. I need the sound now, thats why I like a Sampler. I can draw from cd rom and get what I want quick. Together we work toward a common goal. $$$. Ron ========================================================================= Date: Sun, 16 Jun 1996 22:15:57 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: I wanna shut them up! In-Reply-To: from "Juan Manuel Rodriguez C." at Jun 15, 96 06:56:35 pm Juan Manuel Rodriguez C. writes-- > >Hi partners >I've a social question.... >In your life you usually are surrounded by people who you consider >friends or at last your mates , and when they like (or love) music that >you consider "noisy" or better sh....t, what do you do to scape , at >least , scape mentally. This's true when you gotta go into a party , you >want to see the people, but hear the music??? :-( , you don't wanna lose >your fantastic ear, intended for timbre , using it to measure amplitude >over 100 db, "non-capisco?", no more for diis time... Earplugs. Better yet, in-ear monitors hooked up to a Walkman. And best of all, having friends who'll turn the volume down when asked nicely. Interesting problem. I don't think I've ever had any friends who insisted on playing loud music (whether good or bad) at parties; I guess I never got in with the right crowd. mike (who just got home from a dinner party where the CD changer slipped on "Another Green World" and half the guests said "Oooh! Eno! Cool!" ;) -- I guess you have to get your page turner to press the latch button. (robinsot) ========================================================================== Mike Metlay - ATOMIC CITY - P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com -- http://pd.net/atomic-city -- 800.924.ATOM = CD orders via LOFTY PURSUITS: 800.548.6724 & 904.385.6463, FAX 904.668.5825 ========================================================================= Date: Mon, 17 Jun 1996 01:22:42 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bacil C. Warren" Subject: Re: Best Equipment Ron wrote: All synths have a slightly different operating system for getting sounds. I learned my basic electronic music theory on a two different synths an Arp Odyssey and a Serge modular system. I had a teacher, paid for my lessons and got the basics. This knowledge I applied to my Prophet 5, but when I went on to a Yamaha Dx7 I encountered a very complicated operating system, and resolved myself to just playing the synth as that was my job at the time. On my Korg M1 which I still have I have never even attempted to program a sound from scratch, but I can when asked tweak a sound because the basics still apply. When I bought my sampler a Emu Eiixp I have gotten back into programming somewhat but still it's main purpose is for recreating sampled sounds and sampling loops. When they took away the knobs and sliders on synths and replaced them with buttons it got to hard and time consuming. Why spend hours trying to create a sound when there are talented programmers out there doing it on a full time basis, at a mind boggling pace. This hit home when a friend of mine handed me a floppy of over 2,000 sounds for the dx7 all of them killer. I hope this helps, maybe I should have stopped after the first 3 sentences. If you know the basics the rest can usually be figured out. If you don't know the basics, your students better have a great ear and a fantastic memory. I appreciate the help, Ron. You are right about the basics, and what I hear you saying is that I should do that, too. I couldn't agree more, except that the time to do that is currently unavailable. Before you fire back "Make it available!!!", the answer is that I'm working on it, but have about three really crucial things that MUST be done before. (Actually, I did do the basics once before, but I did lose a lot of it because I had no opportunity to use the information for several years. It would be nice if it were like riding a bycicle, but the technology has turned that puppy into a monster truck while my back was turned... --Chris ========================================================================= Date: Sun, 16 Jun 1996 22:29:50 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: a little help? In-Reply-To: <960614184121_135207096@emout07.mail.aol.com> from "Benjamin McLean" at Jun 14, 96 06:41:22 pm Benjamin McLean writes-- > >Listerv@American.edu <---- E-Mail there > >Unsubscribe EMUSIC-L <---- Subject there > >Please Unsubscribe my subscription to EMUSIC-L. @---->---- thnx <------ Body >of letter there. > >Your Welcome (in advance <-giggles-> ) > >CheckM69 Don't be too sure he'll thank you, Ben. First off, your syntax is wrong, so any attempts to unsubscribe using it will fail. Second, he'll never see your posting, since I've already cut him off the list. To unsubscribe, send email to listserv@american.edu, but the subject line doesn't matter at all, and the words "unsub EMUSIC-L" must appear in the BODY of the letter. The format you've given is polite and appropriate for a mailing list that is being administered by a real person. EMUSIC-L is administered by an automated list server, and your message is gobbledygook as far as it's concerned. It is possible for some list servers to actually "read" every message on a list, looking for words like "unsubscribe" or even just "unsub"; lazy moderators will set this up to prevent people from constantly asking for help in unsubbing. However, that also means that any time the string "unsub" appears anywhere in any mail you send to the list, BANG you get thrown off. It's much safer to have a nice dumb list server that requires specific text sent to a specific address, and then expect list members to remember how to use it. This is why we ask people to hold onto their FAQ lists; they include these directions, in the form that OUR server understands. Never assume one server's command set works for any others. mike -- I guess you have to get your page turner to press the latch button. (robinsot) ========================================================================== Mike Metlay - ATOMIC CITY - P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com -- http://pd.net/atomic-city -- 800.924.ATOM = CD orders via LOFTY PURSUITS: 800.548.6724 & 904.385.6463, FAX 904.668.5825 ========================================================================= Date: Mon, 17 Jun 1996 01:49:04 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bacil C. Warren" Subject: Re: I wanna shut them up! Juan wrote: Hi partners I've a social question.... In your life you usually are surrounded by people who you consider friends or at last your mates , and when they like (or love) music that you consider "noisy" or better sh....t, what do you do to scape , at least , scape mentally. This's true when you gotta go into a party , you want to see the people, but hear the music??? :-( , you don't wanna lose your fantastic ear, intended for timbre , using it to measure amplitude over 100 db, "non-capisco?", no more for diis time... You can't shut them up (1st Amendment, you know), but it is possible to tone it down, to save your hearing. Ear-wear is one answer (the best available were "Sonic-II's" a few years ago--I don't know what's best now--they allow more or less a full-range of sound, while reducing the db level that reaches the inner-core of your ears). Socially, the answer is to make your friends understand that every person needs personal space, and loud music violates that space, in the same way as cigarette smoke can damage people second-hand. (I said that, and I still smoke, but I try to be careful where I do so). While you are at it, point out to your friends that even 100 db is way too high: OSHA defines the workplace maximum at 95 db over ten minutes (or is it just 90 db?). Someone out there knows. If none of that works...hmm...well, more understanding friends might be a solution, but probably hard to do. Good luck, Chris ========================================================================= Date: Mon, 17 Jun 1996 01:53:45 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bacil C. Warren" Subject: Re: Best Equipment >Why spend hours trying to create a sound when there are talented >programmers out there doing it on a full time basis, at a mind boggling pace. Nick wrote: Because the sound is part of the music. Excellent point. --Chris ========================================================================= Date: Mon, 17 Jun 1996 02:08:21 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bacil C. Warren" Subject: Re: Best etc, Why I Enjoy Creating Sounds Timothy Kelly wrote: Hi All, Because its fun, and doesnt take long at all once you are past your first synth. Give me any midi synth ever made and in an hour or less, I can give you a decent sounding dozen variations of one patch or a dozen interesting new sounds. With one hand yet. Its only ones first synth where you think a filter is somthing for your coffeemaker, an envelope is for mailing, and an osccillator is something under the hood of your car, after that creating sounds is just what does this synth co call this. Changing the sounds offers another way of expression. I do it caues its fun, and gives me a greater degree of sound freedom. I find it very relaxing to just grab a sound or a waveform, then start messing with it. You can always qucikly come up with something you like and find sonicly interesting. Some grab a drink at the bar. Me I turn on a synth, and have some sound fun. Thats the whole point to synths and electronic music. To have sound fun. Timothy-- I appreciate your input--you have provided a lot of information, along with a lot of other people. What I hear you saying is you're a bit tired of this particular subject. Frankly, I think I have plenty of input. I appreciate your responses, and all the hundreds of others I have recieved. When (if) I actually get the funds for this project, I'll let you know how it was decided, and you all can tell me whether I was dumb or not then. In the meantime, I will again thank you for your responses. --Chris ========================================================================= Date: Sun, 16 Jun 1996 23:51:50 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Doug Michael Subject: Re: Best etc, Why I Enjoy Creating Sounds In-Reply-To: <199606170211.TAA18890@dfw-ix6.ix.netcom.com> Hello, To me nothing is worse than using a factory sound - it's almost like stealing someone's music in a way. Creating new sounds is my first step in composing a piece of music. The more you get into it the easier it gets. If you find yourself saying, yeah that would be a great sound if only it had a longer release or sharper attack, you will get into creating or at least editing existing sounds. Expression is the key and factory patches are usually pretty generic in their sound. The best sounds I've come across are usually third party stuff. I suggest getting an editor librarian and giving it a try, it can be almost as fun as composing music. Doug Michael http://www.ccnet.com/~dmic27 ========================================================================= Date: Mon, 17 Jun 1996 09:26:25 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: harry haecker Subject: Re[2]: I wanna shut them up! >mike >(who just got home from a dinner party where the CD changer slipped >on "Another Green World" and half the guests said "Oooh! Eno! Cool!" >;) -- Uh Oh. What did the other guests say?? "Freebird!"?? :-)) I guess my tastes are just too passe for words: coincidently, I slapped on "Another Green World" for my 6 month old when she was acting fussy on Friday, and then danced with her for 40 minutes (spastic/ambient dance, fer sher!). Starting with "Sky Saw" she quieted down...by the time "St. Elmo's Fire" came on, she was cooing her sweet heart out. BTW-- still can't get her to react that way to "Taking Tiger Mountain (By Strategy)" Smart kid! Harry Haecker (haeckerh@nwrc.gov) ========================================================================= Date: Mon, 17 Jun 1996 11:20:17 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: NEWS FOR MAX WANNABES (fwd) Forwarded message: > From STERN@MAIL.LOC.GOV Fri Jun 14 14:02:53 1996 > Subject: NEWS FOR MAX WANNABES > This is directed to those who, like me, wanted to see Opcode > develop a Windows version of MAX. Peter Stone, the author of > Symbolic Composer for the Mac has expressed willingness to port > it over to Windows if the development costs are met by > subscription. The more people who subscribe the cheaper it will > be per person. Symbolic Composer is a high level MIDI programming > language/algorithmic composition program that may satisfy many of > the items on the wish list of MAX wannabes. Peter says the > conversion would take about 2 months, total development cost > 3-$4000. Split among 10 subscribers that's about 3-$400 a piece, > for 20 subscribers $150-200 a piece, etc. If all the folks who > signed the petition for MAX last year subscribed, this could > become an offer you can't refuse. > > If you're interested in a Windows port of Symbolic Composer > contact: > Peter Stone psto@xs4all.nl > and/or > Joel Stern 103675.1167@compuserve.com > > We'll see what kind of terms and arrangements can be worked out. > I'm not on the list anymore, so please direct any extraneous > comments to my e-mail address. > Joel > > ========================================================================= Date: Mon, 17 Jun 1996 11:57:22 +0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Juan Manuel Rodriguez C." Subject: MPU401? Comments: To: synth-l@american.edu hi, how're you doing? A friend of mine, owns a Korg X3, and has a 386 ;) , for running Cakewalk 3.0, when it starts , in the "midi devices" for output it has - SB16 midi out - MPU 401 interface uh, what is this of mpu...., I only know it belongs to Roland, I'd like to know what happens if I connect a Yamaha keyboard, is it compatible? , if not what kind of driver or something alike must I load-install? Thanks several lots..: Juman ========================================================================= Date: Mon, 17 Jun 1996 12:13:31 +0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Juan Manuel Rodriguez C." Subject: my keyboard loves me! Comments: To: synth-l@american.edu Hello again, I have no doubt we've to enter the GM and XG era, but all of you who own old keyboards (not very old, I mean before GM birth) and love them as much as to wanna keep'em with you, yes, my question is what are your methods to make music, using computers , for getting out of the patch trouble, I mean the piano on tuba, bass on violin, bass drum on cowbell, cymbals on cuicas, etc....... ========================================================================= Date: Mon, 17 Jun 1996 12:27:57 +0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Juan Manuel Rodriguez C." Subject: About frecuency tables..... Comments: To: synth-l@american.edu Have a nice time... As i Know you've lastly talking about samplers, .... physycal samplers, do you know what's the method to play all the pitches starting from only one, is it the famous frecuency table? I know that Amiga mods, are based on a Amiga frecuency table, which fixed the speeds for the samples to be scanned, according to harmonic musical pitches, but the so-called mods'll be extincted by xtended mods *.xm, using a linear frecuency table..... Do samplers use a specific type of interpolation, i know if you play a sound an octave below, you get a "noisy" bass tone,... is it true that samplers (some of them) can sample over 44.1, I mean 60khz, so that when you play an octave above it'll sound at least at 30khz? ARe there some software GOOD emulations of samplers? Wavetables are good option, but they're ROM, untouchable memory. is that nobody can create a really good interpolation?????? bye: the nonsampledman: JMR ========================================================================= Date: Mon, 17 Jun 1996 11:06:43 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Timothy Kelly Subject: Re: Best etc, Why I Enjoy Creating Sounds Hi All, No, I'm not tired of the subject, I dont read or reply to threads I'm not interested in. Every year brings more oppurtunities for any electronic musician to express themselves in music and sound. Whether one just uses presets, or learns to program synths, or whether one just grabs a sample, or using todays faster computers to do software emusic and doesnt own a single piece of midi hardware. This is all personal choice. Each gives one a different experience on the music and sound journey. Happy Emusic Timothy Kelly MidiVox -- MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays. Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some Drums, Sing a Cello. Become a Human Sequencer, Human Vocoder, Human Breath Controller. AES "Best in Show." EM "Editors Choice." " MidiVox Roars." Keyboard. ========================================================================= Date: Mon, 17 Jun 1996 12:58:53 +0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Juan Manuel Rodriguez C." Subject: Kinds of sequencers Comments: To: synth-l@american.edu I know there're 3 kinds of sequencer, the software sequencer programs, the keyboard built in sequencers, and stand alone sequencers, I know SW seqs functions as a text editor of course with musical notes, but how the heaven can they attach many midi devices at the same time, does it imply a MIDI multiport , or a "midi mixer", ? The built in sequencers are supposed to sequence only the sounds and notes on the same keyboard or have extensions to affect other possible musical devices? and the stand alone sequencers, it seems to me that they sound nothing, they're just the manager of many dispersed musical instruments, and it must have very different "sysex" codes to comply with different marks and different standards, and are midi mixers, I refer to note mixers, how the h... can they do it, what is what we obtain, in the MIDI outputs???, how difused are the midi music with 32 channels, ? is real that some corrector of signal sending are necessary 'cause after the midi signal is so moved , they lose synchronization? human brain is a good sequencer, isn't it? ========================================================================= Date: Tue, 18 Jun 1996 09:04:02 -1100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tim Robinson Subject: Factory Sound Doug Michael wrote: To me nothing is worse than using a factory sound - it's almost like stealing someone's music in a way. ---------------------------------------------------------------- And I reply: You've got to be joking! "To me there's nothing worse than using a dictionary word - it's almost like stealing someone's writing in a way" Tim Robinson, (tim@liro.fri.cri.nz) _ NZ Logging Truck Logging Industry Research Organisation, / | =|====|= =|====|= PO Box 147, Rotorua, New Zealand |_| =|====|= =|====|= Ph. 0064-7-3487-168 Fax. 0064-7-3462-886 OO~~~~~~OO~---OO~~~~OO ========================================================================= Date: Mon, 17 Jun 1996 14:59:09 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: Re[2]: I wanna shut them up! In-Reply-To: <9605178350.AA835028816@osprey.nwrc.gov> from "harry haecker" at Jun 17, 96 09:26:25 am harry haecker writes-- >>mike >>(who just got home from a dinner party where the CD changer slipped >>on "Another Green World" and half the guests said "Oooh! Eno! Cool!" >>;) -- > >Uh Oh. What did the other guests say?? "Freebird!"?? :-)) No, they just kind of blinked and tried to ignore it. > I >guess my tastes are just too passe for words: coincidently, I slapped >on "Another Green World" for my 6 month old when she was acting fussy >on Friday, and then danced with her for 40 minutes (spastic/ambient >dance, fer sher!). Starting with "Sky Saw" she quieted down...by the >time "St. Elmo's Fire" came on, she was cooing her sweet heart out. I find this incredibly amusing-- at the very party mentioned above, I calmed my one-year-old by waltzing with her to "The Big Ship" and singing along to "I'll Come Running." The chorus is particularly apt for the parent of an infant.... >BTW-- still can't get her to react that way to "Taking Tiger Mountain (By >Strategy)" Smart kid! I tried playing "Here Come The Warm Jets," but my wife came storming in during "Baby's On Fire" and ordered me to take it off. :) mike PS. Music for babies-- a topic of utterly absorbing interest to anyone with an infant at home, and utterly dull for anyone else. Sorry. :) -- I guess you have to get your page turner to press the latch button. (robinsot) ========================================================================== Mike Metlay - ATOMIC CITY - P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com -- http://pd.net/atomic-city -- 800.924.ATOM = CD orders via LOFTY PURSUITS: 800.548.6724 & 904.385.6463, FAX 904.668.5825 ========================================================================= Date: Tue, 18 Jun 1996 10:51:46 -1100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tim Robinson Subject: Cannons Need a cannon for the 1812 overtune but don't have one available? A kettledrum played two octaves below its natural range makes quite a good substitute. Tim Robinson, (tim@liro.fri.cri.nz) _ NZ Logging Truck Logging Industry Research Organisation, / | =|====|= =|====|= PO Box 147, Rotorua, New Zealand |_| =|====|= =|====|= Ph. 0064-7-3487-168 Fax. 0064-7-3462-886 OO~~~~~~OO~---OO~~~~OO ========================================================================= Date: Mon, 17 Jun 1996 19:48:35 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacky Schreiber Subject: better sounds please! Jacky Schreiber wrote: > > ---------- > De: Nick Rothwell[SMTP:nick@CASSIEL.COM] > Enviado: Domingo 16 de Junio de 1996 05:58 AM > Para: Multiple recipients of list EMUSIC-L > Asunto: Re: Best Equipment > > >Why spend hours trying to create a sound when there are talented > >programmers out there doing it on a full time basis, at a mind boggling pace. > > Because the sound is part of the music. > > Nick Rothwell, CASSIEL contemporary dance projects > http://www.cassiel.com music synthesis and control > > years, passing by, VCO, VCF, and again, and again > > =============================================================== > ...And why make music with this sound or that one if one can build his/her > own "pallette" of sounds... > > jacky schreiber > jackysch@ven.net > > --------------------------------------------------------------- This is what I was referring to in the above, why spend ions of time programming when you are scratching out a living as a player and composer, which in my position is a full time job. When I need a sound I need it now. I don't have the programming background, but I do have the playing and writing background. I can't cover all the bases at this point in my carreer. Simplicity and the basics, that's what works for me. I need the sound now, thats why I like a Sampler. I can draw from cd rom and get what I want quick. Together we work toward a common goal. $$$. Ron ================================================================== I'm also a full time composer-performer and I always find time to "create" new sounds for my synths and samplers increasing my own pallette of sound, this IS important to me because I often hear the "same patch" or type of sound in many emusics around, I don't have any problem with this, anyone can do the music he/she likes to, but I think we're all very lucky musicians having at hand these toys/tools (synths, samplers, PC's, Mac's, etc.) to make music, I just avoid using factory presets, I've felt they're not very "musical" at all!! And yes! I do have the programming background and I enjoy a lot when new sounds come from within the machine, almost all of my emusical work is based on its raw material (sound) and I will continue to do so, until... "brain to MIDI" interfaces appear on the market.!! I've never spent "ions" of time nor aeons... jacky schreiber jackysch@ven.net ========================================================================= Date: Mon, 17 Jun 1996 17:27:07 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: John Krikawa Subject: Re: my keyboard loves me! Juan writes: >I have no doubt we've to enter the GM and XG era, but all of you who own >old keyboards (not very old, I mean before GM birth) and love them as >much as to wanna keep'em with you, yes, my question is what are your >methods to make music, using computers , for getting out of the patch >trouble, I mean the piano on tuba, bass on violin, bass drum on cowbell, >cymbals on cuicas, etc....... I just name the track the same name as the patch I am using. I usually preface it by and instrument mnemonic, like: WS:FornSkeletons for the Fornicating Skeletons patch on my wavestation. K:SawSwine for the squealing sawtooth wave in my K2000 etc. I usually package up a song into an archive that contains a bunch of files (if necessary) that are related to the song: 1) the sequence, 2) sysex files for patches, 3) notes or related info. For people who don't use presets 'as is' (I often tweak in some control points at the very least), the only way to get everything back to recreate a song is to carefully document/store song info. -john ---------------------------------------------------------------------- JKRIKAWA@CCIT.Arizona.Edu Tucson, Arizona homepage-less day: (520) 626-6013 night: (520) 326-3068 ========================================================================= Date: Mon, 17 Jun 1996 19:51:09 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Benjamin Leon Subject: attn: GBerry@acc I accidently deleted your letter. Please repost. Thanks. Re: bass repainting. BLeon@omnifest.uwm.edu ========================================================================= Date: Mon, 17 Jun 1996 21:03:47 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacky Schreiber Subject: Re: Factory Sound ------ =_NextPart_000_01BB5C90.D72FCA20 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Doug Michael wrote: To me nothing is worse than using a factory sound - it's almost like stealing someone's music in a way. ---------------------------------------------------------------- And I reply: You've got to be joking! "To me there's nothing worse than using a dictionary word - it's almost like stealing someone's writing in a way" Tim Robinson, (tim@liro.fri.cri.nz) _ NZ Logging Truck Logging Industry Research Organisation, / | =3D|=3D=3D=3D=3D|=3D = =3D|=3D=3D=3D=3D|=3D PO Box 147, Rotorua, New Zealand |_| =3D|=3D=3D=3D=3D|=3D = =3D|=3D=3D=3D=3D|=3D Ph. 0064-7-3487-168 Fax. 0064-7-3462-886 OO~~~~~~OO~---OO~~~~OO _______________________________________________________________________ And I say: Writing (words) is not in any sense even similar to musical writing = (call it composing, arranging, sequencing, sampling, digital editing, = etc.). When I began making emusic there were no=20 presets at all, one had to build his/her own set of sounds to make an = electronic/electroacoustic music piece. With the years and the MIDI = e/re/de/in/volution, main stream manufacturers have been "invading" the = emusic scene with their "factory presets", Is this good and/or bad?? What's the main goal for an electronic musician? (Any comments?!)=20 Is it making the ultimate emusic piece?=20 with what?, with your "Soundtrack" pad?!=20 c'mon give me a brake!! By the way... NICE TRUCK ! jacky schreiber jackysch@ven.net ------ =_NextPart_000_01BB5C90.D72FCA20 Content-Type: application/ms-tnef Content-Transfer-Encoding: base64 eJ8+IhcBAQaQCAAEAAAAAAABAAEAAQeQBgAIAAAA5AQAAAAAAADoAAENgAQAAgAAAAIAAgABBJAG ADgBAAABAAAADAAAAAMAADADAAAACwAPDgAAAAACAf8PAQAAAFQAAAAAAAAAgSsfpL6jEBmdbgDd AQ9UAgAAAABFbGVjdHJvbmljIE11c2ljIERpc2N1c3Npb24gTGlzdABTTVRQAEVNVVNJQy1MQEFN RVJJQ0FOLkVEVQAeAAIwAQAAAAUAAABTTVRQAAAAAB4AAzABAAAAFgAAAEVNVVNJQy1MQEFNRVJJ Q0FOLkVEVQAAAAMAFQwBAAAAAwD+DwYAAAAeAAEwAQAAACMAAAAnRWxlY3Ryb25pYyBNdXNpYyBE aXNjdXNzaW9uIExpc3QnAAACAQswAQAAABsAAABTTVRQOkVNVVNJQy1MQEFNRVJJQ0FOLkVEVQAA AwAAOQAAAAALAEA6AQAAAAIB9g8BAAAABAAAAAAAAAO3OQEIgAcAGAAAAElQTS5NaWNyb3NvZnQg TWFpbC5Ob3RlADEIAQSAAQASAAAAUkU6IEZhY3RvcnkgU291bmQA8gUBBYADAA4AAADMBwYAEQAV AAMALwABADIBASCAAwAOAAAAzAcGABEAFQADACoAAQAtAQEJgAEAIQAAADkwMTREODc1ODNDOENG MTE5QzlBNDQ0NTUzNTQwMDAwAN8GAQOQBgAUBgAAEgAAAAsAIwABAAAAAwAmAAAAAAALACkAAQAA AAMANgAAAAAAQAA5AGBO8wCyXLsBHgBwAAEAAAASAAAAUkU6IEZhY3RvcnkgU291bmQAAAACAXEA AQAAABYAAAABu1yyAOJ12BSRyIMRz5yaREVTVAAAAAAeAB4MAQAAAAUAAABTTVRQAAAAAB4AHwwB AAAAEQAAAGphY2t5c2NoQHZlbi5uZXQAAAAAAwAGEJT+MZEDAAcQEAQAAB4ACBABAAAAZQAAAERP VUdNSUNIQUVMV1JPVEU6VE9NRU5PVEhJTkdJU1dPUlNFVEhBTlVTSU5HQUZBQ1RPUllTT1VORC1J VFNBTE1PU1RMSUtFU1RFQUxJTkdTT01FT05FU01VU0lDSU5BV0FZLS0AAAAAAgEJEAEAAACeBAAA mgQAAN8HAABMWkZ18w2M8f8ACgEPAhUCqAXrAoMAUALyCQIAY2gKwHNldDI3BgAGwwKDMgPFAgBw ckJxEeJzdGVtAoMzdwLkBxMCgH0KgAjPCdk78RYPMjU1AoAKgQ2xC2BAbmcxMDM0CvRsEGkxODAC 0WktMTw0NA3wDNAacwtZMTZ3CqADYBPQYwVACosZ0DNeNhsXFFEL8hwWRAhgZ1UF0GkRcWUDIHcc IjojCoUKhVRvIAeAIG79HDBoC4AfUAQAH+AFsBGwNiAhsAORdQCQIeFhIIpmANB0BbB5IHMIYJBu ZCAtIgB0JwQglwdABGATwCAZ0GtlCoW/E8EHQCHSI/AHgAIgZSSROm0i8WMiAAOgI1B3YfR5LiBc LSjvKf8rDyvaZQqFQSQhSSAWEAtQeaUgTVkIYCd2IXBnHDCLIpAhQGIhcGpvayHR+iEgXCIhNCGw BJAm0iGWyyJPI1BkH4B0aQIgCsD/I9AywSQ9CoUlMiXfJJEf8HckcCHTJ4UiIF0HcAfxYkMLgCPw biwgKDQgbZZAGdADYC4DUGkuBQGgLm56KSA721870YBOWiBMb2dnIdJgVHJ1Y2sKhT0mSWskICLw dCPBUgeQNqByYRFwIE9yZwBwBABhBzQiOmA71i8gfCA9fHw9QcFBsDvRQaYKhVBATyBCb3ggGnA3 ZzpgCAAjoXVhOmAHwlrPNqEAcCQwRU18X0GPQpoIaC4gGhA2NC03Wi0ZUDhIsBvgODvRRgRheEhJ NjItODjiNjvVT09+S1NLMSvR70s0SzAgXB29YwBAPKBOr/9Pv1DPUd9SACBcLVRAYC336lc3xSg0 onM7wCIRIZHdJ2NuI9EJ8CJxZS8wA6D9AJBtAxAKwS+hJxMHQDenLihYgQMgJHAgBaBtcO8k8CHR OmAKwHIZAVozEbDScQpQbmNa5GFZ8CYi/zpgM/A9UAGQAyAJgDfTOmDREcBjLilIQFcx0AOg7y2Q L9BAISFQYTAiVzAnFH8xwx/gX+IhkByGE1A/gXTfJKEFQFlhOmAmsSARgCQwnS+idQMQJDAhwHMv MdHdYgB3V3ERwGIAZiPkBCD/WBJe8CFwA5EfwBxRA2ADAPxjL2V1ANAIYBPAJ0EnFPJwCJBjZV3x JHA/4DHBPCB5P6EkoSQhaEJNSVJELZBlLxYQLw2wL+kLgC92BvB1QIQAwCdx7z8hNqA5wAOBdSNy CHAEkF8EIBGALzEv0FdhIguAdvtiYCHRImgzX1UE8AnwYAFfaAU64DFAI3ZhFSI6YElfZKFjIS9R BHBo0i8FsWL5YmA/P1SWEYAkgmhCawN/L2BYkQIQBcBlSycEBzBufj86cC1QI9BZ0QeAAjBz/D8h O8AKhXDhWaFe5WhC/HVsOpFAcG4XZ4N10AqFtW8Dd3LxPzpgbwN5CGHdMUBTJAI/MADQa23QCrBl ckAhHIZjJwRgc8FpNy8xIWEjUGJaoCVQISH/Hb8cPX76HIxNj0NgI9BoQkcnwoQwB7BJQ0UhIFLY VUNLO9AwbWp8QSPRaxFwFhBpL9ByhbqGgUC/V1E7kBHAga+BDxUxAIrgAAADABAQAAAAAAMAERAA AAAAQAAHMAByVf6xXLsBQAAIMAByVf6xXLsBHgA9AAEAAAAFAAAAUkU6IAAAAADD2Q== ------ =_NextPart_000_01BB5C90.D72FCA20-- ========================================================================= Date: Mon, 17 Jun 1996 21:10:48 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacky Schreiber Subject: Re: Cannons ------ =_NextPart_000_01BB5C91.7A6B8260 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Need a cannon for the 1812 overtune but don't have one available? A kettledrum played two octaves below its natural range makes quite a good substitute. Tim Robinson, (tim@liro.fri.cri.nz) _ NZ Logging Truck Logging Industry Research Organisation, / | =|====|= =|====|= PO Box 147, Rotorua, New Zealand |_| =|====|= =|====|= Ph. 0064-7-3487-168 Fax. 0064-7-3462-886 OO~~~~~~OO~---OO~~~~OO ____________________________ I don't, but what about a good sampling of a real cannon.?!? jacky schreiber jackysch@ven.net ------ =_NextPart_000_01BB5C91.7A6B8260 Content-Type: application/ms-tnef Content-Transfer-Encoding: base64 eJ8+IjkBAQaQCAAEAAAAAAABAAEAAQeQBgAIAAAA5AQAAAAAAADoAAENgAQAAgAAAAIAAgABBJAG AOwDAAACAAAAFAAAAAMAADAFAAAACwAPDgAAAAACAf8PAQAAAFQAAAAAAAAAgSsfpL6jEBmdbgDd AQ9UAgAAAABFbGVjdHJvbmljIE11c2ljIERpc2N1c3Npb24gTGlzdABTTVRQAEVNVVNJQy1MQEFN RVJJQ0FOLkVEVQAeAAIwAQAAAAUAAABTTVRQAAAAAB4AAzABAAAAFgAAAEVNVVNJQy1MQEFNRVJJ Q0FOLkVEVQAAAB4AGgABAAAAFAAAAFJFUE9SVC5JUE0uTk9URS5ORFIAQAAyAICvEfKyXLsBAwAE DAAAAAADAAUM/////wMAFQwAAAAQAwD+DwYAAAAeAAEQAQAAAE8AAABObyBoYXkgcHJvdmVlZG9y IGRlIHRyYW5zcG9ydGUgZGlzcG9uaWJsZSBwYXJhIGxhIGVudHJlZ2EgYSBlc3RlIGRlc3RpbmF0 YXJpby4AAB4AATABAAAAIwAAACdFbGVjdHJvbmljIE11c2ljIERpc2N1c3Npb24gTGlzdCcAAAIB CzABAAAAGwAAAFNNVFA6RU1VU0lDLUxAQU1FUklDQU4uRURVAAADAAA5AAAAAAIBEjoBAAAAVAAA AAAAAACBKx+kvqMQGZ1uAN0BD1QCAAAAAEVsZWN0cm9uaWMgTXVzaWMgRGlzY3Vzc2lvbiBMaXN0 AFNNVFAARU1VU0lDLUxAQU1FUklDQU4uRURVAB4AEzoBAAAAIwAAACdFbGVjdHJvbmljIE11c2lj IERpc2N1c3Npb24gTGlzdCcAAAIBFDoBAAAAGwAAAFNNVFA6RU1VU0lDLUxAQU1FUklDQU4uRURV AAALAEA6AQAAAAIB9g8BAAAABAAAAAAAAAUOAAAAAwAAMAYAAAALAA8OAQAAAAIB/w8BAAAAVAAA AAAAAACBKx+kvqMQGZ1uAN0BD1QCAAAAAEVsZWN0cm9uaWMgTXVzaWMgRGlzY3Vzc2lvbiBMaXN0 AFNNVFAARU1VU0lDLUxAQU1FUklDQU4uRURVAB4AAjABAAAABQAAAFNNVFAAAAAAHgADMAEAAAAW AAAARU1VU0lDLUxAQU1FUklDQU4uRURVAAAAHgAaAAEAAAAIAAAASVBNLk5PVEUDABUMAQAAAAMA /g8GAAAAHgABMAEAAAAjAAAAJ0VsZWN0cm9uaWMgTXVzaWMgRGlzY3Vzc2lvbiBMaXN0JwAAAgEL MAEAAAAbAAAAU01UUDpFTVVTSUMtTEBBTUVSSUNBTi5FRFUAAAMAADkAAAAAAgEUOgEAAAAQAAAA mxTYdYPIzxGcmkRFU1QAAAsAQDoBAAAAAgH2DwEAAAAEAAAAAAAABsXWAQiABwAYAAAASVBNLk1p Y3Jvc29mdCBNYWlsLk5vdGUAMQgBBIABAAwAAABSRTogQ2Fubm9ucwDBAwEFgAMADgAAAMwHBgAR ABUACgAwAAEAOgEBBgAHABgAAABJUE0uTWljcm9zb2Z0IE1haWwuTm90ZQAxCAEggAMADgAAAMwH BgARABUACAAUAAEAHAEBCYABACEAAAA5QjE0RDg3NTgzQzhDRjExOUM5QTQ0NDU1MzU0MDAwMADx BgEDkAYA9AMAABMAAAALACMAAQAAAAMAJgAAAAAACwApAAEAAAADADYAAAAAAEAAOQDACkn8sly7 AR4AcAABAAAADAAAAFJFOiBDYW5ub25zAAIBcQABAAAAFgAAAAG7XLLMW3XYFJzIgxHPnJpERVNU AAAAAB4AHgwBAAAABQAAAFNNVFAAAAAAHgAfDAEAAAARAAAAamFja3lzY2hAdmVuLm5ldAAAAAAD AAYQ2PLYawMABxB6AQAAHgAIEAEAAABlAAAATkVFREFDQU5OT05GT1JUSEUxODEyT1ZFUlRVTkVC VVRET05USEFWRU9ORUFWQUlMQUJMRT9BS0VUVExFRFJVTVBMQVlFRFRXT09DVEFWRVNCRUxPV0lU U05BVFVSQUxSQU5HRQAAAAACAQkQAQAAAGoCAABmAgAA2AMAAExaRnXUBgR+/wAKAQ8CFQKoBesC gwBQAvIJAgBjaArAc2V0MjcGAAbDAoMyA8UCAHByQnER4nN0ZW0CgzN3AuQHEwKAfQqACM8J2Tvx Fg8yNTUCgAqBDbELYEBuZzEwMzQK9Gz4aTM2DfALVRRRC/ITUDpvE9BjBUAHwAmAIGHUIGMAcG4C ICACEAXAgHRoZSAxODER4ERvdgSQdHVuHNBi6nUFQGQCICcFQBGAHVA/HTAdoR6AC3ALYAJgZT+q IB+gQQqFaxHAdB9woGRydW0gC1F5G7F4dHdvHTAbYB6BBCBiJmUVoAfgaXQEIG5h9R2AcgdAICMQ GRAc0ADAcyBQBCBxdSKQHuEKhWfCbwRwIHN1YhPAIpB5HeBlLgqFCoUHYQfxYkULgHMCICwgKCWA bZZAGdADYC4DUGkuBQGwLm56KR+hKQlfH6GATlogTG9nZwuAZmcmwCDAY2sKhSpWSchuZHUTwHJ5 B/AHkIZlCsARcCBPcmcAcBsEACLgaSdyKQYvIHzwID18PS7xLuAfoS7WgQqFUE8gQm94HOAsNDcn kAgAdAWwdWF7J5AHwlos0BjxG8AyfXwGXy6/L8poLiAwMKA2NC03LRlQODXgiDE2OB+hRmF4NXlA NjItODg2KQVP7E9+OIM4YS05EDhkOGD7JfwaLWMAQCnQO988iAqF7kkeBCeQHdJ3EYAFQAGgZwhg PwEk5WFtC1Aqkm8eZhvRFhAjIRwELj8hvj86PxrLCosZ3ztlagDQVmssgATwaBYQaSIwcncKhUXz RlFAHVBBcB2gdBdCP0NLFTEASnAAAAMAEBAAAAAAAwAREAAAAABAAAcw4C2Ho7JcuwFAAAgw4C2H o7JcuwECARQ6AQAAABAAAACbFNh1g8jPEZyaREVTVAAAHgA9AAEAAAAFAAAAUkU6IAAAAADyEw== ------ =_NextPart_000_01BB5C91.7A6B8260-- ========================================================================= Date: Tue, 18 Jun 1996 13:16:23 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Cannons Hi Tim... >kettledrum played two octaves below its natural range makes quite a >good substitute. Gee, can you imagine playing that baby? Your hair would be flapping in the breeze. :-) Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Tue, 18 Jun 1996 13:36:13 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Multitrack audio recording????? Hi Juman, I'm not sure that Eric Schramm's endorsement of a particular system was the most informative answer although it would be if you were considering your options before purchasing. >something that records sound on a tape on independent parts, allowing to >modify these parts without touching the others. Well, yes. But with a regular, linear (tape-based) recorder, the only modification you can make with the machine itself is the re-recording of particular tracks in particular places (it's called "dropping in and out"). >Now software, if some programs in their publicity says "convert your PC >into a profesional multitrack audio studio", that means that you can hear >many waves, digitalized sound, at the same time? Again, yes. As Eric pointed out (with respect to Session), some systems will only allow 2 tracks to be recorded at a time. There is also usually a limit to the number of tracks which can be played back. Each track is recorded to disk and maintained as a sort of sub-file, separate from the others. Limitations of hardware, software or CPU speed will have an effect on the number of tracks which can be written or read simultaneously. However many this is, the sound card or sound facilities inside the computer will have to do a 'mix' of these tracks in order for you to hear it as a stereo (2 channel) mix. This is analogous to plugging the outputs of a tape machine into a mixer's inputs and adjusting and level and panning for each channel (each track). > If it's so, what kind of programs let you to sequence audio Most of these digital audio workstations let you sequence audio in the sense that, after recording all the audio, you can build 'playlists' which take sections of audio (anything you recorded) and arrange them in any order you want. If the workstation is truly 'non-linear', this does not affect the original audio. The playlist is different from the audio itself. A playlist is simply a list of audio sections with a start address and a finish address for each one. When it is played back, the software jumps from section to section according the addresses of the starts and stops. Some software will also let you apply processes like EQ and effects to different tracks. The amount of digital signal processing power will determine how much can be done simultaneously. For example, it's asking quite a lot for a machine to be able to access a hard drive, funnel the data into buffers, control its playback, follow a playlist, mix audio from different tracks and apply EQ in real time on playback. If the system is not so powerful, you might have to apply the EQ changes and _alter_ the original audio data so the signal processing is freed up to do some of the other tasks it has to do while playing back. Still, if your sound card has an outlet for each track, you can always plug these into a mixer and do EQ and effects in the analog domain (as you would have done with your (linear) tape machine. Hope this helps, David musdr@lure.latrobe.edu.au ========================================================================= Date: Tue, 18 Jun 1996 00:34:57 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "(real name=James Evans)" Subject: Re: WIN 95 problem: cakewalk 3.0/mpu &sound card i JUST RECENTLY PURCHASED CAKEWALK AND I HAVE THE SAME PROBLEM BUT I THOUGHT IT WAS SOMETHING THAT I DIDNT HAVE LOADED PROPERLY OR NOT RECOGNIZED (AS YOU CAN SEE IM A BEGINNER). ANY HELP WOULD BE GREATLY APPRECIATED D.J. HUMPTY ========================================================================= Date: Tue, 18 Jun 1996 10:01:27 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Timothy Kelly Subject: Re: my keyboard loves me! Hi All, If you use a lot of GM files, or compose a lot of them, all you do is make a gm patch map for your synth or remap your synths patches to GM. Another way is simply to save your midi file in a version where the program change numbers are setup to play whatever sounds you want on each track. Remenber midi does not send patch names but patch program change numbers. So if you have a gm file where #1 is piano, and your favorite synth keyboard is #53, just setup the file to send #53. You do need to allow for whether your synth patches start with 0 or 1, and also for synths like Yamaha where sounds are in banks of 8 vs 10, ete. One can have a lot of fun playing GM files on non GM synths. Often the non GM sounds will sound better than the GM ones, and you come up with combinations of sounds you might not have ever tried. Happy Midi Timothy Kelly MidiVox -- MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays. Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some Drums, Sing a Cello. Become a Human Sequencer, Human Vocoder, Human Breath Controller. AES "Best in Show." EM "Editors Choice." " MidiVox Roars." Keyboard. ========================================================================= Date: Tue, 18 Jun 1996 20:46:20 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Rui Jorge Quinta unsuscribe emusic-l r1u2i3@grupo.bfe.pt ========================================================================= Date: Wed, 19 Jun 1996 08:42:06 -1100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tim Robinson Subject: Re[2]: Factory Sound Jacky Schreiber wrote: Writing (words) is not in any sense even similar to musical writing (call it comp osing, arranging, sequencing, sampling, digital editing, etc.). When I began maki ng emusic there were no presets at all, one had to build his/her own set of sounds to make an electronic/ electroacoustic music piece. With the years and the MIDI e/re/de/in/volution, mai n stream manufacturers have been "invading" the emusic scene with their "factory presets", Is this good and/or bad?? And I reply: Leonardo da Vinci had to make his own paints. But what artist makes his own paints these days? Let the technicians make the sounds and let the musicians make the music. Tim Robinson, (tim@liro.fri.cri.nz) _ NZ Logging Truck Logging Industry Research Organisation, / | =|====|= =|====|= PO Box 147, Rotorua, New Zealand |_| =|====|= =|====|= Ph. 0064-7-3487-168 Fax. 0064-7-3462-886 OO~~~~~~OO~---OO~~~~OO ========================================================================= Date: Tue, 18 Jun 1996 19:02:32 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Sound vs. Music [Re: Best Equipment] >This is what I was referring to in the above, why spend ions of time >programming when >you are scratching out a living as a player and composer, which in my >position >is a >full time job. When I need a sound I need it now. I don't have the programming >background, but I do have the playing and writing background. As I said before, for me, the sound is part of the music. Would you take someone else's notes because you're not a composer and don't want to waste time making up your own? This demarcation between "patch" and "music" has damaged the genre of electronic music immeasurably. Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Wed, 19 Jun 1996 00:09:16 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: VLeComer@AOL.COM Subject: Re: Sound vs. Music [Re: Best Equipment] Nick Rothwell said, "As I said before, for me, the sound is part of the music. Would you take someone else's notes because you're not a composer and don't want to waste time making up your own? This demarcation between "patch" and "music" has damaged the genre of electronic music immeasurably." Part of me wants to agree with you because it is true that the sound is a part of the music; but for me, the reality is that truly great music occurs when sound and music are not separate competing entities. I believe there are examples of great music being written by people who use existing instruments like the piano and the violin , and by the same token, there has been great music written by composers who have invented new instruments to create the sounds that they needed for their working palette. However, that said, I readily acknowledge that sometimes a fascination with sound ( or rather, an obsession with sound )by a composer, has led to many a night of long suffering gesticulations towards the heavens. In other words, I believe that I agree with the sentiment that you seem to be expressing, but I tend to believe that it is not a hard and fast rule. I guess the other side of the coin is that bad music can be made by almost anybody under any circumstance. Regards, Victor ========================================================================= Date: Tue, 18 Jun 1996 21:58:51 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Doug Michael Subject: Factory Sound In-Reply-To: <1c708430@liro.fri.cri.nz> On Wed, 19 Jun 1996, Tim Robinson wrote: > Jacky Schreiber wrote: > > Writing (words) is not in any sense even similar to musical writing (call it > comp osing, arranging, sequencing, sampling, digital editing, etc.). When I > began maki ng emusic there were no > presets at all, one had to build his/her own set of sounds to make an > electronic/ electroacoustic music piece. With the years and the MIDI > e/re/de/in/volution, mai n stream manufacturers have been "invading" the emusic > scene with their "factory presets", Is this good and/or bad?? > > And I reply: > > Leonardo da Vinci had to make his own paints. But what artist makes > his own paints these days? Let the technicians make the sounds and > let the musicians make the music. > > Tim Robinson, (tim@liro.fri.cri.nz) _ NZ Logging Truck And I reply: You seem to be missing the point - the sound is the music. Doug Michael ========================================================================= Date: Wed, 19 Jun 1996 09:08:21 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacky Schreiber Subject: Re: Factory Sound ------ =_NextPart_000_01BB5DBF.111EF9C0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ---------- De: Doug Michael[SMTP:dmic27@CCNET.COM] Enviado: Mi=E9rcoles 19 de Junio de 1996 00:58 AM Para: Multiple recipients of list EMUSIC-L Asunto: Factory Sound On Wed, 19 Jun 1996, Tim Robinson wrote: > Jacky Schreiber wrote: > > Writing (words) is not in any sense even similar to musical writing = (call it > comp osing, arranging, sequencing, sampling, digital editing, etc.). = When I > began maki ng emusic there were no > presets at all, one had to build his/her own set of sounds to make an > electronic/ electroacoustic music piece. With the years and the MIDI > e/re/de/in/volution, mai n stream manufacturers have been "invading" = the emusic > scene with their "factory presets", Is this good and/or bad?? > > And I reply: > > Leonardo da Vinci had to make his own paints. But what artist makes > his own paints these days? Let the technicians make the sounds and > let the musicians make the music. > > Tim Robinson, (tim@liro.fri.cri.nz) _ NZ Logging Truck And I reply: You seem to be missing the point - the sound is the music. Doug Michael =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D I would rather see emusicians (and then... technicians) designin = beautifull, "usable" sounds when the machine hits the streets.! jacky schreiber jackysch@ven.net ------ =_NextPart_000_01BB5DBF.111EF9C0 Content-Type: application/ms-tnef Content-Transfer-Encoding: base64 eJ8+IjENAQaQCAAEAAAAAAABAAEAAQeQBgAIAAAA5AQAAAAAAADoAAENgAQAAgAAAAIAAgABBJAG ADgBAAABAAAADAAAAAMAADADAAAACwAPDgAAAAACAf8PAQAAAFQAAAAAAAAAgSsfpL6jEBmdbgDd AQ9UAgAAAABFbGVjdHJvbmljIE11c2ljIERpc2N1c3Npb24gTGlzdABTTVRQAEVNVVNJQy1MQEFN RVJJQ0FOLkVEVQAeAAIwAQAAAAUAAABTTVRQAAAAAB4AAzABAAAAFgAAAEVNVVNJQy1MQEFNRVJJ Q0FOLkVEVQAAAAMAFQwBAAAAAwD+DwYAAAAeAAEwAQAAACMAAAAnRWxlY3Ryb25pYyBNdXNpYyBE aXNjdXNzaW9uIExpc3QnAAACAQswAQAAABsAAABTTVRQOkVNVVNJQy1MQEFNRVJJQ0FOLkVEVQAA AwAAOQAAAAALAEA6AQAAAAIB9g8BAAAABAAAAAAAAAO3OQEIgAcAGAAAAElQTS5NaWNyb3NvZnQg TWFpbC5Ob3RlADEIAQSAAQASAAAAUkU6IEZhY3RvcnkgU291bmQA8gUBBYADAA4AAADMBwYAEwAJ AAgAFQADABUBASCAAwAOAAAAzAcGABMACAA3ACUAAwBTAQEJgAEAIQAAADc4REI2REI1QUJDOUNG MTE5QzlBNDQ0NTUzNTQwMDAwACgHAQOQBgAoBgAAEgAAAAsAIwABAAAAAwAmAAAAAAALACkAAQAA AAMANgAAAAAAQAA5AECX52PgXbsBHgBwAAEAAAASAAAAUkU6IEZhY3RvcnkgU291bmQAAAACAXEA AQAAABYAAAABu13gY961bdt5yasRz5yaREVTVAAAAAAeAB4MAQAAAAUAAABTTVRQAAAAAB4AHwwB AAAAEQAAAGphY2t5c2NoQHZlbi5uZXQAAAAAAwAGEM1zPdQDAAcQBwQAAB4ACBABAAAAZQAAAC0t LS0tLS0tLS1ERTpET1VHTUlDSEFFTFNNVFA6RE1JQzI3QENDTkVUQ09NRU5WSUFETzpNSelSQ09M RVMxOURFSlVOSU9ERTE5OTYwMDo1OEFNUEFSQTpNVUxUSVBMRVJFQ0kAAAAAAgEJEAEAAACxBAAA rQQAAFMIAABMWkZ1ZdNgG/8ACgEPAhUCqAXrAoMAUALyCQIAY2gKwHNldDI3BgAGwwKDMgPFAgBw ckJxEeJzdGVtAoMzdwLkBxMCgH0KgAjPCdk78RYPMjU1AoAKgQ2xC2DAbmcxMDM0CvsUUTUL8mMA QCAKhQqLbGkIMTgwAtFpLTE0njQN8AzQHNMLWTE2CqDrA2AT0GMFQC0e9wqHHavDDDAedkRlOiAh wh2Prx6UDIIhgAhgZwXQaRFxAGVsW1NNVFA6BGRtJDAyN0BDQwBORVQuQ09NXSMfnyCtRW52BzBk bw8hsCIfIykkIFwnZTlGchWBB5ExOSANsCA0SnUDAG8rQisgOTaiIBxwOjU4FLBNJg91IK1QCsBh IbIonymqdaxsdAUgKuAgFhBjBSDHCJACMAQgb2YgHDATwAEn8E1VU0lDLUzTLO8grUFzK5B0KGEh 380i7UYA0DWgcnkGAAhgzG5kGv8cAzM2HXcaRdUedk8DoFcJgCwrEiuBrywDPBAHYQfxYguAcwIg 1CB3HoI6CoU+K3AA0M5rOEERcBYQaWIEkD3OHT6gVwUQMVAZECAodyEFsGRzKSAEACBu/x6QQcAD oABwOEARsACAK2D8ZXYJ8EKgB3ADEArBNaDoIG11AJBjB0A9wUD1n0RRAyBA8D43BaBtcDJQ/wCQ GRA8EArALwAZEEaTEbDacQpQbjHQR1NhRkAcMPlGomRpRzABkAMgCYBA80M8EBHAYy4pLjvQaG1D MUk+Nz+AZwORAMBr/mlB8CQAE+BEIkPQSoAWEP89wEzSQgA+NxNQB5ARwAQgfmEFQEUxPBACICtg EYBkWUPSYnUDEE9waAQAL/tMwTJQd0NBEcAyUj2QOIH/BCBD4kvQK2AAcD43JHAesfMDYAMAYy9S 5gDQCGATwGdMgUxUMfFjZUpRQPBo8UyiIHllEZFCYU9xVeFITUlESshlLxYQL6UNsC8LgC92BvB1 MVD/AiA8EADAS/FCoFMwViA9IPkDgXVmN/EIcASQBCARgNdDIEtRQzEiC4B2KEBBEf4iVcNMRD43 BPAJ8EzxVZW6aQXAIloiOCJOFSI8EMZJUaFQISBnbwRwVmLKLwWxYihAPz8+Nj432kFWgUkxoQtQ eT4nPjccTGUCIAsRK8FhIFb/C4Ax0E9GUfNfwlCiCrALgPcyMEpQNdBCWKA9wBGATqH3ACAyolHy cz43ZdxMokLh+2SAE7A/NdFj8AVAVdIeof5oU2EHMAYxUfNV0lFVVnG/Pjcq4GrERBNrnEQTLmLv yz0KPBAoMVBtQBwwA2ASLgNQaS4FAS5uektBsHL7XzXRTlpj4G/mZ0cyPPBydT7gOLxiL/05B1kI YEKhE+BPg24BBAHzQRJV0nBvZnEe4DXQbDe/QcJvHwqFI9o4vhnvPX7//4APgR+BhAqFYmBBYDEw T3BfLwBMsnfCTDVrkyhWdW6+LoVwaxpBsA2wAJBnAwBrA6A/gGFYoWYxME7hIv9EIAGgKuBb8FFU OS86Phqy/2cwQzFt4wDQUCBPIkDweoTTWXJOUS4hOLxqPtME8Pc/RY26joFAQyFysBHAiewLGuYV MQCSIAAAAAMAEBAAAAAAAwAREAAAAABAAAcwYHymnN5duwFAAAgwYHymnN5duwEeAD0AAQAAAAUA AABSRTogAAAAABzl ------ =_NextPart_000_01BB5DBF.111EF9C0-- ========================================================================= Date: Wed, 19 Jun 1996 08:53:29 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacky Schreiber Subject: Re: Sound vs. Music [Re: Best Equipment] ------ =_NextPart_000_01BB5DBF.08D60100 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit ---------- De: Nick Rothwell[SMTP:nick@CASSIEL.COM] Enviado: Martes 18 de Junio de 1996 14:02 PM Para: Multiple recipients of list EMUSIC-L Asunto: Sound vs. Music [Re: Best Equipment] >This is what I was referring to in the above, why spend ions of time >programming when >you are scratching out a living as a player and composer, which in my >position >is a >full time job. When I need a sound I need it now. I don't have the programming >background, but I do have the playing and writing background. As I said before, for me, the sound is part of the music. Would you take someone else's notes because you're not a composer and don't want to waste time making up your own? This demarcation between "patch" and "music" has damaged the genre of electronic music immeasurably. Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again =================================================== And again...should we call it "patched music"?, referring to emusic written/played solely with factory patches (say, like GM), or should we start, as consumer/musicians/users of technology, to demand more from the "Industry"?, not just marbles! jacky schreiber http://www.geocities.com/SoHo/1094 ------ =_NextPart_000_01BB5DBF.08D60100 Content-Type: application/ms-tnef Content-Transfer-Encoding: base64 eJ8+IiMNAQaQCAAEAAAAAAABAAEAAQeQBgAIAAAA5AQAAAAAAADoAAENgAQAAgAAAAIAAgABBJAG ADgBAAABAAAADAAAAAMAADAFAAAACwAPDgAAAAACAf8PAQAAAFQAAAAAAAAAgSsfpL6jEBmdbgDd AQ9UAgAAAABFbGVjdHJvbmljIE11c2ljIERpc2N1c3Npb24gTGlzdABTTVRQAEVNVVNJQy1MQEFN RVJJQ0FOLkVEVQAeAAIwAQAAAAUAAABTTVRQAAAAAB4AAzABAAAAFgAAAEVNVVNJQy1MQEFNRVJJ Q0FOLkVEVQAAAAMAFQwBAAAAAwD+DwYAAAAeAAEwAQAAACMAAAAnRWxlY3Ryb25pYyBNdXNpYyBE aXNjdXNzaW9uIExpc3QnAAACAQswAQAAABsAAABTTVRQOkVNVVNJQy1MQEFNRVJJQ0FOLkVEVQAA AwAAOQAAAAALAEA6AQAAAAIB9g8BAAAABAAAAAAAAAW7OQEIgAcAGAAAAElQTS5NaWNyb3NvZnQg TWFpbC5Ob3RlADEIAQSAAQApAAAAUkU6IFNvdW5kIHZzLiBNdXNpYyBbUmU6IEJlc3QgRXF1aXBt ZW50XQChDQEFgAMADgAAAMwHBgATAAgANQAdAAMASQEBIIADAA4AAADMBwYAEwAIADUAHQADAEkB AQmAAQAhAAAANkVEQjZEQjVBQkM5Q0YxMTlDOUE0NDQ1NTM1NDAwMDAANAcBA5AGAHAGAAASAAAA CwAjAAEAAAADACYAAAAAAAsAKQABAAAAAwA2AAAAAABAADkAgBJvUN5duwEeAHAAAQAAACkAAABS RTogU291bmQgdnMuIE11c2ljIFtSZTogQmVzdCBFcXVpcG1lbnRdAAAAAAIBcQABAAAAFgAAAAG7 Xd5QZbVt23PJqxHPnJpERVNUAAAAAB4AHgwBAAAABQAAAFNNVFAAAAAAHgAfDAEAAAARAAAAamFj a3lzY2hAdmVuLm5ldAAAAAADAAYQAMQe7AMABxAdBAAAHgAIEAEAAABlAAAALS0tLS0tLS0tLURF Ok5JQ0tST1RIV0VMTFNNVFA6TklDS0BDQVNTSUVMQ09NRU5WSUFETzpNQVJURVMxOERFSlVOSU9E RTE5OTYxNDowMlBNUEFSQTpNVUxUSVBMRVJFQ0lQSQAAAAACAQkQAQAAAOMEAADfBAAAhQgAAExa RnWgu1n5/wAKAQ8CFQKoBesCgwBQAvIJAgBjaArAc2V0MjcGAAbDAoMyA8UCAHByQnER4nN0ZW0C gzN3AuQHEwKAfQqACM8J2TvxFg8yNTUCgAqBDbELYMBuZzEwMzQK+xRRNQvyYwBAIAqFCotsaQgx ODAC0WktMTSeNA3wDNAc0wtZMTYKoOsDYBPQYwVALR73Cocdq8MMMB52RGU6ICHCHY9HHpQMggew aWNrB/F0AGh3ZWxsW1NNGFRQOgMAI/BAQ0EAU1NJRUwuQ0+MTV0fnyCtRW52BzDcZG8hsCIfIylN CsAT0IsEIBxQIA2wIEp1AwBCbyryMTk5NirANGQ6MBHgUE0mHyCtUB0KwGEhsiivKbp1bHTtBSBs KxAWEGMFIAiQAjBxBCBvZiAcMBPAKABNYlUlgEMtTCyfIK1BunMrQHQocSHfIu1TCGDAbmQgdnMu MMEAkNBjIFtSIaFCB5An8XxxdQUgB4ACMCYGG20zjjYddxpFHnY+VGgEAFs1gD0BdxGABUBJPWBh uwQgFhBmBJAFEBkQIDVQHz0wA6AkQCsQAaBvdmXCLD1heSBzcAnwN9C/K2AGMTIRMQAHgAqFPh5x 8QnAYW1tPoI9cAnwQTb+eQhgP1AWEDWABPE9kBFw9z6CCGAFQGEyMSgwPpE98XtEsAtReQSQP1A3 wQWgbbRwbxGwcj+yI+BoPuLsbXlBN0aAaTEAAiBBNnU9AWFBNmYw4AMgQPIgaGpvYjgQV0KBPbFu 9wngN9BEsHM3o0sVSEBLIJxvdzgQPcAoYG4nBUBfEYA/kD8TQblBNmIA0Gv3CcA3oj+wYkSBTPJN aUWhe0UDN8F3BRAxAD6RTzgutzncNRA9sXMLcDfQYg3A/wWwP6FUoUdgP6E/IkukPQHvCrEFQEDC PzFtOEJKoQhg7mw30EMyAZBrQSZLoAeA7wIgKxAkcBGwJwQgTKAqkrlUgGNhOEArEEMxJ0OB/1nB RKFGRkXzTRQ94AIwPrJfPeET0AqFSiMAwGs+gnXOcFfSBcBMsG4/Odw847sNsADAclpASFJUcXQk YK1K4SIKsEQBIkXzIlcTz2IwEYBgcUIAYWdLUT8i/WOQbkOBMhAKhSRwHrEDYO8lAVcEPTBCEGU9 8AhwAaD8bHlS/We3I9s/sCVVZ7bfBaACMBPgRnAusHI/8GNQVG5jTeNqHrFzZ15oQQJAcDovL3dt UC73WkAEEAiQbG2AA3BntmW0/HN5AjA/MACQRVFGEwIw/QNgbGbvZ7hFwBGRP7AKsGttsVIieT+w ViXQczJGfz+wRgJjgAtxc9k53hnvPV93T3hfeW5TdnQGLntwc/5oV5MkYEYwB0ADIExxYdT7S1Fi pD8/sD4rE+A4Q1HS6RPQbi9Fk2RYZzEwZrD3PWBIQEcgZgDQNVBq0XzUPQQgKFQwcyEcMFhAIEf8 TSk/sAWxe6gTwCpxc9GfBCAKhWoxNSAHgHIvVxN7BzAAgC9aYRGgQLMFkGj7TKAVoGdzIT7BYJI3 wQRg50OBA1I/EyJJN8A4QGVAbnl9ogqFWxJqiVFeIXLbAmAHkCE53AqFak9BP/HrEXAWEGlUgHIK hWzpY5BebzGAMQAHkG4CLzeQSORvLxkwOTR1Pxn5Oj8vO08edgqFFTEAlUAAAwAQEAAAAAADABEQ AAAAAEAABzBg3KqB2127AUAACDCgs3ZQ3l27AR4APQABAAAABQAAAFJFOiAAAAAA0f8= ------ =_NextPart_000_01BB5DBF.08D60100-- ========================================================================= Date: Wed, 19 Jun 1996 10:05:34 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Zenon M. Feszczak" Subject: Re: Sound vs. Music [Re: Best Equipment] In-Reply-To: <960618230109_559221859@emout10.mail.aol.com> >Nick Rothwell said, "As I said before, for me, the sound is part of the >music. Would you take someone else's notes because you're not a composer and >don't want to waste time making up your own? > >This demarcation between "patch" and "music" has damaged the genre of >electronic music immeasurably." > Let's not forget that this is not a new demarcation, but just a new crest on an old wave. The same essential concept is included in the composer/arranger dichotomy, or the simple choice of traditional acoustic instruments for which a composer decides to write. So this is a demarcation with a history as long as the history of music. I'm not even convinced that the demarcation is damaging. Perhaps this is a personal issue: does thinking in terms of sound and music as separate aspects further the creator's creativity, or present an obstacle? In a way, this is a separation of the formal elements (melody, rhythm, tempo, structure, and so on) from the practical/contextual elements (the actual choice of instrument and sound), the abstract from the concrete, the general from the specific. Of course, the demarcation is not necessarily so clearly defined; hence, there are composers who may wish to do away with it altogether. But one approach or the other is not necessarily superior in some metaphysical, ontological, or even practically creative sense. Finally, consider the extremes: Many creators of music have valued both the experience of composing/playing with a wide range of instrumental voices, and with an often intentionally narrow range of voices. Consider the extreme cases: an avant-garde jazz player with a sampler set-up, and a jazz drummer with four drums and four cymbals. The former approach allows endless experimentation in the choice of _sound_, while the latter forces one to be formally creative with a very limited range of sound. Both approaches have their pros and cons, but I would suggest that one is best off to be well-versed in either, and even in combining the two approaches. Best, Zenon M. Feszczak Philosopher ex nihilo ========================================================================= Date: Wed, 19 Jun 1996 10:20:44 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: VLeComer@AOL.COM Subject: Re: Factory Sound "On Wed, 19 Jun 1996, Tim Robinson wrote: > Jacky Schreiber wrote: > > Writing (words) is not in any sense even similar to musical writing (call it > comp osing, arranging, sequencing, sampling, digital editing, etc.). When I > began maki ng emusic there were no > presets at all, one had to build his/her own set of sounds to make an > electronic/ electroacoustic music piece. With the years and the MIDI > e/re/de/in/volution, mai n stream manufacturers have been "invading" the emusic > scene with their "factory presets", Is this good and/or bad?? > > And I reply: > > Leonardo da Vinci had to make his own paints. But what artist makes > his own paints these days? Let the technicians make the sounds and > let the musicians make the music. > > Tim Robinson, (tim@liro.fri.cri.nz) _ NZ Logging Truck And I reply: You seem to be missing the point - the sound is the music. Doug Michael" I say: All sound is not music, whereas all music is a mixture of particular sounds and silences. This discussion seems to embody some basic confusion concerning "sound", which on one hand defines the end product of a sound designer's work; while on the other hand, "sound" is also the word which we sometimes use to describe the end product of a composer's work. Each use of the word is valid, however, the functions attached to the usage are not interchangeable. Methods of creating sounds and music do not alone determine the value of a "sound", either in or out of context. Would Beethoven's "Eroica" be any less moving if it was found out later that the music was created by holding down one key of a General MIDI-based keyboard with an arpeggiator with a random setting. Victor ========================================================================= Date: Wed, 19 Jun 1996 10:24:40 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: Sound vs. Music [Re: Best Equipment] Jacky Schreiber said: > c'mon give me a brake!! By the way... NICE TRUCK ! I guess I give you a break on that one! ;-) Some photographers mix their own chemicals. Some merely develop and print their own shots. Some take their shots to the corner drug store. Some painters make all their own paints. Some buy all they need at the art supply shop. ObEm: Is sound part of the music? Some composers write for symphony orchestras, others for small jazz combos (Mozart, Brubeck). Then there are the people writing surf music for fender guitar based rock bands. None of these composers generally worry about making new instruments to get a timbre that isn't achieveable by the ensemble. Other composers build their own instruments (Harry Partch, Louis & Bebe Barron). Some merely sound design on existing instruments (Metlay, Rothwell). In between, some compose the music and hire sound designers for some new timbres. (Larry Fast has put some food on the table as a sound designer. Michael Jackson has hired a sound designer or two in this day.) And some people design some sounds and use presets in equal balance. Where do you fit in? Which extreme of the spectrum do you occupy? In the overall scheme of things, does it matter? If you have an arsenal of modern electronic gear, you probably have enough patches available from presets, CD-ROMS, and the Internet to do about any type of music without doing any sound design. And that may be good for one and wholly insufficient for another. You're all doing what works for you. Bill Fox wbf@aloft.att.com ========================================================================= Date: Wed, 19 Jun 1996 11:04:54 EDT Reply-To: tom@mvision.com Sender: Electronic Music Discussion List From: Tom Ritchford Subject: Factory sounds. In-Reply-To: <199606190500.BAA03818@atlanta.american.edu> (message from Automatic digest processor on Wed, 19 Jun 1996 01:00:14 -0400) Tim Robinson wrote: [snip] >Leonardo da Vinci had to make his own paints. But what artist makes >his own paints these days? Let the technicians make the sounds and >let the musicians make the music. Painters inevitably spend a lot of time producing the exact colours (tints/shades/etc) that they want by carefully blending paint. Painter Musician ------- -------- Buys paint Buys synths Creates tints/shades Programs sounds Brushstrokes Notes/orchestration Composition Composition /t Tom Ritchford tom@mvision.com, tom@weirdos.com Verge's "Little Idiot" -- Music for the mentally peculiar. 1-800-WEIRDOS http://www.weirdos.com/verge ========================================================================= Date: Wed, 19 Jun 1996 09:06:17 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dave Rosborough Subject: Re: Factory Sound > Tim Robinson wrote: >> Leonardo da Vinci had to make his own paints. But what artist makes >> his own paints these days? Let the technicians make the sounds and >> let the musicians make the music. >And I reply: > >You seem to be missing the point - the sound is the music. > >Doug Michael Well, it would seem that we again have two fundamentally different approaches to music-making, much as the recent debate on Synth/Samplers.. Tim Robinson makes music by choosing a standard sound and creating harmonies, melodies, rhythms, etc. that to him, create good music. Doug, you make music from an even more fundamental level - you create the "instrument" as well as the harmonies, melodies, rhythms, etc. Both approaches to music-making are acceptable. Bach, Beethoven, and Berlioz all created their music on the former premise - the instruments they had available were standard, so all they had to play with is the melody, harmony, rhythm, orchestration, etc. This is very much the way "keyboard players" create music. "Synthesists" go that extra step and create fundamentally new sounds. There's nothing wrong with either of these approaches - both will produce completely different results. TTYL DaveR _____________________________________________________________ David Rosborough Web Author, Database Designer @ Faculty of Education, SFU Apple Education Consultant @ SFU drosboro@sfu.ca http://www.educ.sfu.ca/people/DavidR/ _____________________________________________________________ ========================================================================= Date: Wed, 19 Jun 1996 13:01:19 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe Miklojcik Organization: Pipeline Associates (http://www.powerpage.com) Subject: agree already I wish everyone on this list would stop arguing with each other by saying the same thing as one another. Here, I'll help. Assume I'm not me. YOU ALL SUCK! ANALOG R00LZ! (jfm) ========================================================================= Date: Wed, 19 Jun 1996 18:51:43 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tony Alexander At 08:46 PM 18/6/96 +0100, you wrote: >unsuscribe emusic-l r1u2i3@grupo.bfe.pt You are a fool. ========================================================================= Date: Wed, 19 Jun 1996 13:57:55 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pacific-Atlantic Mtg ******* Subject: Re: your mail In-Reply-To: <199606191751.SAA02090@gollum.globalnet.co.uk> On Wed, 19 Jun 1996, Tony Alexander wrote: > At 08:46 PM 18/6/96 +0100, you wrote: > >unsuscribe emusic-l r1u2i3@grupo.bfe.pt > > You are a fool. > Musicians aren't supposed to know how to spell. At least, they are not expected to know how to spell. ========================================================================= Date: Wed, 19 Jun 1996 19:49:08 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Re[2]: I wanna shut them up! >PS. Music for babies-- a topic of utterly absorbing interest to anyone with >an infant at home, and utterly dull for anyone else. Sorry. :) Good name for an album though. (Did I ever mention that my youngest fan was -2 months old?) Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Thu, 20 Jun 1996 09:55:32 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re: Re[2]: I wanna shut them up! > >(Did I ever mention that my youngest fan was -2 months old?) > Humph. My fans have yet to be conceived.... Regards Clive Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Wed, 19 Jun 1996 18:59:50 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: harry haecker Subject: Re[4]: I wanna shut them up! >>PS. Music for babies-- a topic of utterly absorbing interest to anyone with >>an infant at home, and utterly dull for anyone else. Sorry. :) >Good name for an album though. Yeah...better than something bogus, like, like, uh , "Music for Airports." ;^) HFPH ========================================================================= Date: Thu, 20 Jun 1996 13:43:51 -1100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tim Robinson Subject: Re[2]: Sound vs. Music [Re: Best Equipment] Victor wrote: I believe there are examples of great music being written by people who use existing instruments like the piano and the violin , and by the same token, there has been great music written by composers who have invented new instruments to create the sounds that they needed for their working palette. I reply: I'm sure there are plenty of composers who can create great sounds but lousy music. Tim Robinson, (tim@liro.fri.cri.nz) _ NZ Logging Truck Logging Industry Research Organisation, / | =|====|= =|====|= PO Box 147, Rotorua, New Zealand |_| =|====|= =|====|= Ph. 0064-7-3487-168 Fax. 0064-7-3462-886 OO~~~~~~OO~---OO~~~~OO ========================================================================= Date: Thu, 20 Jun 1996 13:48:50 -1100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tim Robinson Subject: Musicians and factory sound. Composer, arranger, instrumentalist, conductor: all are musicians, although they contribute in different ways. Would you blame the conductor for not composing, or the arranger for not playing? No. Therefore, why condemn factory sound? There is still music to be made! Tim Robinson, (tim@liro.fri.cri.nz) _ NZ Logging Truck Logging Industry Research Organisation, / | =|====|= =|====|= PO Box 147, Rotorua, New Zealand |_| =|====|= =|====|= Ph. 0064-7-3487-168 Fax. 0064-7-3462-886 OO~~~~~~OO~---OO~~~~OO ========================================================================= Date: Wed, 19 Jun 1996 19:50:00 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Look, Ma, No Keyboard! >After checking out the gear-head portions of your web site, I'm >wondering how you make any music at all with your live rig and no >keyboard. "Nothing but net" er, I mean sliders and MAX? Correct. Actually, I'll often tend to use a keyboard while composing, but for performance I codify the harmonic content in MAX and use a fader box. >How do you program notes as the results of a slider >move? Or are you running a sequencer and using sliders to change patch >parameters and volume balancing? Or, as I suspect, have I totally >missed the target? You've totally missed the target. (As far as I'm concerned, one cannot use sequencers on stage with any degree of self-respect; this has been the case ever since the sequencer became able to store more than 128 notes.) The faders can do anything: recall notes, recall chords, vector mix, alter timbres, fade volumes, fade filters, change timing delays, reprogramme software arpeggiators, and so on and so on. Check out my Sound On Sound article (Nov 1995 I think) for more details. Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Thu, 20 Jun 1996 14:40:39 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: your mail Hi emusicers... >Musicians aren't supposed to know how to spell. At least, they are >not expected to know how to spell. I suppose I'm not a musician! Actually some of us _do_ know how to spell. Some of us even have a wide vocabulary and can spell _all_ of the words. And some of us use capitals (i.e. we're not avid fans of e.e. cummings ;-) ), do not pepper our speech with the "like" every third word, understand the difference between 'number' and 'amount', do not commit bastard enumerations and generally take pleasure in the subtlety of which any decent speaker of English is capable. But then it takes all sorts to make an emusic-l list! Regards, David musdr@lure.latrobe.edu.au Further correspondence on this thread will be taken _privately_. ========================================================================= Date: Thu, 20 Jun 1996 10:55:31 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: your mail In-Reply-To: <199606191751.SAA02090@gollum.globalnet.co.uk> from "Tony Alexander" at Jun 19, 96 06:51:43 pm > > >unsuscribe emusic-l r1u2i3@grupo.bfe.pt > > You are a fool. > And you're out of line. If you can't be polite, don't say anything. --- Joe M. ========================================================================= Date: Thu, 20 Jun 1996 08:52:11 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: Look, Ma, No Keyboard! Nick said: > The faders can do anything: recall notes, recall chords, vector mix, alter > timbres, fade volumes, fade filters, change timing delays, reprogramme > software arpeggiators, and so on and so on. Check out my Sound On Sound > article (Nov 1995 I think) for more details. My mind greps (that's UNIX-speak) how a fader can vector mix, alter timbres, volumes, filters, and delays. These are parameter changes. I fail to grok (that's SF-speak for grep) how a fader can generate (recall) notes, chords, or reprogram arpeggiators. Is this where Max comes in and does some sort of translation from a controller value to a set of notes? (A set can be empty or have one or more members, remember.) Or are faders more programmable than I realize? (I haven't worked with any programmable faders or Max. I'm excluding Matrix-12 paddle-type devices because they all generate CC-type messages.) I'd like to check out your SoS article but have never seen SoS in any local book store. Is your article on a web site, perhaps? Bill Fox wbf@aloft.att.com ========================================================================= Date: Thu, 20 Jun 1996 19:27:13 -0400 Reply-To: jtrey@sound.net Sender: Electronic Music Discussion List From: Joe Trey Subject: Patch Editor Does anyone know of a Patch editor librarian for the Mac other than Galaxy's? Any assistance would be greatly appreciated. thanks joe -- jtrey@sound.net http://www.sound.net/~jtrey Lao Tsu: Being deeply loved by someone gives you strength, while loving someone deeply gives you courage.