========================================================================= Date: Fri, 21 Jun 1996 11:40:06 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pacific-Atlantic Mtg ******* Subject: BASIC programmable sound cards I received this response from IBM personnel regarding their IBM Music Feature: This product has been withdrawn and is no longer offered by IBM. You may want to contact your local Software Store for comparable software. Does anyone know of polyphonic sound cards for IBM compatibles which are programmable using the BASIC (GWBASIC) computer language? Thanks. ___________________________________ | _______________________________ | | | Merrill Tew | | | | 74020.1541@Compuserve.com | | "We are interested in | | Advocate of | | competency, not diplomas." | | INTERNATIONAL TUTORING | | - - Ralph J. Cordiner, | | http://edie.cprost.sfu.ca/~it | | Chairman, General Electric | |_______________________________| | |___________________________________| /-----------------------\ Save paper; save a tree! __/_________________________\__ Communicate electronically. |/___________________________\| ========================================================================= Date: Fri, 21 Jun 1996 15:42:19 +0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Juan Manuel Rodriguez C." Subject: Re: BASIC programmable sound cards In-Reply-To: On Fri, 21 Jun 1996, Pacific-Atlantic Mtg ******* wrote: > I received this response from IBM personnel regarding their IBM > Music Feature: > This product has been withdrawn and is no longer offered by > IBM. You may want to contact your local Software Store for > comparable software. > > Does anyone know of polyphonic sound cards for IBM compatibles which > are programmable using the BASIC (GWBASIC) computer language? > > Thanks. > This message could be not a good answer , but why don't you better try with pascal or "C" , using the Sound Blaster SBsim programation interface? ========================================================================= Date: Fri, 21 Jun 1996 17:58:45 +0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Juan Manuel Rodriguez C." Subject: Tools.... :-) Hello emusicians , how're you doin'.. I know you work with many kinds of software tools , for the ones working with midi , i'd like to know if there exist a tool which can really record 16channels pre-made midi tracks , that's to say , i work perfectly on my yamaha to do music such as soft rock or techno-dance , but I'd love to transfer it to a Cakewalk or a Studio, to see music I've done, but as far i know recording can be only monochannel!!!!!!. Also , what do you consider a good MIDI home studio? ========================================================================= Date: Fri, 21 Jun 1996 20:54:34 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacky Schreiber Subject: Re: Tools.... :-) ------ =_NextPart_000_01BB5FB5.653DF860 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit ---------- De: Juan Manuel Rodriguez C.[SMTP:jmrodrig@ATENEA.UCAUCA.EDU.CO] Enviado: Viernes 21 de Junio de 1996 08:58 AM Para: Multiple recipients of list EMUSIC-L Asunto: Tools.... :-) Hello emusicians , how're you doin'.. I know you work with many kinds of software tools , for the ones working with midi , i'd like to know if there exist a tool which can really record 16channels pre-made midi tracks , that's to say , i work perfectly on my yamaha to do music such as soft rock or techno-dance , but I'd love to transfer it to a Cakewalk or a Studio, to see music I've done, but as far i know recording can be only monochannel!!!!!!. Also , what do you consider a good MIDI home studio? =========================================== Hola Juan Manuel: You can actually transfer all of your 16 MIDI channels to Cakewalk in one pass and then make a "split" by MIDI channel (you can also use a CAL"preset" to do this automatically!). I would try this: 1 On the track/measure window leave the Chn (MIDI cannel) of track 1 with the - symbol. 2 Record your Cakewalk track (1) (maybe using MIDI sync). 3 Split your MIDI channels onto different Cakewalk tracks. This should work..., I think. saludos jacky schreiber jackysch@ven.net ------ =_NextPart_000_01BB5FB5.653DF860 Content-Type: application/ms-tnef Content-Transfer-Encoding: base64 eJ8+IiUBAQaQCAAEAAAAAAABAAEAAQeQBgAIAAAA5AQAAAAAAADoAAENgAQAAgAAAAIAAgABBJAG ADgBAAABAAAADAAAAAMAADADAAAACwAPDgAAAAACAf8PAQAAAFQAAAAAAAAAgSsfpL6jEBmdbgDd AQ9UAgAAAABFbGVjdHJvbmljIE11c2ljIERpc2N1c3Npb24gTGlzdABTTVRQAEVNVVNJQy1MQEFN RVJJQ0FOLkVEVQAeAAIwAQAAAAUAAABTTVRQAAAAAB4AAzABAAAAFgAAAEVNVVNJQy1MQEFNRVJJ Q0FOLkVEVQAAAAMAFQwBAAAAAwD+DwYAAAAeAAEwAQAAACMAAAAnRWxlY3Ryb25pYyBNdXNpYyBE aXNjdXNzaW9uIExpc3QnAAACAQswAQAAABsAAABTTVRQOkVNVVNJQy1MQEFNRVJJQ0FOLkVEVQAA AwAAOQAAAAALAEA6AQAAAAIB9g8BAAAABAAAAAAAAAO3OQEIgAcAGAAAAElQTS5NaWNyb3NvZnQg TWFpbC5Ob3RlADEIAQSAAQASAAAAUkU6IFRvb2xzLi4uLiA6LSkAagQBBYADAA4AAADMBwYAFQAU ADYAIgAFAF8BASCAAwAOAAAAzAcGABUAFAApAAYABQA2AQEJgAEAIQAAADhDNDdGMEM1QTNDQkNG MTE5QzlBNDQ0NTUzNTQwMDAwABAHAQOQBgAoBgAAEgAAAAsAIwABAAAAAwAmAAAAAAALACkAAQAA AAMANgAAAAAAQAA5AMBvY2HVX7sBHgBwAAEAAAASAAAAUkU6IFRvb2xzLi4uLiA6LSkAAAACAXEA AQAAABYAAAABu1/VYKPF8EeNy6MRz5yaREVTVAAAAAAeAB4MAQAAAAUAAABTTVRQAAAAAB4AHwwB AAAAEQAAAGphY2t5c2NoQHZlbi5uZXQAAAAAAwAGECyDKi4DAAcQ1gMAAB4ACBABAAAAZQAAAC0t LS0tLS0tLS1ERTpKVUFOTUFOVUVMUk9EUklHVUVaQ1NNVFA6Sk1ST0RSSUdAQVRFTkVBVUNBVUNB RURVQ09FTlZJQURPOlZJRVJORVMyMURFSlVOSU9ERTE5OTYwODo1OEEAAAAAAgEJEAEAAAC0BAAA sAQAAIUIAABMWkZ1mP2Swf8ACgEPAhUCqAXrAoMAUALyCQIAY2gKwHNldDI3BgAGwwKDMgPFAgBw ckJxEeJzdGVtAoMzdwLkBxMCgH0KgAjPCdk78RYPMjU1AoAKgQ2xC2DAbmcxMDM0CvsUUTUL8mMA QCAKhQqLbGkIMTgwAtFpLTE0njQN8AzQHNMLWTE2CqDrA2AT0GMFQC0e9wqHHavDDDAedkRlOiAh wh2Pox6UDIIgSnUDkU0AcFcKUAMgCABkBRBnClB6ACBDLltTTVRQGDpqbQNgJLJAQVQARU5FQS5V Q0EBJrEuRURVLkNPRl0fnyCtRW52BzBkrm8hsCIfIylWCJFuB5FeMhrQDbAjwQMAbyyCMQA5OTYg MDg6NVo4FLBNJ58grVAKwGGHIbIqLyMpTXVsdAUg9mwsoBYQYwUgCJACMAQgOG9mIBwwE8ApgE1V YFNJQy1MLi8grUE6cyzQdCnxId8i7VRvCQbwcy45cSA6LSlzGv8cAzM2HXcaRR52SOskYBWgIBPg dQCQMxAGIkAsIGhvdycWECDWeQhgLIBvC4AnOXA5/LBJIGtuPjA+g3cFsEJrQMBpdGggA4F5K0Aw C4BkM4NzM6B0d/8KwCygNuA5QT3xAhAFwEFA3yygAiAHkUDSC4BnCoVBJIhpZGk98WknZDPBPmtC wkA0BpBDkj5hZXhtM+JhQtNAwGg9kEFQY+cDkRYQB0BseQqFMvEFsHdF8B5AEXFuLCBDERNQZS4t AMAskUVjdDBAY2tjPeJBQGF0JwQgRmFzrmFBoEWxQMRwBJBmHrHPSScCIEFgQaB5YQDAEYBfRlIp 4EFgPXJCQHVIcWH3BCBCUjLgb0vgM5BDgQWQ0mhAUC1kAHBjLKA+ABRidQVASUXib3Zl/wqFRmFL sQCATeAFwEEwRlLZR9BDYUYwQpBsUUNH0OhTdHVFgG9MIUzBCeD/T9VSwFMgPsEsIFJkUJAKhX5m CsFFkEBDSbREcUiTYr9DwkkgQWACIFEgSlQhW2P9Pz1BOVAtAD4ASEBMYE+i3z6SBaAAgQSBR8Fn OTBF8PhNSURAID4gB4BCQFXj9j8KjxocPWHvYv9jhl/17kgG8EfQI9k6Of87DxpY/lldsgORANBV 4EkCU9hJAf8zkj6RBcAeQF7USkdGYVT3/wuAQ9JKwFCQBCAAcEXwQ6HPTsFVAV/1R9AicwtQQTDO IlJwQaBraiAoXaNpIo9cwj1wLKBU0UFMIkrR/xGxb4BPhEFABABHwFKQA3HnMpBIoEkRISk/P0DQ MnC9beFyacFzEWYGGtBPA6D7Q6JLsy8HgFCQCHAsoAPwt0HgQGEywGFXQUOiQ1HA93CQa2RKYykz kkuzdqFBI71Doi1CQAbDdEYR4FJJxKdq41T3eoQoMXowKADA/nlaMT1xWcFe43uwUiB0N/4zBgBv QmrUa10CIS0BBpD/VDEzUTUHGkgeZ318g08a0Os5YF/1VHMScz4gdXJA0u85cT4AQCBzAW6IgGYc TODvCkAp4FgmX/VqS9FBoATwamgWEGlaMHKLKovxQOlTIG4uLCB0NK2DzwVAf45eHnZmH2cvkL9g IhUxAAGVQAMAEBAAAAAAAwAREAAAAABAAAcwoFdrf9NfuwFAAAgwoFdrf9NfuwEeAD0AAQAAAAUA AABSRTogAAAAAJzy ------ =_NextPart_000_01BB5FB5.653DF860-- ========================================================================= Date: Fri, 21 Jun 1996 22:50:32 +0000 Reply-To: smcrow@micron.net Sender: Electronic Music Discussion List Comments: Authenticated sender is From: Sean Crow Subject: Re: UNSUB UNSUBSRIBE smcrow@micron.net --------------------------------- smcrow@micron.net http://netnow.micron.net/~smcrow ========================================================================= Date: Sat, 22 Jun 1996 14:19:05 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Pacific-Atlantic Mtg ******* Subject: Re: BASIC programmable sound cards In-Reply-To: On Fri, 21 Jun 1996, Juan Manuel Rodriguez C. wrote: > On Fri, 21 Jun 1996, Pacific-Atlantic Mtg ******* wrote: > > > I received this response from IBM personnel regarding their IBM > > Music Feature: > > This product has been withdrawn and is no longer offered by > > IBM. You may want to contact your local Software Store for > > comparable software. > > > > Does anyone know of polyphonic sound cards for IBM compatibles which > > are programmable using the BASIC (GWBASIC) computer language? > > > > Thanks. > > > This message could be not a good answer , but why don't you better try > with pascal or "C" , using the Sound Blaster SBsim programation interface? > If I were more ambitious, I may wish to learn Pascal or "C," but I'm looking for the easy means first. I already have GWBASIC. I don't have the others. ========================================================================= Date: Sat, 22 Jun 1996 22:49:23 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Attachments [Re: Tools.... :-)] >Content-Type: application/ms-tnef > >Attachment converted: INTERNET:Re- Tools.... --) (????/----) (000031E4) Please, people, stop doing this. It doesn't serve any purpose to attach documents to email (especially if they just contain the same text), and it's cluttering up my zip drive with files that are no use to me. Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Sat, 22 Jun 1996 22:50:18 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Look, Ma, No Keyboard! >My mind greps (that's UNIX-speak) how a fader can vector mix, alter >timbres, volumes, filters, and delays. These are parameter changes. Following me so far, Robin. >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 Yes. >and does some sort of translation from a controller value to a >set of notes? No. >Or are faders more programmable than I realize? No. A couple of abstractions for you: MAX has a primitive called a "preset", which is a memory for a set of parameters (faders, numbers, whatever). If a chord is three notes, that's three numbers. If a vector mix is X*Y, that's two faders. A preset can store a large number of such "patches". It recalls them by index. Now, run a MIDI controller into a scaler and filter (to remove duplicates) and feed the result into a preset. Result: fader can recall vector positions and/or chords, depending on its position. Wrinkles: MAX has ramp generators, so you can (for example) recall a vector position and also recall a fade time independently for X and Y. Notes are best run through a filter for removing duplicates, or a polyphony limited to avoid stuck note messages, so you can move quickly between chords without glitches. Do you start to see how an entire performance can be built on 16 faders? MAX is essentially a glorified open-ended synthesiser, if you like, but it modulates performance controller information, not audio. >(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.) Doesn't matter. My fader box just generates CC #16, channels 1 to 16. MAX does all the work. >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? Nope; I should probably do that. Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Sat, 22 Jun 1996 22:50:44 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell 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.... Yeah, I tell myself that as well. Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Sat, 22 Jun 1996 15:15:35 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Vinny Fiorenza Subject: Re: Re[2]: Factory Sound ------ =_NextPart_000_01BB605B.1872FCA0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit //// jumping in from a lurking bridge..\\\\ hi. sometimes, fiddling with synthesizer parameters, programming/tweaking experimenting, playing, effecting,,,,& such results in an entirely new direction (s) which can inspire a creation or work in progress in voluminously different ways. (..whoa) IMO, keeping a open mind, an open view helps along the way, can be truly fun : ) and will lead to new-found sources of creative inspiration. "Factory sounds", sounds from scratch, 'yur own tones, digital, analog, wurlitzer fun machine organ (tm.), {personal fave..} -=whatever=- -doesn't really matter: 1.) As long as digital reverb is applied uuhh.. ? The character utilizing them might tho... If the creator renders' their own diverse individual personality into the composition {or noise collage..} unique results will follow in aftermath. cheers & stuff, Vinny, + new Webster's.. <> <> <> <> <> <> <> <> "you don't need a license no permit 'nor permission -- from any 'higher authority' or hierarchy to create..." {..or something..} -VSF, today while eating bagels.. <> <> <> <> <> <> <> <> "There is no limitation in the synthesizer. The limitation is in the brain of the human being. And until we reach the limits of the brain, we have a long way to go." --VANGELIS-- August '82. ok, enough .sig already!! thanks for reading! ------ =_NextPart_000_01BB605B.1872FCA0 Content-Type: application/ms-tnef Content-Transfer-Encoding: base64 eJ8+Ii0XAQaQCAAEAAAAAAABAAEAAQeQBgAIAAAA5AQAAAAAAADoAAENgAQAAgAAAAEAAQABBJAG ADgBAAABAAAADAAAAAMAADAFAAAACwAPDgAAAAACAf8PAQAAAFQAAAAAAAAAgSsfpL6jEBmdbgDd AQ9UAgAAAABFbGVjdHJvbmljIE11c2ljIERpc2N1c3Npb24gTGlzdABTTVRQAEVNVVNJQy1MQEFN RVJJQ0FOLkVEVQAeAAIwAQAAAAUAAABTTVRQAAAAAB4AAzABAAAAFgAAAEVNVVNJQy1MQEFNRVJJ Q0FOLkVEVQAAAAMAFQwBAAAAAwD+DwYAAAAeAAEwAQAAACMAAAAnRWxlY3Ryb25pYyBNdXNpYyBE aXNjdXNzaW9uIExpc3QnAAACAQswAQAAABsAAABTTVRQOkVNVVNJQy1MQEFNRVJJQ0FOLkVEVQAA AwAAOQAAAAALAEA6AQAAAAIB9g8BAAAABAAAAAAAAAW7OQEIgAcAGAAAAElQTS5NaWNyb3NvZnQg TWFpbC5Ob3RlADEIAQSAAQAZAAAAUkU6IFJlWzJdOiBGYWN0b3J5IFNvdW5kAO0HAQWAAwAOAAAA zAcGABYADwAPACMABgA2AQEggAMADgAAAMwHBgAWAA8ADwAjAAYANgEBCYABACEAAAA0MkJGNDA5 NTFEQ0NDRjExQUE1MTQ0NDU1MzU0MDAwMADwBgEDkAYA5AYAABAAAAALACMAAAAAAAMAJgABAAAA CwApAAAAAAADADYAAAAAAEAAOQAgDPFViGC7AR4AcAABAAAAGQAAAFJFOiBSZVsyXTogRmFjdG9y eSBTb3VuZAAAAAACAXEAAQAAABYAAAABu2CIVfGVQL9TzB0Rz6pRREVTVAAAAAADAAYQT/79sQMA BxANBAAAHgAIEAEAAABlAAAALy8vL0pVTVBJTkdJTkZST01BTFVSS0lOR0JSSURHRUhJU09NRVRJ TUVTLEZJRERMSU5HV0lUSFNZTlRIRVNJWkVSUEFSQU1FVEVSUyxQUk9HUkFNTUlORy9UV0VBS0lO R0VYUAAAAAACAQkQAQAAAJsFAACXBQAAdQkAAExaRnUbKtcR/wAKAQ8CFQKoBesCgwBQAvIJAgBj aArAc2V0MjcGAAbDAoMyA8UCAHByQnER4nN0ZW0CgzN3AuQHEwKDNBEFE1IRWVepC4BnZBbhcwKD NQVlARM1QnJhZ2dhZNBvY2lvAoM2A0UTNRsHbQKDNxV5BgBpZ25UYXQIcGUCgzgb6kItCGBsBIEC gzkb6kNhPweQCsAQpALRGdoeUG9rwxSwAjBpcXVhEKQQ9qMaRAUQYnVuHSQxErGpHAhIZRzgaB6l MRRUVRg3bxjwdgiQdwKAfRcKgAjPCdk7KE8yNTXHKWMqgSifZDE5ErAJw/8sUgoyLFECgAqBDbEL YBbwvSCQMxRQCwoUUQvyYwBABCAvMBEganVtcBUW4SALgCADUiBhICkKQHJrMKJiBRBkZ3BlLi5c MoUKhQqFaHRpLjMMcwNwEcAHcizzMQAyIGRsMKID8CVQNOCueQIwJWAAkHoEkCAKsd5hNREEkDVx E1BvCcA3cOJtFuEvdHclMDGyCoX4ZXhwBnEHgCHxFvA34X0LYHk6Uw3BBZA6QzvBJj004HURcAqF KFA8IGx0HwQgMOEDkToiKFBseSA/I9AH4BcQKFA7cQIgICg0cykKhXcz4BFwIGP7A5ELgHMwkChQ MVEFACUx9z7hCoUFsXcFsCHAMOE4A+0HkHMKhTDhdgbwMHALgP0IYHM+ERcQO0EoUAIwNiD1OsBz NAYoMmA/wCbgP0boSU1PNYBrCeAwkzFg7m850AOgOHFkNYADkUfT9ycSM2c+AHAEIAdAAiAwwC8l UUUiNYBAImJAwHRyix5wPiBmI8AgOiA/RtUAcGQ2IWwDIGwlMEzg9HRvPjItAhAjwEzgNPClCHBj B5FvZkD1dkDAZ0BkQTM0BiJGANBNoHLnPiBOcUhAcyI1gFF0MQTPBPEc4BFwNYAneQhwQeB+dwOg TaAj0DVwCoUXEGffNkAHQEhiSiE6cXcIcDXg/nQ3AkviAMEz4CPQQeEY4CE/AXRtLik1gFx7bznR NPBVUTEAYU+AMmF9WTNmLT0/wBzgZU+Acjw9LQqFWZAZAAeQbid/BUBBEU0gPiAAwAJABJA68zMM DIIgMVewFLAEIEoz/mEEIFS1PMFaEV1gBAAxUBZwC1AIkGRaZiB1daxoaDJgCoU/MwxUSpG3EXJR ATcRdSIANeB6MKJnJVExQDhwZ2gFQCVQb/syYDQGSU8ASoJBAwWxROH5BIFzJ0pyPeBTkxcQWhH/ EbAw0WdxMiAiMAMgWBY2QJ55QydNoWWDA3BwbwCQ/z7TV/AFsUQgBABqMk0gGMD/WNMKhSPAIhFA wDzWTQMCEP9NIFOgPUMBgASQW+FgwDMM9xFwCeARoCA8ARzwDdBUNrUKhVYLgG5K4QqFKz4zyFdl YhPBcidFYDQN3Dw+dN91IlB2eQhgPnD/AiBbQSPQCYAxUj/gCfARsN8KhUQgaJI4cAVAJ0QgNyHn eQIEED7iLS1awAqFMRTfckBTQDPgZEA3EWFjMEYw+wUQaTAnQYgz4ASQCsARcM9pRk2hQQMyUS4i XLcur78vtFfwMmAFsTTzVtFnbDmHf78vpYRULVZTRjWA/U2gZDrAP7JNUDmgQTEx0v1sAWxz2ILv L6V1T4kUh51/OAET0Dtwfz8vKIufjKki/2JRQLFfYXjBNeB5IUEzMNL7SoI2iS5awGJSj9o9M0qC 7zIAC3FBhmVkaDBwSyOCAv9awCHgTOAjwGNBNiBtMlax/0pzj9NO05MnVaGUcVixTFbXXeRFMU2S Z2SgIlzKXTMBemBWQU5HRUxJjlN6YJo/hFJBdWdEQPl5QTgyNA2Nzy+lIbA7EbNEIWRAIC4AkEeR bEERMGR5ISF99hGAbmu/UlFmExjwFuGh5idxAKRAAAMAEBAAAAAAAwAREAEAAABAAAcwgE+4735g uwFAAAgwIAzxVYhguwEeAD0AAQAAAAUAAABSRTogAAAAAL0x ------ =_NextPart_000_01BB605B.1872FCA0-- ========================================================================= Date: Sun, 23 Jun 1996 13:47:08 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Timothy Kelly Subject: Re: BASIC programmable sound cards Hi All, IBM Music Feature Card hasnt been out for years. Soundblaster sounded better and their are shelfs of books on how to program for soundblasters. Dont know why anyone would really want a programmable by basic sound card. All soundcards are programmable by midi, and sys ed routines. It is faster, easier, and gives you more control over the sound than basic does. Look at Midi Basic by the Midi Tools people at Artic Software. Music Quest also puts out excellent midi run time routines and programs. You can also get books of routines for your prepared programming language. Some of the newer soundcards do have the programable audio cpus in them, the interweaves, etc. Most of these have on board memory space for uploading custom programs into. Try contacting the audio cpu makers and soundcard manufactors directly with the specifics of what you need to do. You may be able to custom order a soundcard with whatever you need on it. Most sell soundcard and sound module developers kits, with a mockup and testing design info. Happy Sounds Timothy Kelly MidiVox -- MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays. Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some Drums, Sing a Cello. Become a Human Sequencer, Human Vocoder, Human Breath Controller. AES "Best in Show." EM "Editors Choice." " MidiVox Roars." Keyboard. ========================================================================= Date: Sun, 23 Jun 1996 13:58:04 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Timothy Kelly Subject: Re: Look, Ma, No Keyboard! Hi All, Some of the custom things Max does can be done by Cakewalks custom fader setup. Maybe even a lot of the more esoteric ones too, if one uses Cakewalk Cal too. Of course Max is also good if you are doing binary to midi or the real esoteric stuff. In the US, Sound On Sound Britsh mag is carried by Borders Books, also Barnes and Nobles too. Same for Future Music and Total Guitar, and other non US mags. Many B Dalton 's can also special stock the non US music mags if you ask for them. I usually buy my Future Music at B Daltons in the mall. Now if I could only answer my email by humming, I could get rid of this computer keyboard too. 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, 23 Jun 1996 21:35:40 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Christian Roth Subject: Re: Attachments [Re: Tools.... :-)] In-Reply-To: On Sat, 22 Jun 1996 22:49:23 +0100, you wrote: >Please, people, stop doing this. It doesn't serve any purpose to attach >documents to email (especially if they just contain the same text), and >it's cluttering up my zip drive with files that are no use to me. You are right. But, it can easily happen to people that use the new MS Exchange that does this by default on it's own. One has to uncheck the MIME option for addresses who won't accept MIME mail, like this mail list. -------------------------- Christian Roth a8706976@unet.univie.ac.at 100321.1763@compuserve.com -------------------------- ========================================================================= Date: Sun, 23 Jun 1996 22:27:19 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Re[2]: Factory Sound >"There is no limitation in the synthesizer. The limitation is in the brain >of the human being. And until we reach the limits of the brain, we have >a long way to go." > --VANGELIS-- > August '82. True, but then again, Vangelis is always complaining about the lack of expressive controls on modern instruments. And he hates computers. Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Mon, 24 Jun 1996 13:30:59 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Martin Russ Subject: Admin FAQs V1.4 (Last changed 5th may 1996) Comments: To: SYNTH-L@LISTSERV.AMERICAN.EDU Warning: Long Document (386 lines, 3016 words, about 6 pages)-------------- EMUSIC-L and SYNTH-L Frequently Asked Questions: Administration This document is posted approximately every four weeks - or when it is triggered by sufficient numbers of unsuccessful unsubscribe messages to the list. It is intended that this document should answer many of the questions asked by newcomers to the lists. Comments and corrections should be sent to the maintainer, Martin Russ, at: mruss@midi.dungeon.com This is the second posting of Issue 1.4. (5th May 1996.) --------------------------------------------------------------------------- Changes since issue 1.3.: - Minor corrections and clarifications (all) - New posting information (Messages, 2/3) - Moved history of EMUSIC-L and SYNTH-l to General FAQs (Background, 1/3) TOPIC INDEX**************************************************************** - Background - Messages - Subscriptions etc BACKGROUND***************************************************************** "What are the EMUSIC-L and SYNTH-L lists for?"***************************** EMUSIC-L and SYNTH-L are for the discussion of electronic music in general: its history, practitioners past and present, equipment, techniques, trends, research, development, resources, you name it. They exist as a 'post-moderated' alternative to the rec.music.makers.synth newsgroup. (post-moderated means that the moderators monitor what is posted, and sometimes remind posters about the 'rules': see below for the 'rules'). A digest is also available for each list. This collects all the postings for a day into one e-mailing. "Who are the moderators?"************************************************** Joe McMahon and Mike Metlay have been on here for over seven years. Their aim is to keep the mail flowing and the illegal and blatantly out-of-line traffic to a minimum. Joe can be contacted at: mcmahon@clark.net (Mike can be contacted at: atomic@netcom.com - Mike is currently moving.) "So, can I post anything I feel like?"************************************* Well, no. There are some RULES. The basic thrust of EMUSIC-L is to provide a forum for the discussion of music made by electronic means. The actual method is secondary (and more the subject of SYNTH-L). What we are concerned with on EMUSIC-L is the music, composing, and related topics. Therefore: 1) Ads are not permitted on EMUSIC-L. Advising someone as to whether they are getting ripped off *if they ask the list* is permissible; otherwise, use private mail (and please remember not to just use the 'Reply' option in your mail program - that will replay to the list!). Requests for addresses of mail-order firms, etc. are OK. Cutting deals on your own personal equipment is not OK. Please do it privately, or subscribe to SYNTH-L, where you'll reach a more responsive audience. Requests for advice as to whether a price is good or not are marginally OK, but would probably reach a more knowledgeable audience on SYNTH-L. Prices really aren't so much of interest unless either the entire world (literally) should know about this great deal, or you have inside information on a new product or upgrade. Exception: if someone has gone through the trouble of composing, recording, and pressing a CD or tape, submitting an article describing the process and their experiences and mentioning that the tape or CD is available for purchase is OK. Posting repeated ads for the CD is not. (A single mention is marginally acceptable; a short mention in a signature file is fine.) Here's a quick summary (it goes from 'admirable' to 'not acceptable'): - A ONE-TIME post mentioning that you have completed a CD or tape and a summary of experiences/etc. in making the recording is admirable. - An article which contributes to the discussion on the list AND contains a signature file which mentions CD/tape/album availability is acceptable. - Repeated postings saying nothing but "My recording is available" are bad. - Outright ads for records you did not make, hardware, software, used cars, etc. are very bad (definitely not acceptable). 2) Discussions about the relative merits of hardware/software/etc. are permissible, as long as the reviewers state evidence supporting their opinions. Ad hominem attacks will not be tolerated. Arguments based solely on personal taste are not acceptable. It is preferable to request private mailings, which you can summarize and post back to the list. Reviews are useful. Mutual admiration societies are not. 3) All members *will* be treated with kindness and respect. There is no such thing as a dumb question on this list. If you can answer, answer, and be nice about it. Otherwise, say nothing. If you've got a problem with what someone has had to say, discuss it in a civil manner. If you can't do that, take it to e-mail, or just forget about it. 4) EMUSIC-L is meant to be for the discussion of electronic music, in the studio, the classroom, in performance, and on recordings, including techniques, resources, user reviews and experiences, and speculation on futures. Some divagations will be tolerated, as it's rather nice to have a little humor on the list; however, the list owner(s) (Joe McMahon at the moment) will maintain the final say as to the subject matter on the list and will move to terminate off-topic, pointless, and (especially) rancorous discussions. 5) Please refrain from adding to the noise level by commenting about accidental private posts to the list or the accidental sendings of SUBSCRIBE requests or suchlike to the list. That is the administrators' job. If you must pour out your wounded feelings ;-), either to the moderator(s), or to the offender, use private mail. 6) The moderator(s) are permitted to be as arbitrary as they please. We have only once had to take action against a member of the list for breaking these rules, even when they hadn't been stated explicitly. We will notify offenders via private mail and will wait for a response. But we don't have time to play Politeness and Germaneness Monitors. We will remove users from the list only if we must, and we always give people the benefit of the doubt when possible. But be assured that we will act to preserve the quality of discussion on this list. "Is SYNTH-L supposed to be technical discussion of synthesizers?"********** "Does EMUSIC-L cover electronic music in general?"************************* Very roughly, SYNTH-L is for the detailed technical talk, like gear for sale, where to download patches, whether synth A is better than synth B (whatever 'better' means), technical problems and solutions, and so on. SYNTH-L is the stuff that people on EMUSIC-L don't want to have to wade through to discuss electronic music. Conversely, EMUSIC-L is for all the serious (and sometimes not so serious) philosophical discussion on electronic music in its widest sense. EMUSIC-L is the stuff that people on SYNTH-L don't want to have to wade through to discuss gear. In both cases, one could say that this sort of discussion has its place, but people sometimes like to see it, and sometimes don't. All the EMUSIC-L/SYNTH-L division purports to do is allow an approximate separation between the snobs and the plebs. Where people take that is up to them. It's true that there seems to be no set focus or set of aims in these lists. That's deliberate. We are like-minded individuals looking for someone intelligent and knowledgeable to talk to, and the topics range all over the place, as well they should in such a forum. One shouldn't expect any kind of focus in an environment where anything is a potential topic for discussion. "What's the point? It's not what I expected!"****************************** The point is that we don't want you to have unreasonable expectations of what EMUSIC-L and SYNTH-L are 'for'; they are what they are, and most people seem content to enjoy them as they are or guide them elsewhere, either for a while or for good... A good starting point for finding out what the electronic music of EMUSIC-L and SYNTH-L is all about is the EMUSIC-L World Wide Web page at: http://sunsite.unc.edu/emusic-l. MESSAGES******************************************************************* 'What about multiple and long posts?'************************************** MULTIPLE POSTS / CONFERENCE ANNOUNCEMENTS AND OTHER LENGTHY POSTS EMUSIC-L and SYNTH-L are delivered to many different types of mailboxes. While many of our readers have plenty of spool file space at their host machines and a lot of leisure time to delete unwanted mail, there are others who must download their mail via modem, often at low speeds while paying for connect time. For this reason, we discourage multiple postings of the same message, and ask that list members clear very long posts (postings are limited to 400 lines / 32 K of text) with the Co-Moderators before sending them along. While we do not have time to moderate every message to EMUSIC-L and SYNTH-L, we have no objection to scanning the occasional conference announcement or product profile for suitability, and would prefer to do so rather than see our readers suffer problems from lengthy files whose place on our lists may not be appropriate. One other note: keep in mind that the default behavior for the List Server is NOT to echo a copy of your post back to you. Posting the same announcement multiple times "just to make sure it's getting out" is wasteful and rude. If there has been no response to your post after three to five days, a follow-up message asking if the post got out, _along with a careful restatement of the original question,_ is probably okay. But there does exist the possibility that your question has gone unanswered because no one on the lists has the information you need. There's no guarantee that we can answer any question here, and we cannot force those who do have answers to also have an interest in providing them. As in so many areas of netiquette, let common sense be your guide in handling these posts. Being flamed for announcing a concert or conference, or for asking a reasonable question, is uncalled for. Being flamed for announcing the same event five times in an automailer, or for asking a question no one cares about ten times in a row in ever more strident tones, is to be expected. "Should I respond to a message on the list?"******************************* The whole point of this list is that we attract people who are smart enough to make these decisions for themselves, and do. You can be one of them, if you let yourself. Think and decide for yourself, make mistakes, correct them, learn, move on, and enjoy the trip. Or, if you're paralyzed by fear of doing or saying something wrong, you can choose to lurk forever. Please note the difference between 'Reply'ing to the whole list, and sending private mail to a specific person. 'Reply'ing normally uses the 'automatic' Reply facility in your mail program, and sends your mail to *everyone* on the list. Private e-mail requires you to manually create a new message to the person who posted to the list, and this will be sent just to them. Please also read the "So, can I post anything I feel like?" 'Rules' section of this document before posting anything to the list. "How do I send a message to the list?"************************************* For EMUSIC-L, you send your posting to emusic-l@american.edu. It will be automatically sent to all of the other subscribers. You will not receive a copy of your own mail; LISTSERV does this to decrease mail traffic. For SYNTH-L, you send your posting to synth-l@american.edu. "Why did my posting get rejected?"***************************************** Postings to the list may be rejected for a number of reasons, most of them having to do with keeping unrelated material off the list, and keeping traffic to a reasonable level. If you are not subscribed to the list, you will not be able to post to it. This keeps random advertisers who are not members of the list from posting to it, and cuts down on mass crosspostings as well. If you really need to talk to the members of the lists, you'll have to make the commitment to read them for at least the amount of time that it takes to get your answer. Note that the listowners will frown on subscribing, posting, and unsubscribing in a very short period, especially if the material posted turns out to be unrelated to the list, or otherwise inappropriate. Postings more than 400 lines long (about 32K of text) will be rejected as well. This was instituted to stop things like errors resulting in massive postings to the list, and pranksters who uuencode core dumps and send them, attempting to overload the server and its customers. Such items will be returned to sender. "Why can't I post anymore?"*********************************************** Joe McMahon explains the latest changes to posting... If you haven't posted in a while, and all of a sudden your posts are being rejected, there are a couple possible reasons, all related to the same cause: spammers. To block spammers from being able to post to the lists at all, Mike and I went to a set of new subscription and posting restrictions: new subscribers must confirm their subscriptions, and non-subscribers cannot post. Also, posts over a certain size (about 400 lines / 32K of text) will get rejected. This can cause problems for the following folks: - Folks from AOL who appear to have multiple IDs (screen names). You always have to post from the same ID, or subscribe multiple IDs and use SET NOMAIL for some of them (see below). Not doing so will make you appear to be an unsubscribed user/possible spammer, and your posts get rejected. - Folks whose mailing addresses have been changed by their system administrators or by their networking folks. You also appear to be an unsubscribed, possible spammer, and get rejected. These will have to be fixed on an individual basis, alas. Send me or Mike mail (actually, just send it to me for right now -- Mike's busy moving). If you know your ID has changed, send us mail telling us the old ID and the new one, and we'll delete the old one; you can add the new one yourself. If you have multiple IDs you'll be posting from, subscribe all of them, but send the following command from all but one of them: SET EMUSIC-L NOMAIL (and obviously, SET SYNTH-L NOMAIL, for SYNTH-L) to turn off mail to the other accounts. "Where is the archive of FAQs kept?"*************************************** This is a new(ish) document (as of May 1995). As the maintainer adds new questions this document will be revised, and some questions and answers may be removed - so far the major change is a split into Admin (this FAQ) and a General FAQ (the other FAQ). You will be able to ftp previous FAQ files from the Internet - this is being sorted out with the maintainer's service provider. SUBSCRIPTIONS************************************************************** "How do I unsubscribe?"**************************************************** For EMUSIC-L, you send mail to listserv@american.edu with the text UNSUB EMUSIC-L as the body. No special subject is required. For SYNTH-L, you send mail to listserv@american.edu with the text UNSUB SYNTH-L as the body. Again, no special subject is required. If this does not work, you will get a message saying that no entry was found for your ID. Please contact Joe McMahon (mcmahon@CLARK.NET) directly. Please, do *NOT* post unsubscribe messages to the list. They don't help, and simply irritate other readers. AOL subscribers may experience some problems with unsubscribing from the listserv. This may be a communications problem or an incompatibility... If you cannot unsubscribe then please save any messages that you may receive from the listserv and send them to Joe McMahon (mcmahon@CLARK.NET). "How do I subscribe?"****************************************************** To join the discussion group on a message-by-message basis, send a mail message to listserv@american.edu with the text SUB EMUSIC-L where "" is your actual first and last name (at a minimum; LISTSERV insists on at least two blank-separated words here). Do not send subscription requests to the list address, as they only serve to annoy the other list members. For SYNTH-L, you do exactly the same, but replace the text 'EMUSIC-L' with 'SYNTH-L'. "How do I subscribe to the daily digest?"********************************** If you would like to get daily digests of the mail to EMUSIC-L, send the following mail to listserv@american.edu: SUB EMUSIC-L SET EMUSIC-L DIGEST where "" should be replaced by your first and last name (at a minimum; LISTSERV insists on at least two blank-separated words here). Note that these two commands should be on separate lines: SUB EMUSIC-L SET EMUSIC-L DIGEST so that the listserv will interpret them correctly. Do not send subscription requests to the list address, as they only serve to annoy the otherlist members. For SYNTH-L, you do exactly the same, but replace the text 'EMUSIC-L' with 'SYNTH-L'. "How do I unsubscribe from the full list and subscribe to the digest?"***** If you would like to get daily digests of the mail to EMUSIC-L instead of the message-by-message form, just send the following mail to listserv@american.edu: SET EMUSIC-L DIGEST You will then get one message per day, which consists of a list of topics, followed by all the messages which have been posted in the previous 24 hours. For SYNTH-L, you do exactly the same, but replace the text 'EMUSIC-L' with 'SYNTH-L'. AOL subscribers may experience some problems in changing their subscription details via the listserv. This may be a communications problem or an incompatibility... If you cannot change to a digest then please save any messages that you may receive from the listserv and send them to Joe McMahon (mcmahon@CLARK.NET). Contributors:************************************************************** Mike Metlay, Joe McMahon, Ned Kartchner, Clive McFarland and others ------------------------------------------------------------------------------ Martin Russ Reviewer & Columnist for Sound On Sound Magazine (UK) mruss@midi.dungeon.com Hi-Tech Music Technical Author & MIDI Consultant http://www.dungeon.com/~midi Macintosh & Synthesizer Programmer ========================================================================= Date: Mon, 24 Jun 1996 12:23:51 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Claire McCoy Subject: Re: Admin FAQs V1.4 (Last changed 5th may 1996) In-Reply-To: Claire McCoy Phone: (02)2303710 Fax: (02)2303707 Email: cmccoy@.extro.ucc.su.oz.au Conservatorium Library Level 2 109 Pitt Street Sydney NSW Australia ========================================================================= Date: Mon, 24 Jun 1996 09:14:34 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: wbf@ALOFT.ATT.COM Subject: Re: Look, Ma, No Keyboard! Nick continues my education: > >and does some sort of translation from a controller value to a > >set of notes? > > No. > > A couple of abstractions for you: MAX has a primitive called a "preset", > which is a memory for a set of parameters (faders, numbers, whatever). If a > chord is three notes, that's three numbers. If a vector mix is X*Y, that's > two faders. > > A preset can store a large number of such "patches". It recalls them by > index. Now, run a MIDI controller into a scaler and filter (to remove > duplicates) and feed the result into a preset. Result: fader can recall > vector positions and/or chords, depending on its position. I still don't know if I follow you here, Batman... I mean, you're starting with a fader value (CC#16 on some MIDI channel) and MAX uses it as an index (pointer) to a "patch" in a MAX preset. And that patch can be note numbers, note durations, delay time, or (almost) anything? Then MAX *IS* doing a "translation" of sorts. It's just not necessarily a one to one correspondence. But it could be if you wanted. Could you set up a fader so that as you advance it, it points to the next note in a melody/series? Retrograde would simply be accomplished by pulling the fader back. Hmmm... I guess I'll need to understand MAX more intimately to really understand how you're doing things but it sounds intriguing. Even if I still haven't got it right. But thanks for trying! Bill Fox wbf@aloft.att.com ========================================================================= Date: Mon, 24 Jun 1996 10:03:50 -0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Estigarribia Subject: Re: Tools.... :-) Comments: To: satlink!AMERICAN.EDU!EMUSIC-L@un1.satlink.com can you export your music as a standard MIDI file? ========================================================================= Date: Mon, 24 Jun 1996 08:17:33 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: John Krikawa Subject: Re: Look, Ma, No Keyboard! Timothy Kelly wrote: >Hi All, > Some of the custom things Max does can be done by Cakewalks custom >fader setup. Maybe even a lot of the more esoteric ones too, if one >uses Cakewalk Cal too. I thought Cakewalk Cal programs only affected midi data offline (i.e. non-realtime). Has this changed with the newer releases? Regards, -john ---------------------------------------------------------------------- JKRIKAWA@CCIT.Arizona.Edu Tucson, Arizona homepage-less day: (520) 626-6013 night: (520) 326-3068 ========================================================================= Date: Mon, 24 Jun 1996 14:27:10 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Attachments [Re: Tools.... :-)]y In-Reply-To: from "Nick Rothwell" at Jun 22, 96 10:49:23 pm > > >Content-Type: application/ms-tnef > > > >Attachment converted: INTERNET:Re- Tools.... --) (????/----) (000031E4) > > Please, people, stop doing this. It doesn't serve any purpose to attach > documents to email (especially if they just contain the same text), and > it's cluttering up my zip drive with files that are no use to me. > This is Microsoft Mail doing this. The people sending the mail may not have any control over it. Welcome to the world of "standards by nonconfigurability". --- Joe M. ========================================================================= Date: Mon, 24 Jun 1996 22:58:40 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Attachments [Re: Tools.... :-)] >You are right. But, it can easily happen to people that use the new MS >Exchange that does this by default on it's own. Somehow, I *knew* it would be a Microsoft program that was to blame. Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Mon, 24 Jun 1996 23:00:10 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Look, Ma, No Keyboard! >I still don't know if I follow you here, Batman... I mean, you're >starting with a fader value (CC#16 on some MIDI channel) and MAX uses it >as an index (pointer) to a "patch" in a MAX preset. And that patch can >be note numbers, note durations, delay time, or (almost) anything? Yes. It's a snapshot of user interface settings, where a UI contains numbers, onscreen faders, dials, etc. These in turn are generic controls feeding processes like ramp generators, metronomes, timers etc. >Then >MAX *IS* doing a "translation" of sorts. I do believe you have got it surrounded. >It's just not necessarily a one >to one correspondence. But it could be if you wanted. Could you set up >a fader so that as you advance it, it points to the next note in a >melody/series? Retrograde would simply be accomplished by pulling the >fader back. Yeah, sure; I'd not actually thought of doing that. More common is to map a fader into an X-Y table in order to trigger and sustain a selection of specific notes in an entire scale, within a sliding window. >Hmmm... I guess I'll need to understand MAX more >intimately to really understand how you're doing things but it sounds >intriguing. To me it just seems quite natural: take away the keyboard (because it's too big to gig and no use for live timbral control) and one is left with the problem of playing notes/chords and controlling the sounds they trigger. Faced with that problem and a fader box as control surface, the solutions present themselves quite directly. basically, my brain is now wired to think this way about compositions for live performance. Maybe it *is* a little wacky. Perhaps this is why the Scottish Arts Council won't give me any money. Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Tue, 25 Jun 1996 07:37:48 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Christian Roth Subject: Re: Attachments [Re: Tools.... :-)]y In-Reply-To: <199606241827.OAA00325@clark.net> On Mon, 24 Jun 1996 14:27:10 -0400, you wrote: >This is Microsoft Mail doing this. The people sending the mail may >not have any control over it. Welcome to the world of "standards by >nonconfigurability". AFAIK, you can configure that by unchecking the 'send rtf format to this address' in the address book. You can also disable the MIME feature generally in the mail setup. It's not nonconfigurability, just ignorance. But yes, these options are sometimes not easy to find. Seems like 'standards of default settings' to me . ------------------------------------ |Christian Roth | | | |film + musik | |austria | |e-mail: a8706976@unet.univie.ac.at| ------------------------------------ ========================================================================= Date: Tue, 25 Jun 1996 09:10:25 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: wbf@ALOFT.ATT.COM Subject: Re: Look, Ma, No Keyboard! Nick on fader mapping: > Yeah, sure; I'd not actually thought of doing that. More common is to map a > fader into an X-Y table in order to trigger and sustain a selection of > specific notes in an entire scale, within a sliding window. Hmmm... I was thinking linearly whle Nick's already two dimensional. However, "Wrath of Kahn" era Spock would note that Kahn, er, I mean Nick isn't thinking in three dimensions. (Mr. Sulu; Z minus 10,000 meters!) Nick comments as the Scottish Arts Council members eavesdrop (8o) : > Maybe it *is* a little wacky. Perhaps this is why the Scottish Arts Council > won't give me any money. And being a little wacky is exactly why an arts council should give an artist some money. If the artist gets wackier and doesn't produce, funds can be cut off, limiting the risk or seed money. If the artist produces, then the money was a good investment. Giving money to non-wacky artists doesn't help to illuminate the dark, unexplored regions of the envelope. (Was that a mixed metaphor?) Bill Fox wbf@aloft.att.com ========================================================================= Date: Tue, 25 Jun 1996 13:16:50 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Craig Marks Subject: Question Comments: To: "Electronic music \"gearhead\" list" Does anybody know of a forum such as this that is devoted to the Roland S-760??? If so, where is it? I'd appreciate it if you would send me the address to sign up. To those of you that own or have owned a 760, what CD-Rom players have you used? What are the 760s requirements? Can the CD-R be mac-compatible? Any info you could provide will help tremendously. Thanks. -Craig ========================================================================= Date: Tue, 25 Jun 1996 18:04:59 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Craig Marks Subject: General MIDI Comments: cc: "Electronic music \"gearhead\" list" I just got a job doing arrangements for General MIDI. I don't have a GM module but I have a few that I could set up with the GM standards. Could someone point me towards a source where I can find the patch architecture for GM? (i.e. patch 1 is a piano, 65 is a trombone, and 127 is a dog barking -- or whatever they are). Thanks. Y'all are life-savers -- -- -- as always. -Craig ========================================================================= Date: Wed, 26 Jun 1996 14:22:04 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re: General MIDI Craig wrote- >I just got a job doing arrangements for General MIDI. I don't have a GM >module but I have a few that I could set up with the GM standards. Could >someone point me towards a source where I can find the patch architecture >for GM? (i.e. patch 1 is a piano, 65 is a trombone, and 127 is a dog >barking -- or whatever they are). Thanks. Y'all are life-savers -- -- -- >as always. Hi Craig There's a table on the Web at http://www.eeb.ele.tue.nl/midi/GMGS.html Looks like this: TABLE 1 - General MIDI Instrument Patch Map (groups sounds into sixteen families, w/8 instruments in each family) Prog# Instrument Prog# Instrument (1-8 PIANO) (9-16 CHROM PERCUSSION) 1 Acoustic Grand 9 Celesta 2 Bright Acoustic 10 Glockenspiel 3 Electric Grand 11 Music Box 4 Honky-Tonk 12 Vibraphone 5 Electric Piano 1 13 Marimba 6 Electric Piano 2 14 Xylophone 7 Harpsichord 15 Tubular Bells 8 Clav 16 Dulcimer etc etc. If you don't have Web access email me and I'll send it to you. Regards Clive Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Wed, 26 Jun 1996 09:22:53 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Look, Ma, No Keyboard! >Hmmm... I was thinking linearly whle Nick's already two dimensional. >However, "Wrath of Kahn" era Spock would note that Kahn, er, I mean Nick >isn't thinking in three dimensions. (Mr. Sulu; Z minus 10,000 meters!) Bad analogy, since they should have pitched the Enterprise to shoot back rather than elevate it. Anyway: I think in N dimensions, depending how many musical parts need to share 16 faders per movement. >And being a little wacky is exactly why an arts council should give an >artist some money. Unfortunately, being a musician working in dance projects seems to make it difficult for them to understand what I'm about. In particular, listening to 1 minute and 6 seconds of a demo tape doesn't put across the notion of process and interaction that I want to investigate with choreographers. 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, 26 Jun 1996 08:45:23 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jacky Schreiber Subject: test This is a test for those members of this list who have received my postings with a file attached, this "post" is being sent without the MIME (rtf) format. thanx jacky schreiber jackysch@ven.net ========================================================================= Date: Wed, 26 Jun 1996 09:29:15 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: Question > Subject: EMUSIC-L Digest - 25 Jun 1996 to 26 Jun 1996 > ---------------------------------------------------------------------- > Date: Tue, 25 Jun 1996 13:16:50 -0700 > From: Craig Marks > Subject: Question > > Does anybody know of a forum such as this that is devoted to the > Roland S-760??? If so, where is it? I'd appreciate it if you would > send me the address to sign up. Attention K-Mart shoppers, er, I mean Craig Marks; The sgroup mailing list is a group of Roland sampler owners. Intruments covered include: S50, W30, S550, S330, S760, S750, and possibly others I can't remember. To join sgroup, send your administrative request to the majordomo server: majordomo@lotus.uwaterloo.ca Subscription related requests should be sent there with subscribe sgroup or unsubscribe sgroup in the body of the email message. Majordomo also understands other commands, like help, info, and so on. To post to the list, send email to: sgroup@lotus.uwaterloo.ca John Sellens (jmsellens@watdragon.uwaterloo.ca) is the list administrator. > To those of you that own or have owned a 760, what CD-Rom players > have you used? What are the 760s requirements? Can the CD-R be > mac-compatible? Any info you could provide will help tremendously. > > Thanks. -Craig > ------------------------------ > End of EMUSIC-L Digest - 25 Jun 1996 to 26 Jun 1996 > *************************************************** I have a Glyph unit (Ithaca, New York) that has a CD-ROM and Syquest 270MB drive in it. I don't know whose CD-ROM drive they use. I can only assume that the drive, being SCSI, ought to be Mac compatible, but one never knows. (Personally, I don't have a Mac.) The S760 documents specify CD-ROM requirements or at least mentions what drives are known to work (as of the documents' printing). Oops, sorry for the gear-head data. Time to pay a little penance... ObEM: Cue Records (The Netherlands) sent me some Ron Boots CDs. Very nice stuff. Has anybody ever heard of him? Bill Fox wbf@aloft.att.com ========================================================================= Date: Wed, 26 Jun 1996 08:25:24 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: John Krikawa Subject: Re: Look, Ma, No Keyboard! >>And being a little wacky is exactly why an arts council should give an >>artist some money. > >Unfortunately, being a musician working in dance projects seems to make it >difficult for them to understand what I'm about. In particular, listening >to 1 minute and 6 seconds of a demo tape doesn't put across the notion of >process and interaction that I want to investigate with choreographers. Arts councils can piss one off to no end. Was your demo tape audio or video? A demo audio tape probably wouldn't do it for me either if I was to evaluate musical process/interaction with dancers. A video short on the gear, the process, music and a brief interaction with dance would probably do it for me. But then there's always the application restrictions: 'summarize your work in 5 words or less [. . .] describe how minorities and under-represented groups will be utilized [. . .] attachments will be discarded [. . .] describe the local impact of the project, specifically, will the Council of Higher and Noble Arts be disturbed or otherwise scarred by the presentation of the work?' But then again, I'm in U.S., and have a hard enough time trying to weigh the consequences of buying a Vortex at this moment in time, much less deciding the fate of a coupla pounds in grant seed. ;) -john ---------------------------------------------------------------------- JKRIKAWA@CCIT.Arizona.Edu Tucson, Arizona homepage-less day: (520) 626-6013 night: (520) 326-3068 ========================================================================= Date: Wed, 26 Jun 1996 18:32:34 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Jennings Subject: Interactive Technologies for Music Applications (I am sending this message to several lists related to music and technology - please accept my apologies if you receive it more than once) On behalf of Music Heritage Ltd, an educational charity which is developing the National Centre for Popular Music for the UK, I am researching the state of the art in interactive technologies for music applications. The specific areas of interest to us are: * innovative and gesture-based musical instruments * direct manipulation tools for sounds and music (including mixing) * devices to enable people with disabilities (including severe visual and auditory impairments) to make music * applications for collaborative music making * interactive sound environments (including "multi user" environments) Are you able to help with the research by providing any resources or leads, such as contacts, papers, web sites, products, specialist professional organisations (such as Sonic Arts in UK) or other pointers? If so I would be very grateful if you could mail me at: djennings@fdgroup.co.uk The National Centre for Popular Music (NCPM) will be a visitor attraction in Sheffield, offering a mix of entertainment and educational resources. Some further information about the NCPM can be found at http://www.fdgroup.co.uk/SoundSystem, though please note that this is not fully up to date (!) A short summary of the research will appear in Interfaces, the newsletter of the British Human-Computer Interaction Group. Many thanks, in advance, for any advice you can give. David Jennings The Workstation 15 Paternoster Row Sheffield S1 2BX UK Tel: +44 114 249 3435 Email: djennings@fdgroup.co.uk ========================================================================= Date: Wed, 26 Jun 1996 17:25:27 +0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Juan Manuel Rodriguez C." Subject: Re: Re(2): OS2 Tracker?!? In-Reply-To: <513966.ensmtp@bboard.blackbox.or.at> On Sun, 9 Jun 1996, Stefan Trischler wrote: > >>neither ScreamTracker, > >>XTracker, MultiTracker, or DigiTracker work under OS2!!! So any help > >>would be greatly appreciated! > > > >Well there is one simple solution to that - GET WINDOWS! I don't work for > >Microsoft (honest)! > I disagree with that..... > That's a problem:f. eg. I have tried to run FastTracker on several Win95 > machines, it worked on 1 of 5 only...:(( I've run Fasttracker on Windows 95 , it's simple you reboot on DOS mode and make a confirmation on each line, as used you must let only DOS , himem.sys; and the emm386 , and don't forget to deny the "windows Smartdrive", (it's not compatible with ft) , later load mouse , and nothing must be wrong..! Bye: Juman PS (maybe you need to set only about 15 buffers) ========================================================================= Date: Wed, 26 Jun 1996 22:44:21 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "M. Ray McFerron" Subject: Re: General MIDI General MIDI Instrument Table Copy of Roland Sound Canvas General groups instruments into the following groups. 1-8 Pianos, 9-16 Chromatic Percussion, 17-24 Organ, 25-32 Guitar, 33-40 Bass, 41-48 Strings/Orchestra, 49-56 Ensemble, 57-64 Brass,65-72 Reed, 73-80 Pipe, 81-88 Synth Leads, 89-96 Synth Pads, 97-104 Synth FX, 105-112 Ethnic, 113-120 Percusive, 121-128 SFX. 1. Piano 1 44. Contrabass 87. 5th Saw Wave 2. Piano 2 45. Tremolo Strings 88. Bass & Lead 3. Piano 3 46. Pizzacato Strings 89. Fantasia 4. Honky-tonk 47. Harp 90. Warm Pad 5. E. Piano 1 48. Timpani 91. PolySynth 6. E. Piano 2 49. Strings 92. Space Voice 7. Harpsichord 50. Slow Strings 93. Bowed Glass 8. Clavichord 51. Synth Strings 1 94. Metal Pad 9. Celesta 52. Synth Strings 2 95. Halo Pad 10. Glockenspiel 53. Choir Aahs 96. Sweep Pad 11. Music Box 54. Voice Oohs 97. Ice Rain 12. Vibraphone 55. Synth Vox 98. Soundtrack 13. Marimba 56. Orchestra Hit 99. Crystal 14. Xylophone 57. Trumpet 100. Atmosphere 15. Tubular-Bell 58. Trombone 101. Brightness 16. Santur 59. Tuba 102. Goblin 17. Organ 1 60. Muted Trumpet 103. Echo Drops 18. Organ 2 61. French Horn 104. Star Theme 19. Organ 3 62. Brass 1 105. Sitar 20. Church Organ 63. Synth Brass 1 106. Banjo 21. Reed Organ 64. Synth Brass 2 107. Shamisen 22. Accordion 65. Soprano Sax 108. Koto 23. Harmonica 66. Alto Sax 109. Kalimba 24. Bandeon 67. Tenor Sax 110. Bag Pipe 25. Nylon Guitar 68. Baritone Sax 111. Fiddle 26. Steel Guitar 69. Oboe 112. Shannai 27. Jazz Guitar 70. English Horn 113. Tinkle Bell 28. Clean Guitar 71. Bassoon 114. Agogo 29. Muted Guitar 72. Clarinet 115. Steel Drums 30. Overdrive Guitar 73. Piccolo 116. Wood Block 31. Distortion Guitar 74. Flute 117. Taiko 32. Guitar Harmonics 75. Recorder 118. Melo Tom 33. Acoustic Bass 76. Pan Flute 119. Synth Drum 34. Fingered Bass 77. Bottle Blow 120.Reverse Cymbal 35. Picked Bass 78. Shakuhachi 121. Guitar Fret 36. Fretless Bass 79. Whistle 122. Breath Noise 37. Slap Bass 1 80. Ocarina 123. Seashore 38. Slap Bass 2 81. Square wave 124. Birds 39. Synth Bass 1 82. Saw Wave 125. Telephone 40. Synth Bass 2 83. Syn. Calliope 126. Helicopter 41. Violin 84. Chiffer Lead 127. Applause 42. Viola 85. Charang 128. Gun Shot 43. Cello 86. Solo Vox ========================================================================= Date: Thu, 27 Jun 1996 00:03:35 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ben Cox Subject: Juggler-controlled setups Saw a note in MACWAY digest 307 about a juggler controlling a MIDI setup in realtime; more info in digest 308 is attached at bottom. As I suspected, they are using MAX. __ Ben Cox cox@transarc.com ---------- Forwarded message ---------- Date: Wed, 26 Jun 1996 17:13:54 -0400 From: MacWay@aol.com To: macway@solutions.apple.com Subject: MAX Message-ID: <960626171353_143575649@emout08.mail.aol.com> This tidbit is from: (Bret Battey) We were pleased to see Mark Headley's post about our "Juggling Jukebox" (http://www.eskimo.com/~bret/jukebox/) that ties a juggler to a Macintosh in performance. It should be noted that the software used to program the system is MAX, a graphical programming language for interactive MIDI projects. It is only available for the Macintosh, and is being used widely for custom mixed-media performance and show-control applications. It is available from Opcode systems (http://www.opcode.com/). -=Bret Battey, composer -=James Jay, juggler & sculptor ________________ Do you believe in Macintosh? Learn how to help the cause by subscribing to the "EvangeList" listserver! Send email to: or go to: . ========================================================================= Date: Thu, 27 Jun 1996 14:41:56 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "D.M.Kelly" Subject: *%*%Micing up the oboe!*%*%* Further to my research on oboe and electronics (and yes, the results *will* be out soon on www.uea.ac.uk/~u9315152) I shall soon be doing some concerts of pieces of this ilk. Indeed, the electroacoustic composer Simon Waters is in the throes of writing a piece for this project as are various others. I can see things taking off, but I feel somewhat restricted... The more I perform, the more cumbersome I find it to play into a stationnery mic...I want the mic to move with me. What I am looking for, is a set-up incorporating a radio microphone to work in mediating between the oboe and the PA. As I am not very technically wised-up in this area, I am not sure whether a contact mic or a 'suspended' effort would be more effective...I am presuming the latter similar to what I saw Courtney Pine using in a live gig. Him and his sax were totally independent of fixed wiring and it seemed that, for optimum balance purposes, there were two mics used - one for the top joint and one for the bottom and then a little radio box strapped to the instrument itself which transmitted to a more powerful 'booster' device on his belt which presumably transmitted to a standard radio receiver somewhere else before reaching the PA. Some people have recommended Barcus Berry mics, others Countryman mics.... I'm a little bit lost... does anyone know of a definite set-up which works really well for the oboe? Looking forward to your informed thoughts, Dominic. ========================================================================= Date: Thu, 27 Jun 1996 14:45:23 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "D.M.Kelly" Subject: *%*%Micing up the oboe!*%*% Further to my research on oboe and electronics (and yes, the results *will* be out soon on www.uea.ac.uk/~u9315152) I shall soon be doing some concerts of pieces of this ilk. Indeed, the electroacoustic composer Simon Waters is in the throes of writing a piece for this project as are various others. I can see things taking off, but I feel somewhat restricted... The more I perform, the more cumbersome I find it to play into a stationnery mic...I want the mic to move with me. What I am looking for, is a set-up incorporating a radio microphone to work in mediating between the oboe and the PA. As I am not very technically wised-up in this area, I am not sure whether a contact mic or a 'suspended' effort would be more effective...I am presuming the latter similar to what I saw Courtney Pine using in a live gig. Him and his sax were totally independent of fixed wiring and it seemed that, for optimum balance purposes, there were two mics used - one for the top joint and one for the bottom and then a little radio box strapped to the instrument itself which transmitted to a more powerful 'booster' device on his belt which presumably transmitted to a standard radio receiver somewhere else before reaching the PA. Some people have recommended Barcus Berry mics, others Countryman mics.... I'm a little bit lost... does anyone know of a definite set-up which works really well for the oboe? Looking forward to your informed thoughts, Dominic. PS Please respond directly to d.m.kelly@uea.ac.uk ========================================================================= Date: Thu, 27 Jun 1996 14:18:00 -0300 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Estigarribia Subject: contact mics Hi, there. Talking about contact mics, has anybody tried contact mics for cello? I will thank your remarks, specially about the differences between Barcus Berry and Fischerman. ========================================================================= Date: Thu, 27 Jun 1996 13:32:58 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tommy Merry Subject: Re: Cannons In a message dated 96-06-17 22:49:32 EDT, you write: > >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. Try CD sound effects samplers available at about any non-mainstream record store. A shot gun blast tuned down an octave on one of these cd' not only makes a great cannon, but the raw basics for the ultimate rock kick drum!! -T- aka AV Head