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              <LISTSERV@AMERICAN.EDU>
Subject:      File: "EMUSIC-L LOG9607B"
To: Joe McMahon <mcmahon@CLARK.NET>
Status: RO

=========================================================================
Date:         Mon, 8 Jul 1996 04:53:58 +0100
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Martin Russ <mruss@MIDI.DUNGEON.COM>
Subject:      How to...
Comments: To: SYNTH-L@LISTSERV.AMERICAN.EDU

This is an edited extract from the Administration FAQ.

"How do I unsubscribe?"****************************************************

You send an E-mail to

     listserv@american.edu

with the text

     UNSUB EMUSIC-L    or     UNSUB SYNTH-L

as the body of the message.

(No special subject text is required.)

If this does not work, then please contact Joe McMahon (mcmahon@CLARK.NET).

****************************************************************************

Regards

Martin Russ (FAQ Maintainer)

------------------------------------------------------------------------------
 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, 8 Jul 1996 04:54:18 +0100
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Martin Russ <mruss@MIDI.DUNGEON.COM>
Subject:      General FAQs 1.2 (New posting: minor corrections)
Comments: To: SYNTH-L@LISTSERV.AMERICAN.EDU

Warning: Long Document (373 lines, 2465 words, about 6 pages)--------------

EMUSIC-L and SYNTH-L Frequently Asked Questions: General

This document is posted approximately every four weeks. It is intended that
this document should answer many of the questions regularly asked by
subscribers to the lists. Comments and corrections should be sent to the
maintainer, Martin Russ, at:

mruss@midi.dungeon.com

This is Issue 1.2. 7th July 1996.
---------------------------------------------------------------------------
Changes since issue 1.1.:
- Minor corrections to the text.

TOPIC INDEX################################################################
- Max
- Soundcards
- Music mailing lists & Newsgroups
- Mac & PC
- Theremins
- FTP & HTTP

MAX########################################################################
"What is MAX, anyway?"#####################################################

MAX is a software toolkit which gives a real-time, interactive, graphical
development environment for multimedia, music (and more). Programs are
'written' by connecting together graphical objects, rather than typing
text. Typical applications for MAX include: Editors and Librarians for MIDI
equipment; Compositional Tools; Utilities for analysing musical
performance; and much more.

MAX is often mentioned in these lists. It currently exists in variants for
the Unix environment and on the Apple Macintosh, although a petition has
been mentioned within these lists for a Windows version (perhaps a port to
Windows of Symbolic Composer (also currently Mac only) - contact JOEL
STERN on 103675.1167@compuserve.com or Peter Stone on psto@xs4all.nl
for details.

For more information on the Macintosh version, you should try contacting
your nearest Opcode dealer. (Opcode distribute MAX for the Mac). Opcode
also have a World Wide Web page at :

http://www.opcode.com/

There is also a MAX listserv. Send a message to listserv@vm1.mcgill.ca with
a Subject of: Subscribe Max, and the message text:

SUBSCRIBE MAX <Your name>

You will then receive daily digests of postings to the MAX list.


SOUNDCARDS#################################################################
"Where do I find information on Soundcards?"###############################

Information on soundcards for personal computers can be found in the
following Usenet newsgroup(s)"

comp.sys.ibm.pc.soundcard.GUS.


MUSIC MAILING LISTS & NEWSGROUPS###########################################
##"Anyone know a good MUSIC discussion group on <insert name here>?"#######

The best place for discussion of almost any group, band, artiste,
performer, musician (you get the idea), is the Usenet newsgroups. Try:

alt.fan.<insert name here>


##Is rec.audio.pro a list that one can subscribe to like SYNTH-L?##########

No. rec.audio.pro is a Usenet newsgroup, so you can't have it posted to you
via e-mail. You need to have a newsreader program to be able to read it, or
you may be able to dial in to a local BBS that carries Usenet newsgroups.
Newsreader programs can usually be set so that they 'subscribe' to a
specific newsgroup or groups, and then the end result is very like
subscribing to a mailing list - you can read the postings to the newsgroup.


##Is there a list which discusses recording & mixing techniques?###########

This subject is sometimes touched on in several mailing lists, including
SYNTH-L and Electronica.

There are also the Usenet newsgroups. The closest newsgroup is probably
rec.audio.pro.


##Where can I find out about Algorithmic Composition?######################

There's an algorithmic composition mailing list. Mail to

majordomo@serial.music.uiowa.edu

(no subject required) with the body of the message saying

subscribe algo-comp <your e-address>

(Checked Dec 95: OK: Martin Russ)


##So how do I post to a newsgroup via e-mail?##############################

You can use a mail-to-news gateway. Here's how you do it using the UTexas
gateway:

The 'To:' address should read xxx.xxxxx.xxxxxx.usenet@cs.utexas.edu, where
xxx.xxxxx.xxxxxx is the newsgroup name: eg. rec.music.makers.synth. The
resulting full address is this case would be:
rec.music.makers.synth.usenet@cs.utexas.edu

(Of course, you should really try to locate your nearest mail-to-news
gateway rather than just use the UTexas one!)


MAC & PC###################################################################
##Should I buy a PC or a Mac?##############################################

This topic has been known to escalate into savage flame wars. There is no
simple answer, but here are some pointers:

RULE NUMBER ONE: SOFTWARE

Find the software first, then THAT might make you decide which platform to
buy. Some software is available on only one platform. (Max on the Mac is
one example: there are counter-examples) Hard disk recording is often VERY
platform-specific.

RULE NUMBER TWO: VAPOURWARE

Buy based upon what you can get now (this instant), not based upon what
someone has promised will be available in the future.

RULE NUMBER THREE: OBSOLESCENCE

Whatever computer you buy will be almost instantly obsolete - and available
for less than you paid for it.

QUESTIONS TO CONSIDER

You may need to purchase more than just the computer.

-What are you going to hook it up to?  Synthesizers?  Samplers?

-Do you need a MIDI connection only, or will you want to use a SCSI
interface for sample transfer?

-If you are going to use a MIDI connection, how many MIDI devices do you
have? This will help you decide if you will want a single port or a
multi-port MIDI interface.

-Do you want to use a separate MIDI patch bay?

-Do you want to do MIDI sequencing only, or do you want to do digital audio
of any type?  This can be divided into simple sound file and sample
manipulation, and full multi-track song recording and editing...

-If you want to work with sound files, are you going to want an internal
sound card of some type or will you only work with "real"
external/dedicated samplers, such as Ensoniq, Kurzweil, Akai or Peavey?

-Do you plan to ever cut your own CDs with your own CD-R drive?  Actually,
there is good software for this on several different platforms. Some people
like the stuff for Linux...

-Do you want to do sequencing only, or do you want notation as well?  (Do
you understand the difference?)

-Are you going to use this computer for music only, or will you want to do
word processing/database/online services etc?

-Do you want to be able to use free/low cost software from the Net, or do
you only want commercial software?  Another way of wording this might be:
do you want a "turnkey" system that is already setup for you, or do you
want to roll up your sleeves, get in there and learn the insides?

-Do you think you might want to develop your own software?

-And, a really important question is, what do your friends and fellow
musicians use?  If you are going to collaborate on projects, you should
consider what the other people own, for better or worse... (But don't
forget MIDI Files!)

SPOILERS

Many programs are equivalent across the Mac and PC platforms. Many 'Mac'
developers, such as Opcode and Mark of the Unicorn, are now developing for
Windows, so their products are going to be very very similar across the two
platforms. Passport develop for both platforms, and the PC specific
developers,like Twelve Tone, are now developing for both platforms.

Plug 'n' Play PCI slots will not be standard on PCs until Pentium (+ Pro)
motherboards become common - but PCI is now supported by PC and Mac. As a
result, there is definitely not going to be as big a difference in setup
and use any more. You can buy turnkey setups of both PC and Mac...

Windows 95 and the Mac OS are both neat GUIs. Neither is perfect.

Windows on the PC and the Mac are each equally as painful to develop for in
their own way. BOTH have memory allocation problems.

If you ask anyone about Mac versus PC, you'll get answers from every
direction: mostly based on what people are familiar with or on their
opinions as to what computing should be.

So for what ever reason people use the computer they use, it is all
personal. Sort of like a Ford, "some people swear by them, and some swear
at them". It is all up to what you like and how you like to do it. Some
people use both Mac and PC equipment, depending on what the need is. This
is not to suggest that one should go out and buy both types of computers to
satisfy every need, but both formats have their ups and downs.

Keep an open mind.  Both platforms definitely have their strengths and
weaknesses. Neither is a clear winner.

Further reading?

The following web site contains lots of information regarding the Mac vs.
PC debate - it is biased, of course!

http://www.madmansdream.com/FairyTales/newpcTales2.toc.html

Craig Anderton's column in the April 1996 Issue of Keyboard magazine (US) has
a reasonable overview of the strengths and weakenesses of the Mac and PC.


##How do I move Standard MIDI Files from a Mac to a PC and vice-versa?#####

Just save the MIDI file onto PC disks instead of Mac disks.

Any Mac with an "FDHD" (high-density, 1.2M) disk drive can write onto DOS
floppies and read them - using Apple File exchange or PC Exchange. (The Mac
Plus, SE, and SE/30 do NOT have these drives). Macs running system 7.1 and
above have good native support for reading DOS disks. PC disk access may be
slow, and it is probably best to format the diskettes in the PC - some
people have had reliability problems with PC diskettes formatted in Macs.

As for using the files, the PC will just read them, but on the Mac, you'll
have to open the application up first - you can't just double click on the
file icon itself. If your application can't see the file, then you can look
around for one of the freeware pieces of software that can change the file
type and creator.

Of course, there is also the Mac 640CD Dos Compatible or one of the add-in
PC boards/cards. There have been reports of programs allowing DOS machines
to read Mac disks as well, but the reviews have been mixed, leaning toward
the negative.


THEREMINS##################################################################
##What's a Theremin?#######################################################

The theremin is one of the very first electronic musical instruments, and
yet is one of the most novel and original. It is played without being
touched. The theremin responds instantaneously and continuously to the
motions of the player's hands in the space surrounding it. The theremin
player uses one hand to control pitch, and the other to control volume. The
instrument's tone resembles that of a violin, cello, or human voice, but
has its own unique ethereal quality.

The theremin was first developed in 1920 by the Russian musician/physicist
Leon Theremin, and was originally produced in the United States in 1929 by
the Radio Corporation of America.

Currently, theremins are available from Big Briar, Bob Moog runs it (or at
least does the design) and they also have a MIDI-ized Theramin. They say:

"The Big Briar Series 91 theremins retain the timbre and playing
characteristics of Professor Theremin's designs, but use contemporary
digital and analog integrated circuit technology. The pitch range extends
from the lowest audible pitch to three octaves above middle C. A small
speaker is built in. Line-level audio, speaker, and pitch and volume
control voltage outputs are standard features. High-quality, hand-crafted
cabinets in three distinctive cabinet styles are available. Optional
accessories include road cases and a small external speaker."

For more information, contact Big Briar, Inc., 554-C Riverside Drive,
Asheville, NC 28801; tel. (800) 948-1990 or (704) 251-0090, fax (704)
254-6233. They will snail-mail you a much more informative leaflet (6 pages
or so, with pictures & reading list).

The MIDI theremin is pretty expensive (about $2K US) but sends out full
14-bit control messages for pitch bend (that's 16384 steps... you could
represent the entire piano keyboard, tuned down to the nearest cent or
hundredth of a semi-tone, with only 8800 steps!). Big Briar is now also
offering a DIY non-MIDI Theremin in the $250 range, including handmade
antennas and a finished case.

There has been a recent reissue of the only Theremin virtuouso, Clara
Rockmore (hope I have that right) on CD.

You can see a Theremin in action in the Led Zepplin concert movie, "The
Song Remains The Same."

www.paia.com/paia had a ThereMAX kit for sale in October 1995.

You might want to know that there is a theremin page on the WEB at:

http://www.vuse.vanderbilt.edu/~jbbarile/theremin.html

The February 1996 issue of Electronic Musician magazine contains an article
on building your own Theremin.


FTP & HTTP#################################################################
##Where do I find Midi files/software archives on the Internet?############

There is a list of ftp and mail server archives with MIDI documentation,
programs and music on the Internet. Also enclosed is a list of MIDI and
electronic music related mailing lists.

The latest version of this file can be obtained by ftp from

ftp.cs.ruu.nl [131.211.80.17] in pub/MIDI/DOC/archives

or by mail from mail-server@cs.ruu.nl (send a message with HELP in the
body). From the mail-server the filename without pub/ should be used. The
latest monthly version is also available in the various news.answers
archives around the world, in music/midi/archives.

##Where can I find information on related books?###########################

There is a bibliography on synthesizers, midi, computer and electronic
music that has been collected from various sources by Piet van Oostrum
<piet@CS.RUU.NL>. He has tried to bring some structure into it, but not all
books will fit into a single subject. NOTE: He has NOT read these books,
and the comments are from other people.

The latest version of this file can be obtained by ftp from

ftp.cs.ruu.nl [131.211.80.17] in pub/MIDI/DOC/bibliography

or by mail from mail-server@cs.ruu.nl (send a message with HELP in the
body). From the mail-server the filename without pub/ should be used. The
latest monthly version is also available in the various news.answers
archives around the world, in music/midi/bibliography.


##Where can I find demos of sequencers?####################################

On the Internet/Web, you could try:

Harmony Central:         http://harmony-central.mit.edu/Software/Mac/

##Where can I find a list of used gear?####################################

ftp://synthcom.com/pub/synth/docs/current_raw.txt

##"Where is the archive of FAQs kept?"#####################################

There are two FAQ documents. These cover Administration and General topics.
You will be able to ftp previous FAQ files from the Internet.


##Contributors#############################################################

Contributions by Mike Metlay, Joe McMahon, Ned Kartchner, Clive McFarland,
Doug Ramsay, Tom Ritchford, David Rodger, Amanda Pehlke, John Rossi, Doug
Wellington, Piet van Oostrum, Martin Russ, Bucky Goldstein, Jeff Talman,
Devon E. Weller, FAUST, Billy Brown, Roger King, Nick Rothwell...

###########################################################################







------------------------------------------------------------------------------
 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, 8 Jul 1996 10:05:59 +1000
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         David Rodger <musdr@LURE.LATROBE.EDU.AU>
Subject:      Re: Millennium passing...

>Are you going to put all your money in the bank in December 1999 (to
>capitalise on any accidental 100 years interest credit), or take it all
>out? Do you feel lucky?

Nick, my father works dor a bank and is working on this stuff right now.  I
can tell you, what you said ain't gonna happen!

Regards, David
musdr@lure.latrobe.edu.au
=========================================================================
Date:         Mon, 8 Jul 1996 08:35:12 -0500
Reply-To:     wngdsm@ecity.net
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Clinton Clark <wngdsm@ECITY.NET>
Organization: Well Noted Graphics of Greater Des Moines
Subject:      Re: Keyboard technique

Allen Hall wrote:
>
> I don't know most of what you guys are talking about most of the time
> (except millenia) although I enjoy some of it.
>
> Does anybody know of a site that discusses keyboard techniques (styles,
> fingering all that stuff) as applied to keyboard pop and jazz?  I got a
> (don't laugh) Casio CT-670.
>
> Thanx.
>
> Allen Hall
> Fumbling keyboardist


Try Piano on the Net at:

  http://206.20.136.210/~wngdsm/music.html

--
Regards,
Clint
mailto:wngdsm@ecity.net




A Warm Welcome from Des Moines, Iowa USA
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
 - Well Noted Graphics of Greater Des Moines -
    1046 38th Street /Des Moines, IA 50311
      (515) 274-2604 / wngdsm@ecity.net
 <http://206.20.136.210/~wngdsm/welcome.html>
 - Piano on the Net -
  <http://206.20.136.210/~wngdsm/music.html>
    A member of The HTML Writers Guild
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
=========================================================================
Date:         Mon, 8 Jul 1996 08:36:13 -0500
Reply-To:     wngdsm@ecity.net
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Clinton Clark <wngdsm@ECITY.NET>
Organization: Well Noted Graphics of Greater Des Moines
Subject:      Re: Keyboard technique

Lonnie E. Moseley wrote:
>
> Allen,
>
> If you find a group that supports keyboard technique, would you share it?  I
> am also a "fumbling keyboardist" and would enjoy talking to other individuals
> trying to understand and improve technique.
>
> Lonnie Moseley
> LEMoseley@aol.com


Try Piano on the Net:

  http://206.20.136.210/~wngdsm/music.html
--
Regards,
Clint
mailto:wngdsm@ecity.net




A Warm Welcome from Des Moines, Iowa USA
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
 - Well Noted Graphics of Greater Des Moines -
    1046 38th Street /Des Moines, IA 50311
      (515) 274-2604 / wngdsm@ecity.net
 <http://206.20.136.210/~wngdsm/welcome.html>
 - Piano on the Net -
  <http://206.20.136.210/~wngdsm/music.html>
    A member of The HTML Writers Guild
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
=========================================================================
Date:         Mon, 8 Jul 1996 09:49:20 -0700
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Craig Marks <cmarks@UCLA.EDU>
Subject:      Alchemy
Comments: To: "Electronic music \"gearhead\" list" <SYNTH-L@AMERICAN.EDU>

Is anyone familiar with the software called Alchemy????  Is it any good?
What, exactly does it do?  Does it do it effectively?  Easy to use?  Etc.
Thanks.
                                -Craig
=========================================================================
Date:         Mon, 8 Jul 1996 16:08:41 -0400
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         David Crandall <dcrand1@GL.UMBC.EDU>
Subject:      Re: lists/newsgroups for acoustics/studio construction?

...resending this, 'cause I think the first time didn't work...

OK, sue me if I'm out of line, but since I think I've boiled my acoustics
question down to a simple one, so I'll submit it here.  Here goes:

> David Crandall (that would be, "me") writes--

> >A bit off-topic, but I'm moving to a new apartment and have to do some
> >"acoustical massage" on what will be my project studio...

About a year ago in Electronic Musician (sorry, Mike) there was an
article on building bass traps.  These were flat 2'x 8' units designed to
absorb different frequencies and to be built directly onto a wall.

Would it work to build these units in pairs on sheets of "bara board"
(sp?) which is like masonite only about 5/8"-3/4"+ thick and used for
subflooring? (Theaters use it on set floors since it reduces the big boomy
footsteps you hear with plywood platforms.) It comes in 5'x 8' sheets, so
the extra could make a nice lip for bolting through to the wall.  I also
wonder if they could be effective just leaned against the wall, since the
resulting units could be pretty dang heavy. Anybody ever tried anything
like this?

In short, do bass traps have to be integrated into the architecture to work?

Thanks and yes, MM, I do love your mag...
=========================================================================
Date:         Mon, 8 Jul 1996 16:41:28 -0700
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Mike Metlay ++ Atomic City <atomic@NETCOM.COM>
Subject:      Building a bass trap
In-Reply-To:  <Pine.SGI.3.91.960708160237.16612B-100000@umbc9.umbc.edu> from
              "David Crandall" at Jul 8, 96 04:08:41 pm

David Crandall writes--
>
>...resending this, 'cause I think the first time didn't work...

It did. You don't get copies back of your own posts, remember?

>OK, sue me if I'm out of line, but since I think I've boiled my acoustics
>question down to a simple one, so I'll submit it here.  Here goes:
>
>> David Crandall (that would be, "me") writes--
>
>> >A bit off-topic, but I'm moving to a new apartment and have to do some
>> >"acoustical massage" on what will be my project studio...
>
>About a year ago in Electronic Musician (sorry, Mike) there was an
>article on building bass traps.  These were flat 2'x 8' units designed to
>absorb different frequencies and to be built directly onto a wall.

Don't apologize. We have an article of our own coming out in RECORDING
next month. The traps written up in the June 1995 EM are very nice, but
I think the design we're running is much, much simpler to build, and
probably gives better results, because you don't have to "tune" traps
for damped-frequency range. Still, your mileage may vary.

>In short, do bass traps have to be integrated into the architecture to work?

Nope. It's perfectly feasible to build our design as a freestanding gobo.

>Thanks and yes, MM, I do love your mag...

Well, that's nice to know. I try not to blow the horn here too often,
but I've noticed a real demand for studio construction stuff lately.
Maybe I should talk to the editor about gathering our articles up into
a book and putting out a print run for shelf-stocking....

mike
--
Eno's music is SUPPOSED to be wallpaper. But not everyone has to like the
pattern.                                            (suzanne traub-metlay)
 ==========================================================================
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, 9 Jul 1996 22:12:23 +1000
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Terrance McDermott <terry@KLANG.LATROBE.EDU.AU>
Subject:      Re: Alchemy

Craig wrote:

Is anyone familiar with the software called Alchemy????  Is it any good?
What, exactly does it do?  Does it do it effectively?  Easy to use?  Etc.
Thanks.
                                -Craig
My response:
Alchemy plays soundfiles. I use it to download sounds from my hard disk into my
sampler. It can do tinmestretch, transposition etc. and it only can process
sounds smallenough to firt in ram. Apparently its time stretch algorithm is
better than Sound Designer's.... who knows. It is easy to use and reasonably
versatile: I think its better than sound edit 16 for instance. Ive got an se30
with a sound accelerator card, I dont know if it works without one.

Terry
=========================================================================
Date:         Tue, 9 Jul 1996 15:14:01 +0200
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Miroslav Teker <hudvmite@SAVBA.SAVBA.SK>
Subject:      Re: Alchemy
In-Reply-To:  <9607091212.AA09120@klang.latrobe.edu.au> from "Terrance
              McDermott" at Jul 9, 96 10:12:23 pm

I'm not an MacIntosh user, but I was told by my local dealer, that Alchemy
can read Akai S1000/1100/3x00 CDROM libraries and convert them into
soundformat supported by Digidesign Samplecell II. As I'm a SCII user and
have access to some Akai CDROMs, I'd like to ask, whether there's a PC
version of Alchemy, or if there's a program with similar features for PC.

thanks

                                                Miro
=========================================================================
Date:         Tue, 9 Jul 1996 08:19:26 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         "Daniel C. Simpson" <dsimps@SCRTC.BLUE.NET>
Subject:      Sequencing/Notation

I am a jazz piano player and am just getting into midi.  Does anybody =
have any insights/preferences  for a WIN95 PC based sequencing/notation =
program.    I am currently considering Cakewalk Pro version 5, Opcode =
Vision, and Emagic.  Any help would be greatly appreciated.

Thanks in advance
Dan Gerous
=========================================================================
Date:         Tue, 9 Jul 1996 16:43:40 -0700
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Cody Westheimer <codella@WEST.NET>
Subject:      Amps
Comments: To: SYNTH-L@AMERICAN.EDU

Hi everybody.  I'm soon to get a proteus FX and a sampson mixpad 9.

I'm also going to get some cheap JBL monitor speakers.

Since I'll already have a volume control on the mixer, I want to save some
money on the amp.

Here are the low priced possibilities I've come up with.

Get a cheap Radio Shack amp---no controls at all
Get a car stereo amp

Bothe are pretty cheap.  One idea my friend brought up is that they might
"color" the sound.  I'm not sure on any of this.

If you have any ideas I'd love to hear them.

Thanks,

Cody

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_=-_=-_=-_=-_=-_
  Cody Westheimer      ___________/                   "Life is like a music
note, once
  codella@west.net    |_|__|______\________________    you're played,
you're just
                                _|_|_______________|   another note on the page"
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=========================================================================
Date:         Tue, 9 Jul 1996 20:54:01 -0700
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Cody Westheimer <codella@WEST.NET>
Subject:      MIDI Interfaces
Comments: cc: SYNTH-L@AMERICAN.EDU, lowfrqcy@west.net, gate1@sbcc.cc.ca.us,
          nathan@ccmrc.ucsb.edu

Hi again.

I am planning to get another MIDI instrument (a Proteus FX) along with my
PSR-510.

I was thinking about getting an opcode MIDI Translator Pro (with two ins
and 6 outs) I was also eventually going to add a MIDIman Syncman for SMPTE
and FSK.

I jjust got a catalog with used gear.  I saw both of these items in good
condition.  For a little less, I saw an Opcode Stuudio 2.  Can somebody
tell me if this is similar to the combination above?  I'd love the
rackmount option with the Studio 2, but does it indeed have 2 in and 6
outs, SMPTE and FSK?

Thanks,

Cody

=_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-
_=-_=-_=-_=-_=-_
  Cody Westheimer      ___________/                   "Life is like a music
note, once
  codella@west.net    |_|__|______\________________    you're played,
you're just
                                _|_|_______________|   another note on the page"
=_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-_=-
_=-_=-_=-_=-_=-_
=========================================================================
Date:         Wed, 10 Jul 1996 09:17:31 EDT
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Bill Fox <wbf@ALOFT.ATT.COM>
Subject:      Plunderphonics

Mike Metlay mentioned:
> And then we get into the issue of "plunderphonics," where sampled
> material is maninpulated into entirely new forms, and where to draw the
> line on what's old and what's new, and my migraine kicks in....

I'd love to hear the "plunderphonics" stuff but it does seem to be
unavailable.  Any info will be appreciated.

Bill Fox        wbf@aloft.att.com
=========================================================================
Date:         Wed, 10 Jul 1996 09:54:25 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Jonathan Parham <jparham@IVCF.ORG>
Organization: IVCF National Service Center
Subject:      Keyboard Amps

Microsoft Mail v3.0 IPM.Microsoft Mail.Note
From: Jonathan Parham
To:  'SMTP:EMUSIC-L@AMERICAN.EDU'
Subject:  Keyboard Amps
Date: 1996-07-10 09:16
Priority:
Message ID: 8FA946F3
Conversation ID: 8FA946F3

------------------------------------------------------------------------------

Hello Everyone,
     I have been playing with a group for a while now and am about to start
some gig dates in the fall.
     What amplifiers would you recommend for keyboards?  Costs?  Also, I
have plugged into some guitar amps to get through a rehearsal or two.  Does
the quality differ greatly?

Thanks,
Joanthan
=========================================================================
Date:         Wed, 10 Jul 1996 11:25:10 -0400
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         "Zenon M. Feszczak" <feszczak@SAS.UPENN.EDU>
Subject:      Re: Patch Editor
In-Reply-To:  <31C9DE51.3D26@sound.net>

>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
>
>

Well, there are tons of shareware/freeware librarians available, usually
geared to specific instruments.   Check around on the Info-Mac archives,
and your music-related Web software archive of choice.

As for elegant and graphical (not to say graphic, even though I just did,
twice really, since you can't say "graphical" without saying "graphic)
patch editing + extensive librarian functionality on the Macintosh
(actually, it's available now for the minions of the Bill Gates empire
also):

Unisyn by Mark of the Unicorn.

Take a look at their web site for info.  I've just recently begun using
this program, and I am quite impressed.  Well thought out.  And the modular
construction makes for easy additions of new synth support.

Best,

Zenon M. Feszczak
Ambient Philosopher
=========================================================================
Date:         Wed, 10 Jul 1996 09:18:00 -0700
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Peter Mueller <Peter_Mueller@UCSDLIBRARY.UCSD.EDU>
Subject:      Re: Plunderphonics
Comments: To: wbf@ALOFT.ATT.COM

Mike Metlay mentioned:
> And then we get into the issue of "plunderphonics," where sampled
> material is maninpulated into entirely new forms, and where to draw the
> line on what's old and what's new, and my migraine kicks in....

I'd love to hear the "plunderphonics" stuff but it does seem to be
unavailable.  Any info will be appreciated.

Bill Fox        wbf@aloft.att.com
     See if you can dig up a copy of the Canadian magazine Musicworks issue
     number 60 in your local university library. That issue and the
     accompanying CD are devoted to plunderphonics.
     Musicworks is online, too. The URL is
     http://www.musicworks.web.net/sound
     -Peter

>-- Saved internet headers (useful for debugging)
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>Original-From:
>Original-To: american.edu!emusic-l
>Content-Type: text
>Message-ID:  <9607101317.AA24764@acropolis>
>Date:         Wed, 10 Jul 1996 09:17:31
>Reply-To: Elect
>Sender: Electronic Music Discussion List <EMUSI
>From: Bill Fox <wbf@ALOFT.ATT.COM>
>Subject:      Plunderphonics
>To: Multiple recipients of list EMUSIC-
=========================================================================
Date:         Wed, 10 Jul 1996 15:07:18 -0400
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         "Zenon M. Feszczak" <feszczak@SAS.UPENN.EDU>
Subject:      Re: MIDI Interfaces
In-Reply-To:  <v02130500ae0875b2de06@[205.254.225.7]>

>Hi again.
>
>I am planning to get another MIDI instrument (a Proteus FX) along with my
>PSR-510.
>
>I was thinking about getting an opcode MIDI Translator Pro (with two ins
>and 6 outs) I was also eventually going to add a MIDIman Syncman for SMPTE
>and FSK.
>
>I jjust got a catalog with used gear.  I saw both of these items in good
>condition.  For a little less, I saw an Opcode Stuudio 2.  Can somebody
>tell me if this is similar to the combination above?  I'd love the
>rackmount option with the Studio 2, but does it indeed have 2 in and 6
>outs, SMPTE and FSK?
>
>Thanks,
>
>Cody
>

You might wish to consider MOTU's MIDI interfaces.  I had recently bought
the Opcode Translator Pro, but found it inadequate for my needs.  The
Translator required both ports (printer and modem) of the Mac, so you
couldn't be connected to a network or printer while using the interface (of
course, you can switch to "thru", but then you interrupt MIDI functions).
Also, I found that I rapidly outgrew 2 ins.  On the positive side, this is
a very good unit for the price - a good 2-in MIDI interface for under $70.

I upgraded (just a week ago) to MOTU's MIDI Express, a 4 x 6 interface with
lots of impressive blinking lights.  It's rack-mountable, with a bomb-proof
case.  A more impressive price, also (around $250).

As we all know, no computer functions correctly without a large number of
blinking lights, which is why modern computers are so prone to crash.

Best,

Zenon M. Feszczak
Ambientologist
=========================================================================
Date:         Wed, 10 Jul 1996 18:19:00 -0400
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         "<Neil Mcqueen>" <NM1@SHAFER.USA.COM>
Subject:      Anybody have a DrumKat for sale?
Comments: To: SYNTH-L@AMERICAN.EDU

Looking to buy a DrumKat, EZ model preferred but will entertain other
models. Must be in excellent shape, owner's manual preferred.

E-mail me privately at nm1@shafer.usa.com

Thanks,

Neil
=========================================================================
Date:         Fri, 12 Jul 1996 15:01:30 +1000
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         David Rodger <musdr@LURE.LATROBE.EDU.AU>
Subject:      Associations [was RE: Lexicon Vortex...]

Nick Rothwell said

> I'm still surprised that the readership here and in
> EMUSIC-L seems to associate electronic music with keyboards.

Well, perhaps some of the younger readership does.  We're not all versed in
the history of electronic music.  I suspect that those coming from a
pop/dance music perspective _are_likely to associate emusic with keyboards
because the latter are the most obvious manifestation of an emusic input
tool (besides the personal computer).

Those who are into sampling should go back and listen to some early musique
concrete stuff or German composers like Stockhausen who established
electronic music studios in radio studios during the 1950s and 1960s.

And how about Alvin Lucier's "I am sitting in a room"?

Regards, David

David Rodger                                    "It's amazing how much
Music Department, School of Art and Media         doing a job you love
La Trobe University,                        can cut into your Internet
Bundoora 3083 AUSTRALIA                     wank time!" -- Mike Metlay
----------------------------------------------------------------------
FAX: +61-3-9479-3651                 E-mail: musdr@lure.latrobe.edu.au
"ATT. David Rodger"                  WWW: http://I'm_not_that_hip_yet!
----------------------------------------------------------------------
=========================================================================
Date:         Fri, 12 Jul 1996 00:33:05 -0600
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Allen Hall <AWHALL@WTP.NET>
Subject:      Re: Associations [was RE: Lexicon Vortex...]

At 15:01 7/12/96 +1000, you wrote:
>Nick Rothwell said
>
>> I'm still surprised that the readership here and in
>> EMUSIC-L seems to associate electronic music with keyboards.

Well, it seems like that because some of us keyboard types don't seem to
have many other maillists to go to <G>.
>

>----------------------------------------------------------------------
>
>
=========================================================================
Date:         Thu, 11 Jul 1996 20:02:33 -0700
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Vinny Fiorenza <fiorenza@CCNET.COM>
Subject:      Re: Costs on Nord Equipment

----------
From:   Sillyme[SMTP:102465.41@COMPUSERVE.COM]
Sent:   Wednesday, July 03, 1996 9:07 PM
To:     Multiple recipients of list EMUSIC-L
Subject:        Re: Costs on Nord Equipment

:As a list member I see SOLICITED requests as VERY valid
:since most slick adverts
:in very accessable pubs like Keyboard, EM and the like (the ones one can read
:for free at the local text outlet) play up magic features of new gear to no end
:and then tell you to see your local dealer(who if you have one may very well be
:an a??hole) for prices and such. So yeah, keep Kevin and the Spam-heads
:away from us, but economic data relating to the very gear we treasure (or curse) is
:just as important as Sysex or whatever....

Amen.  Most of those "industry publications" are just that!  The manufacturers pay big $$
{not to mention the FREE gear they also receive..} no doubt, for a "positive" review of their
piece.  They *know* that these rags have a huge influence over the buying public that feeds
them $$$ (read: "customers")  It's very very difficult to find a sincere *honest* review of any
piece of gear these days that isn't tainted by bullshit or some mag kissing ass to the hand
that feeds them..  I like to hear from the owners/operators/creators/players, not from some
political "music magazine" ..Sure, the slick adverts are sometimmes nice to gloss & drool
over now and again, and some issues contain helpful columns & the like..but the reviews?
forget it!  meebbe just for technical specs (which are 1% 'cause i let my ears tell me what
sounds groovy, not some corporate numbers..)   it's the sound that ultimately matters...
Not some "critics" corporately- biased opinion

:I guess I'll be taking the last Train Back to Lurksville now...

ditto..the 12pm late-night ride  ; )

:Thanks for the NORD info!!!!!

i enjoyed it as well.  very useful to know the *REAL* cost, not some lie from a "dealer"
trying to snake your cash.  Most dealers i know around here are major !@##@holes!
Like i'm going to fork over my hard-won, sweated-over, playing some fucking GAME
tryin' not to get sucked into the politics, doin' only to make money to support my music
7 to 8 working rat-race- phony world of a "job"
CASH {apart from what is taxed..} I, myself earned, deserving EVERY penny
<<shiver!>>
to those butthole dealers to support THEM and their crap charter?  Beavis?? uhhh..
yeah right!  Tehn they never remember you when
you come back in again unless you're gonna 'buy something' {read:'more overtime'}
or wave fistfull's o' ca$h in their
faces.  or unless you're one of the "boys" club.. {who, me?  cynical?  nnaaahh!! ;  )

:Just to stay on topic... What do any of you tell your friends/associates who are
:very avid about the arts/music but who are very distrustful of E-music as an
:artform/genre in itself and see it only as an encroachment or attempt to steal
:yet another joib description for the MACHINE!!! I say "Get a life.... No, I mean
:one with perspective." And then there's this Bob Dylanesque character staring
:back at me and I just wanna stuff a kazoo in his mouth or a thermin up
:his.............

...fingernail?
(hi.  !<ggg>)
no, you meant "asshole" or p.c.- style, "rear-entry point of access provision"
   !
I them to listen to Vangelis.  Go watch the Ridley Scott movie Bladerunner and listen to
' outdated '
{by todays mass-market standards..}
"electronic" instruments at work.  If that doesn't work (usually doesnt, 'cause they say
"isn't he some "new age" guy or something?..."his stuff is boring isn't it?"
( uhhh... yeah, we're openminded, sensitive "deep" thinkers, aren't we??  <gg> )
I tell those fartknockers that a 3-year old child with an "acoustic"
violin or behind the 'stool {the one you sit on....} of an "acoustic" steinway grand piano
sounds mechanical too.  It's not the instrument, it's in the hands of the player behind it.
It's the years of pain and experience, joy and laughter, + some other stuff
that an artist pours through their instrument (if they're not pouring beer on it...}
Electronic or acoustic, kazoo, whatever, that's all relative bullshit.  It the player.
It's the music, not the gear!  "music not gear!"  "music not gear"!
i can hear the Daddy's salesman now....

One can make an acoustic instrument sound electronic & "vice versa"
(or is that "nice visa" ..oh sorry!  been thinking of that Nord Lead & stuff....)
I know what you mean!  I also have to "justify" my many synthesizers to many people.
"why do you need so many?"  + my favorite: "can't you just get a piano & be done with it?"
"it has all the keys you need right in one place"
uhhhhhh....
that's when i say: "please exit the premises to avoid exposure to extreme flatulence" <gg>

keep creating,
take care

Vincent Scott
<> <> <> <> <> <>
-=TX816, Jupiter 8, Matrix 12, Wavestation EX, PPG 2.3, SY99, Prophet 5, Minimoog, AX-80, diet coke=-

"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.
-------------------------------------------------------------------------------------------------------

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`
end
=========================================================================
Date:         Fri, 12 Jul 1996 08:59:40 -0700
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Mike Metlay ++ Atomic City <atomic@NETCOM.COM>
Subject:      Re: Plunderphonics
Comments: cc: qsite@aimnet.com
In-Reply-To:  <9607101317.AA24764@acropolis> from "Bill Fox" at Jul 10,
              96 09:17:31 am

Bill Fox writes--
>
>Mike Metlay mentioned:
>> And then we get into the issue of "plunderphonics," where sampled
>> material is maninpulated into entirely new forms, and where to draw the
>> line on what's old and what's new, and my migraine kicks in....
>
>I'd love to hear the "plunderphonics" stuff but it does seem to be
>unavailable.  Any info will be appreciated.

I've also had a private email request for this information;
unfortunately, I'm still moving into my office and unpacking my
materials, so I don't have a current address for the Copyright
Violation Squad. Could someone post it here if they have it? They'll
provide a tape of PLUNDERPHONIC, RUBAIYAT, and Negativland's U2 single
if you send them a C-100 and a padded self-addressed envelope with
proper postage already on it. If you give them extra tapes, and ask
nicely, they'll also provide copies of episodes of RADIO STATIC, their
cassette-underground radio program.


mike

--
Eno's music is SUPPOSED to be wallpaper. But not everyone has to like the
pattern.                                            (suzanne traub-metlay)
 ==========================================================================
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:         Fri, 12 Jul 1996 12:34:09 -0400
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         "Robert M. Sanders" <RMSanders@SMTPGATE.READ.TASC.COM>
Subject:      Re: Equipment Costs continued ...

Let's talk cost.

Gotta consider all of the following:
* purchase price including sales tax, shipping, handling and interest
* training (yes, even your time is valuable, isn't it?)
* peripherals (sound libraries, OS upgrades, stands, mixers, effects)
* maintenance (key cleanings, popping chips back in place, etc.)
* residual value at end of useful life

Also gotta consider:
* how long is the useful life of the damned thing
* how long is the training phase before useful life begins
* fraction of the time during the useful life its down for maintenance

>From the above you can determine the "Cost Effectiveness" of investing
in the item. It's simply the total of all costs divided by the actual time you'll
be using it considering downtime and planned obsolesence.

Let's consider some hokey scenarios.
-------------------
Scenario #1: Billy buys a repossed 9 foot acoustic grand piano
* purchase price: 20,000 including delivery, tuning and interest
* training: sunken cost. Billy studied under Mrs. Warple for 12 years
* peripherals: $100 (humidity detector from salvation army, tuning kit)
* maintenance $150/year (2 tunings per year) and $2000 for major
maintenance every 10 years)
* residual value, (=$15000) at end of useful life

Total pianos bought by Billy = 1

Also gotta consider:
* useful life: 50 years (Billy's daughter Penny wants it after he croaks)
* training phase: 0 months (Billy can already play piano)
* downtime: (1 hour twice a year for tuning, 1 week every 10 years for
major repair) (over 50 years, say 1 month in maintenance maximum)

Total cost to Billy:
(20,000)*(1) + (0) + (100) + (150)*(50) + (2000)*(5) - (15000)
(total cost) = $22600

Total useful time to Biily:
(50)*(12) - (0) - (1)
(Total Time)=599 months

Overall, Billy and Penny will enjoy more than one lifetime of music at a
cost per month of roughly 40 dollars, or less than 10 dollars a week.

-----------------------------------------------------

Scenario #2: Doug buys a new keyboard every three years. The
keyboard remains useable for 5 years, but he's already getting bored
and falling behind the power curve if he doesn't update his rig about
every three years.
* purchase price: 2,500 including delivery and interest per keyboard
* training: two months/keyboard reading manuals etc. before you are
totally up to speed. Let's say you'd have to pay me at least minimum
wage to read a goddamn manual. And with most keyboard manuals you'll
be reading it over and over and over. Say 20 hours of boring training per
keyboard at $5.00 per hour. $100/ keyboard.
* peripherals: $750 (case, pedals, cords, sounds) every other keyboard
Doug buys a major upgrade, like a sampling option for another $1000
* maintenance $200 every 2.5 years just taking the damned thing in and
opening it up'll cost $50-$100. Assume warranties cover everything for
first two and a half years.)
* residual value, (=$300) at end of useful life

Also gotta consider:
* useful life: 5 years per keyboard, 30 years for Doug (At this point Doug
has repetitive motion injuries from playing keyboards for thirty years at
night and typing at a computer keyboard for thirty years during the day.
Doug's daughter Marie doesn't want the crap)
* training phase: 2 months per keyboard (face it it's not as enjoyable till
you know your way around)
* downtime: (1 week every other year for random electronic repairs and
for installing upgrades, etc. It takes a week due to the backlog at the
repair shop)

An advantage Doug has, is that since he has more than one keyboard at
any given time, even if one is in the shop he probably has something to
play. He may not want to play it, but we'll ignore that. Assume that he
temporarilly rediscovers a fondness for some outdated synth that he
hasn't pawned yet, and the infatuation lasts until the new model is
repaired.

Total number of keyboards Doug will buy = (30)/(3) = 10
Total cost to Doug:
(2,500)*(10) + (10)*(100) + (10)*(750) + (10)/(2)*(1000) + (10)*(200) -
(10)*(300)
(total cost) = $37500

Total useful time to Doug:
(30)*(12) - (0)
(Total Time)=360 months

Overall, Doug will pay over $100 a month, or about 24 dollars a week into
the pockets of the consumer electronics industry.

-----------------------------------------------------
=========================================================================
Date:         Fri, 12 Jul 1996 13:52:07 -0400
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Ben Cox <cox@TRANSARC.COM>
Subject:      Re: Equipment Costs continued ...
In-Reply-To:  <s1e64690.034@smtpgate.read.tasc.com>

On Fri, 12 Jul 1996, Robert M. Sanders wrote:
> Let's talk cost.
[...]
> Overall, Billy and Penny will enjoy more than one lifetime of music at a
> cost per month of roughly 40 dollars, or less than 10 dollars a week.

But this discussion completely ignores Billy's utility.  If Billy's
dream is, for example, to make techno-rave music, a piano isn't going
to help him nearly as much as a new keyboard every three years.  The
cost is less for the piano, but the utility is less as well.

(Billy's cost effectiveness is even greater if he buys a box of
pencils and a pad of staff paper.  But he might be having less fun.)

__
Ben Cox                                 cox@transarc.com
=========================================================================
Date:         Fri, 12 Jul 1996 14:27:51 EST
Reply-To:     mbriggs@ix.netcom.com
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         "Michael V. Briggs" <mbriggs@IX.NETCOM.COM>
Subject:      Re: Plunderphonics

>I've also had a private email request for this information;
>unfortunately, I'm still moving into my office and unpacking my
>materials, so I don't have a current address for the Copyright
>Violation Squad. Could someone post it here if they have it? They'll
>provide a tape of PLUNDERPHONIC, RUBAIYAT, and Negativland's U2 single
>if you send them a C-100 and a padded self-addressed envelope with
>proper postage already on it. If you give them extra tapes, and ask
>nicely, they'll also provide copies of episodes of RADIO STATIC, their
>cassette-underground radio program.

Here are the addresses from
http://www.io.org/~vacuvox/x/unavailable.html

Take your pick:

    The Copyright Violation Squad

           (Canadian Chapter)
           P.O.Box 30007,  Parkgate P.O.,
           N.Vancouver, BC,
           V7H 2Y8 CANADA

           (Illinois Chapter)
           4929 Linden Road, Suite 817
           Rockford, IL 61109-5659  U S A

           (new Iowa Chapter)
           P.O.Box 1324
           Muscatine, IA 52761  U S A

Michael Briggs
mbriggs@ix.netcom.com

"Take heart. By definition, half of the people in the world are below
average."
=========================================================================
Date:         Fri, 12 Jul 1996 15:30:45 -0400
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Joe Miklojcik <jfm@POWERPAGE.COM>
Organization: Pipeline Associates, Inc.
Subject:      Re: Plunderphonics

Mike Metlay ++ Atomic City wrote:
> >I'd love to hear the "plunderphonics" stuff but it does seem to be
> >unavailable.  Any info will be appreciated.
>
> [...] Negativland's U2 single

You can check out the audio clips (especially the *big* audio clips) at Negativland's
WWW site:

http://sunsite.unc.edu/id/negativland

Negativland is a very inspirational band for me.

(jfm)
=========================================================================
Date:         Sat, 13 Jul 1996 11:18:03 -0700
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Craig Marks <cmarks@UCLA.EDU>
Subject:      Re: Equipment Costs continued ...

>* downtime: (1 week every other year for random electronic repairs and
>for installing upgrades, etc. It takes a week due to the backlog at the
>repair shop)

DREAMWORLD!!!!!!  Give me the name of that repair shop!  Here in LA the
average repair shop  is backlogged 4-8 weeks.
=========================================================================
Date:         Sat, 13 Jul 1996 11:31:09 -0700
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Timothy Kelly <midivox@IX.NETCOM.COM>
Subject:      Re: Equipment Costs continued ...

Hi All,
   Ok, my voice is my keyboard so
1. Cost of MidiVox, online factory direct price $1,295.00
2. Cost of PC computer and soundcard to plug it into. $995.00
3. Cost of external sound module $300-$1200, depending on brand.
4. Cost of midi software $100-$500.
5. Learning curve for new controller, 20 minutes a day for 30 days.
6. Music Lessons, none needed as long as you can hum.
7. Cost of maintaining voice, staying alive. ??????
8. Downtime, 2 days a year due to flu.
   Well, its a lot cheaper than a grand piano, for $20,000 I can have
an entire project studio in my garage with including MidiVox, a PC,
adat, mackie, a stack of sound modules, a couple of guitars, mics, a
Korg Trinity maxed out, a DP4 ,and a copy of evey PC music software
program ever written for dos and windows.
   I can also get a really, really, big midi dog to guard all the gear
too.
   Happy Gear
   Timothy Kelly
   MidiVox

--
MidiVox - Worlds 1st Voice to Midi. Real Time Hardware.
BioSensor Neckband. Rack Mount Brain.

Sing, Hum, Scat, Croon, Rap, Talk, Scream . AES Best in Show.
EM's Editors Choice.

Become a Human Sequencer & Human Vocoder. Can You Hum a Bass,
Sing Like a Sax?
=========================================================================
Date:         Sun, 14 Jul 1996 11:19:16 +1000
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         David Rodger <MUSDR@LURE.LATROBE.EDU.AU>
Subject:      Re: Equipment Costs continued ...

Tim Kelly wrote...
>I can also get a really, really, big midi dog to guard all the gear too.

I can picture this: Polaroid or similar ultrasound sensors through some
analog circuits, a trigger-to-MIDI interface and a sampler.  For a more
sophisticated approach, insert an MC8031, 68HC11 or PIC chip!

Reminds me of the Halloween stories of about three years ago (remember
those oldbies?)

Regards, David
musdr@lure.latrobe.edu.au
http://I'm_not_that_hip_yet!

