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Subject:      File: "EMUSIC-L LOG9611C"
To: Joe McMahon <mcmahon@CLARK.NET>
Status: O

=========================================================================
Date:         Thu, 14 Nov 1996 10:35:44 EST
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         swolfe@MAIL.OE.COM
Subject:      Re: Did the Novation BassStation flop?

     I onw a BassStation, and I'm quite pleased with it.  Although the
     whole thing is made out of plastc, the sounds it produces are pretty
     good.  It can simulate a 303 really well along with a couple other
     vintage analog boards.  Although It seems to be limited to the lower
     ranges, you can still do some sounds in the upper range.  But so far,
     its my only analog piece, so I couldn't really compare it.
     I can use midi to record and set the position of the filters and
     envelope, although unfortunately, not all of the controls are
     available via midi. Another Downpoint is that is only has 7 presets to
     save sounds in.

     There is a rack mount version available. And What I've been told is
     that it also has an external Input that ou can input an external sound
     source and use the bassstation's filter on it.  It also has a Larger
     bank of patches (100 total presets).  The only downside to this is
     that it downt have a keyboard.  But thats okey since the keyboard that
     is on the Bass Station is pretty cheap.  Just plug in you favorite
     controller, and you do all the tweaking from the front of the racks
     panel.

     So... No it hasn't dissappeared... and for the price and quality...
     It didn't flop...

     ...>Sean
     Spindle Productions *


______________________________ Reply Separator _________________________________
Subject: Did the Novation BassStation flop?
Author:  Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU> at Internet
Date:    11/6/96 4:59 PM


When it came, it was testet in every mag and they all sounded pretty sure that
this was going to be a hit
and that it would make the price of a used 909 hit bottom (again).

Did this ever happen (I mean, has anyone bought it) and is it the big hit we
expected it to be?

If you answer is no, then why?

--
Best regards from

:] DEVOTION

________________________________________________________________________________
____________
_             Press here to mail me "mailto:Kenneth_Petersen@dk-online.dk"
          _
_ or visit my homepage at
"http://www2.dk-online.dk/users/Kenneth_Lund_Petersen/index.htm" _
_    and you will find a lot of synth-patches, info about my band and my studio
equip.     _
________________________________________________________________________________
____________
=========================================================================
Date:         Thu, 14 Nov 1996 15:01:26 -0800
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Peter Harlan <pharlan@EFN.ORG>
Subject:      protecting our investment

On the assumption that many people reading this have, at home
or at work, possibly thousands of dollars worth of audio gear,
I would like to ask for some opinions on how best to safeguard
such equipment from electrical mishaps.

Question: Is there a significant difference in quality between
line conditioners and UPS's sold to the computer market vs. the
semi-pro audio market?  If not, computer-oriented gear seems to
be cheaper.

Question: Is a UPS overkill for audio applications?  I use one
for my PC so I can save work if there's a power outage.  In the
case of my audio gear, I'm mainly interested in keeping it from
getting fried.  If I can get away with a line conditioner, that
should save me money.

???
=========================================================================
Date:         Thu, 14 Nov 1996 21:40:35 -0700
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Dixon <digizine2@ZEUS.OANET.COM>
Subject:      Re: protecting our investment
In-Reply-To:  <328BA4C6.750A@efn.org>

Greetings all!  Just listenning to the new transitions from Canada's
Hennie Becker.... electronic fans might enjoy the heavy Synclavier
presence on this, his 15th or so, and quite immaculate... but then also
quite mainstream and not at all offensive....I just had a great interview
with the man, and if Anyone would like to read it, drop me an email...

As for the protection question:
        I am by no means an expert with electronics, but over the past 10
years have amassed quite a bit of gear.... I have about 12 keys, samplers,
and sound modules in all, 2 computers, a Mac and a Pentium, plus fx, and
recording devices.  My process is simple.... everything is daisy-chained
into 1 main plug.... (I check ahead to make sure that it can handle this
load...) and then into the wall.
        I have never had any problems with this.... never even a hint of
trouble.  I've talked about this with quite a few people and basically got
the same response.... as long as I have the surge protection that is in
the main power bar....they say that I'm okay.  Maybe somone who is an
electrician could tell us different??

That's my 2 cents!

Oh yeah, I also have new interviews with Chemlab, Makyo, 16Volt,Test
Dep't,BKS, Snog, and may others if anyone would like to read them....

Dixon

On Thu, 14 Nov 1996, Peter Harlan wrote:

> On the assumption that many people reading this have, at home
> or at work, possibly thousands of dollars worth of audio gear,
> I would like to ask for some opinions on how best to safeguard
> such equipment from electrical mishaps.
>
> Question: Is there a significant difference in quality between
> line conditioners and UPS's sold to the computer market vs. the
> semi-pro audio market?  If not, computer-oriented gear seems to
> be cheaper.
>
> Question: Is a UPS overkill for audio applications?  I use one
> for my PC so I can save work if there's a power outage.  In the
> case of my audio gear, I'm mainly interested in keeping it from
> getting fried.  If I can get away with a line conditioner, that
> should save me money.
>
> ???
>
=========================================================================
Date:         Fri, 15 Nov 1996 09:55:15 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Solipsist Nation <mute@MA.ULTRANET.COM>
Subject:      Live Electronic Music!

Many Small Functions
Operation: Mindwipe (including members of Abstinence)
Data Bank A
and
Digital Apocalypse

will be appearing live at Midnight, 6 December 1996 at UMass Lowell's WJUL
radio. The performances will be broadcast live on 91.5FM (which can be
received throughout much of New Hampshire and throughout the
Lowell/Lawrence area).

For more information, check http://www.tiac.net/users/deftlyd/live.html

This is the second of these live gatherings. The last one was great fun--
lots of very cool electronic and experimental music from midnight until six
in the morning or so... It's a great place to go and hang around and meet
interesting local music people. After the planned performances, it's likely
that we will be hanging around and making more noise and collaborating in
various ways.

Should be great fun... Send mail to deftlyd@tiac.net for more information
(he's actually organizing this thing-- I'm just playing).

Josh
http://www.gweep.net/~mute
=========================================================================
Date:         Fri, 15 Nov 1996 10:24:26 EST
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         "william.b.fox" <wbf@ALOFT.MICRO.LUCENT.COM>
Subject:      Re: protecting our investment

Peter Harlan wrote:
> Question: Is there a significant difference in quality between
> line conditioners and UPS's sold to the computer market vs. the
> semi-pro audio market?  If not, computer-oriented gear seems to
> be cheaper.

I am not aware of any differences between power conditioners marketed
towards the computer and audio industries.  I am unaware of UPSs being
marketed towards audio consummers.

> Question: Is a UPS overkill for audio applications?  I use one
> for my PC so I can save work if there's a power outage.  In the
> case of my audio gear, I'm mainly interested in keeping it from
> getting fried.  If I can get away with a line conditioner, that
> should save me money.

In computing, you use a UPS to allow yourself time to gracefully save
your work and power down your computer in case of a power outage.  In
audio, I've never seen anyone market a UPS.  But, if you use a computer,
hardware sequencer, keyboard workstation (i.e. it contains its own
sequencer), or even a harddisk recording system, you may want to
consider a small UPS for this portion of your studio.  It could save you
from loosing that masterpiece you've been sweating over for a bazillion
hours.  But the rest of your gear can use a less expensive power
conditioner because, generally, your mixers, amps, effects, synth and
sampler modules don't need a graceful shutdown to prevent a catastrophic
loss of data.

In any case, turn everything off and unplug it from the wall when not in
use.  If an electrical storm approaches while you're working in the
studio, stop, power down, and unplug.  You'll never be sorry.  I've done
that during a paid session because it's easier to replace a customer
than a piece of gear.

Bill    BillFox@lucent.com
=========================================================================
Date:         Fri, 15 Nov 1996 14:08:00 -0800
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Nathanael W Berry <nwberry@IX.NETCOM.COM>
Subject:      Re: protecting our investment

>Question: Is there a significant difference in quality between
>line conditioners and UPS's sold to the computer market vs. the
>semi-pro audio market?  If not, computer-oriented gear seems to
>be cheaper.
>
        Not all protection is created equally. If you are primarily
concerned with surges, spikes, and the like, then the UPS is overkill. If
you live or work in an area where brownouts or voltage sags are of concern,
the the conditioner/ups route might make sense. Some of the cost for
protection is packaging - but you can certainly pay as much or even more for
computer protection. There is also a market for the inexpensive (and
sometimes cheap) computer products that may not provide the cleanest AC
power when activated. One would hope the music targetted units provide
decent power. Some manufacturers or test magazines may have measured and
charactorized computer UPS products - I dont have that info at hand. I
believe most consumer and buisness "lite" UPS products use microprocessor
controlled stepping to approximate the AC waveform. The same types of issues
as in digital sound apply :)

        Standby UPS models quickly switch to battery in the event of power
outside the specified range. This may take a few ms, which might cause an
audible artifact in some sound equipment. On-Line UPS models use line
voltage to charge their batteries, and provide load voltage from the
batteries at all times. These models have more constant power and no
switchover time, but are considerably more expensive - and again, no
garrantee of "musically clean" power (did I invent that phrase? :) quick ...
trademark!)

        For surges and spikes, the speed at which the device activates, the
maximum clamped voltage level, the recovery time, and the energy dissipation
capacity are usually reflected in cost of the unit. The protection "modes"
are also a factor. You want all three (hot - grounding, grounded (neutral) -
grounding, and hot - grounded) modes protected. Beyond that, many of the
more expensive computer and music suppressors (and beyond) contain
significant noise supression, often between outlets, not just between the
input and all the outlets. Many of the computer protection boxes also offer
some form "insurance" if anything directly connected to the unit is damaged.
If you can replace your equipment then this might be a good deal (or provide
some measure of assurance you wont be without). Check the specifics of the
insurance before buying.


>Question: Is a UPS overkill for audio applications?  I use one
>for my PC so I can save work if there's a power outage.  In the
>case of my audio gear, I'm mainly interested in keeping it from
>getting fried.  If I can get away with a line conditioner, that
>should save me money.
>
        If you live or work in areas where voltage stability is an issue,
this may be a good route. The protection against surges, spikes, and RFI/EMI
will be dependent on the unit - but probably similar to the same company's
suppressor products if they offer them. Compare the specs.


What do I use in my home studio? For years I used TrippLite ISOBAR
suppressors, and daisy chained cheap suppressors off them for sequencing
devices power on/off. The 6 outlet version runs for around $60 US. In my
latest setup, the power bar switches are behind a desk and a pain to reach,
so I splurged on a Furman power sequencer with remote (PS-8R). I now have an
indicator light and a little toggle switch on the desk front which brings my
system to life in predetermined stages, and does the reverse when powering down.

Hope that helps

Nate
=========================================================================
Date:         Sun, 17 Nov 1996 18:36:20 -0700
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Dixon <digizine2@ZEUS.OANET.COM>
Subject:      Re: protecting our investment
In-Reply-To:  <1.5.4.16.19961115170545.09bf319e@popd.netcruiser>

Wow... I am afraid... thank yo for your informative email.... as you may
have read, I've been pretty negligent with my rig.... should I be worried?
I mean, in over 10 years I have not had a SINGLE problem to speak of, and
I have one major power bar going to everything (35 devices aprox.), this
includes 3 computers, keys, samplers, and sound modules.

Thanks a lot,

Dixon Christie, Editor/Publisher - Global Publishing
________________________________________________________________________
=========================================================================
Date:         Sun, 17 Nov 1996 18:53:51 -0800
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Tony Cappellini <newshirt@BEST.COM>
Subject:      Help with Peavey PC1600
Comments: To: synth-l@american.edu

Apparently I have run out of memory on my PC1600, even though the Utility display tells me I have 5K left.

Does  anybody know how to remove unused presets or free up memory ?

Page 14 of the manual references this, but does not describe how to do this.

Thanks

Tony
=========================================================================
Date:         Sun, 17 Nov 1996 22:21:47 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Bruce Edwards <LkArm@AOL.COM>
Subject:      Re: WAV->MIDI Conversions for Piano

>->Robbie Rhodes wrote in MMD 95.11.01 (which was "Automatic Music Digest"):
>->>
>->> Artis's desire is rather thought-provoking.  She is currently editing
>->> the set of 12 piano rolls recorded in 1923 by Jelly Roll Morton, and
adding
>->> realistic velocities/expression in preparation for playback on a MIDI
>->> solenoid reproducing piano.

This does not pertain directly to the original request, but after reading
through the
responses I thought I might place an inquiry.

The inquiry length ranges from telegram to novel -- wrote the the novel and
hopefully
trimmed it to just over telegram length.  The gist: if you divide the audio
signal into
"driver" & "resonator" components; I am looking for some way to abstract the
"dynamics"
from the resonator of signal 'A' and apply that to driver of signal 'B'.

A somewhat static comparison: to remove the "focus" of a snapshot, leave the
"background" largely intact and introduce a second object for the focus.  I
need to do this
with "*.WAV" files of several seconds duration.

Any suggestions pointing me in the direction of literature etc. would be
appreciated.

Thanks,
B. Edwards
=========================================================================
Date:         Mon, 18 Nov 1996 10:22:24 -0000
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Jordi Coloma <jorcol@HOTMAIL.COM>
Subject:      Introduction and arpeggiators

Hi all!
  Well, this is my first mail to this mailing list. I suppose I should
introduce myself. My name is Jordi, I am a 20-years-old economics student, that
lives in Spain. I don't have too much to write about my gear: a Roland JV-80
hooked to a PC (386 DX!!!) through a Sound Blaster 16. Yes, I don't own any
analog nor a decent synth, but my wallet is very empty! :)  About my music:
well, I didn't take music  nor piano lessons, so all I know I have learned it
by myself (but believe me it's hard to compose music by this way!).

  And now, the questions. I'm very interested in the arpeggiators stuff. I know
that they were used mainly in the seventies, when sequencers were not as
sofisticated as they are now. What I would like to know is what exactly and
arpeggiator is and what a programmable one can do (can it do more things about
the typical up or down arpeggio sequence?). Moreover I have heard of something
called RPS, but don't know what it is. Which is the difference between
arpeggiator and RPS? Does anybody could tell me some examples of use of
arpeggiators and RPS in Jean Michel Jarre's discography? (that's for having a
point of reference).

  Many thanks in advance. (Sorry for my poor English)

  Jordi Coloma   jorcol@hotmail.com


---------------------------------------------------------
Get Your *Web-Based* Free Email at http://www.hotmail.com
---------------------------------------------------------
=========================================================================
Date:         Mon, 18 Nov 1996 09:59:38 -0500
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:      What about using computer-grade data tapes in your DAT

             machine?

I got a Tascam DA-20.
I put it in a rig and I took it to the gig.

Every weekend I go through 4 more 2-hour DAT cassettes purchased at
inflated prices from music stores in my area.

Then I'm walking through a computer mega-store getting a
new battery pack for my wife's Mac when I spot'em in isle 9 near the
checkout counter ... 4mm  Digital Data Cartridges that look exactly like
DAT tapes, except of course they're two thirds the price.

Did they work? I did a 5 minute test- yes. I did another 5 minute test- yes.
I still haven't taped anything serious on the cheaper tapes yet.

I call the Tascam hotline and recount my story. The official Tascam
response was that they don't recommend computer grade data
cartridges because the "shell" is a slightly different shape.

Questions:

Anybody ever try this?
Ever encounter any problems?
What difference would the shell make?
=========================================================================
Date:         Mon, 18 Nov 1996 12:16:45 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Decima Panitch <dpanitch@MAILSERVER30.DISTRICT30.K12.IL.US>
Subject:      please unsubscribe me

please take me off the list
Decima Panitch
e-mail address: dpanitch@mailserver30.district30.k12.il.us

"In times of change, learners inherit the earth, while the learned find
themselves beautifully equipped to deal with a world that no longer
exists."
                                                                Eric Hoffer


Maple School
District #30
2370 Shermer Road
Northbrook IL 60062
847-272-0964
=========================================================================
Date:         Mon, 18 Nov 1996 10:28:46 -0800
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: What about using computer-grade data tapes in your DAT

Hi All,
    The official hype from the tape manufactors was always that the
tape was thinner and formatted differently in computer grade data
tapes.
    I buy my dats by the box from a tape duplicating and cd making
place, often half of retail price, so I have never tried any computer
grade data tapes.
    The shell is supposed to provide better tape transport, so the tape
doesnt strech, break, jam, or the shell doesnt break. It used to be on
the very cheapest tapes, one could pry the shell open just with ones
fingers.
    Check with the maker of your dat machine.
    Happy Dat
    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:         Mon, 18 Nov 1996 11:36:39 -0800
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: What about using computer-grade data tapes in your DAT
In-Reply-To:  <s2903486.096@smtpgate.read.tasc.com> from "Robert M. Sanders" at
              Nov 18, 96 09:59:38 am

Robert M. Sanders writes--
>Subject:      What about using computer-grade data tapes in your DAT
>To: Multiple recipients of list EMUSIC-L <EMUSIC-L@AMERICAN.EDU>
>
>             machine?

Yo, man, try getting into the message body before you type. :)

>Every weekend I go through 4 more 2-hour DAT cassettes purchased at
>inflated prices from music stores in my area.
>
>Then I'm walking through a computer mega-store getting a
>new battery pack for my wife's Mac when I spot'em in isle 9 near the
>checkout counter ... 4mm  Digital Data Cartridges that look exactly like
>DAT tapes, except of course they're two thirds the price.
>
>Did they work? I did a 5 minute test- yes. I did another 5 minute test- yes.
>I still haven't taped anything serious on the cheaper tapes yet.
>
>I call the Tascam hotline and recount my story. The official Tascam
>response was that they don't recommend computer grade data
>cartridges because the "shell" is a slightly different shape.
>
>Questions:
>
>Anybody ever try this?
>Ever encounter any problems?
>What difference would the shell make?

I have used nothing but computer grade data tapes in my DA-30 for years
and years. No dropouts, no lost music, no badness on the machine, and
a catalog of nine albums out the door, most of which were mastered on
those tapes. Some purists say I'm killing my machine. Pffft.

BTW, even computer store prices are too high. If you're paying more than
$5 a tape for 2-hour DATs, you're paying too much.

mike



--

mike metlay * atomic city |
 =  atomic@netcom.com  =  |
info line: 1-800-924-atom |
cd orders--> po box 81175 |     LX: I emailed God@Heaven.com
pittsburgh, pa 15217-0675 |     Me: Yeah, but what answer did you get?
or via the worldwide web: |     LX: ...none.  hence: irony.
http://pd.net/atomic-city |
or phone _lofty pursuits_ |
toll free: 1-800-548-6724 |
=========================================================================
Date:         Tue, 19 Nov 1996 07:00:38 +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: What about using computer-grade data tapes in your DAT

Hi Robert...

> Then I'm walking through a computer mega-store getting a
> new battery pack for my wife's Mac when I spot'em in isle 9 near the
> checkout counter ... 4mm  Digital Data Cartridges that look exactly like
> DAT tapes, except of course they're two thirds the price.

Check out the dat-heads web site.  There are instructions on how to join
their mailing list, where you might ask the question if you can't find
anything on the site.

http://www.atd.ucar.edu/rdp/dat-heads

Regards, David
musdr@lure.latrobe.edu.au
http://farben.latrobe.edu.au/d_rodger/
=========================================================================
Date:         Tue, 19 Nov 1996 07:49:11 +0100
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Peter Ullrich <ullrich@KAPSCH.CO.AT>
Subject:      Re: What about using computer-grade data tapes in your DAT

>Then I'm walking through a computer mega-store getting a
>new battery pack for my wife's Mac when I spot'em in isle 9 near the
>checkout counter ... 4mm  Digital Data Cartridges that look exactly like
>DAT tapes, except of course they're two thirds the price.
>
>Did they work? I did a 5 minute test- yes. I did another 5 minute test- yes.
>I still haven't taped anything serious on the cheaper tapes yet.
>
>I call the Tascam hotline and recount my story. The official Tascam
>response was that they don't recommend computer grade data
>cartridges because the "shell" is a slightly different shape.
>
>Questions:
>
>Anybody ever try this?

About 50 percents of my DAT-tapes are used computer tapes thrown away by our
company. Data safety is not guaranteed any longer but for music (not as a
master tape but for demos, cd recording for fun) with error correction they
are ok.
And they are normally longer (180 Minutes !!!)

>Ever encounter any problems?

Only one out of 20 tapes was too bas - even for audio purposes...

>What difference would the shell make?

I only found additional holes for tape length identification - my
DAT-recorder does not look for these holes and so it does not matter...

PS: I have HP data-dats - never tried other manufacturers...

Ciao
Peter

        \|/
       (o o)
--oOOO--(_)--OOOo------------------------------------------------------
                   Ing. Peter Ullrich      mailto: ullrich@kapsch.co.at
                   http://www.geocities.com/SiliconValley/Heights/3586/
                   Hardware & Software Developer /  Electronic Musician
   .oooO           KAPSCH AG / SGB2                    Vienna / Austria
   (   )   Oooo.            Traffic Control and Transmission Technology
----\ (----(   )-------------------------------------------------------
     \_)    ) /
           (_/
=========================================================================
Date:         Tue, 19 Nov 1996 16:13:12 EST
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         "william.b.fox" <wbf@ALOFT.MICRO.LUCENT.COM>
Subject:      Re: Introduction and arpeggiators

Jordi Coloma said:
> And now, the questions. I'm very interested in the arpeggiators stuff.
> I know that they were used mainly in the seventies, when sequencers
> were not as sofisticated as they are now. What I would like to know is
> what exactly and arpeggiator is and what a programmable one can do
> (can it do more things about the typical up or down arpeggio
> sequence?). Moreover I have heard of something called RPS, but don't
> know what it is. Which is the difference between arpeggiator and RPS?
> Does anybody could tell me some examples of use of arpeggiators and
> RPS in Jean Michel Jarre's discography? (that's for having a point of
> reference).

An arpeggiator is device/feature/function found in some synthesizers
used to create an ostinato, a repeated pattern of a group of notes
played in sequential order.  Some arpeggiators can only do limited
patterns like up, down, and up-and-down.  Some, if I'm not mistaken,
play the notes in the order in which they're played.  There are some
that can be programmed to take the notes in a different order than their
arrangement from lowest-to-highest pitch.

If you don't have a synth that has an arpeggiator in it, Oberheim makes
the Cyclone, a stand-alone arpeggiator box.  Please don't confuse
arpeggiators with (analog) sequencers.  A sequencer has CV (control
voltage) and gate outputs to control analog synths.  A sequencer can be
used to make ostinatos, too, but are much more flexible.  Doepfer makes
the MAQ 16/3 which is a sequencer that has CV/gate as well as MIDI
outputs.  I hear that it is a wonderful piece; I'd love to try one out
some day.  I'm sorry, I never heard of an RPS.

Bill    BillFox@lucent.com
=========================================================================
Date:         Tue, 19 Nov 1996 20:08:21 -0800
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Tony Cappellini <newshirt@BEST.COM>
Subject:      Matrix 6 Service Manual
Comments: To: analogue@hyperreal.com
Comments: cc: synth-l@american.edu

I've sent about 20+ copies of Matrix 6 docs to people around the world over the apast few years, and somehow  I goofed and sent the original copy of the Matrix 6 Service manual.
Can somebody make me a copy and mail it to me. It's only about 6-8 pages.

Please respond ***privately***


Thanks

Tony
=========================================================================
Date:         Tue, 19 Nov 1996 23:30:55 -0800
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Tony Cappellini <newshirt@BEST.COM>
Subject:      Wanted :Keyboard Controller info
Comments: To: synth-l@american.edu

A friend of mine has a sound module but no keyboard, and is looking for a keyboard to play the sound module.
Can you tell me the names/models of some inexpensive ($200 or less) 61 note or smaller keyboard  controllers ?


Thanks

Tony
=========================================================================
Date:         Wed, 20 Nov 1996 01:45:04 -0800
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Robby D <mcm@LOOP.COM>
Subject:      Hot Alternative Band

Announcing the arrival of LA's hottest new Alternative Rock band:

                            "ToolBox"

A searing blend of electric and acoustic guitars coupled with raw punk
rhythms.  Their new CD entitled "On The Rock" contains 13 of the most Heart
Pumping, Pud Pounding Power Pop Rock ever heard.  For more info, visit our
website at:

                         www.loop.com/~mcm

or send email to:

                          mcm@loop.com

Thanks
Robby D
=========================================================================
Date:         Wed, 20 Nov 1996 09:59:14 -0800
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Ken Dood <twodoods@EROLS.COM>
Subject:      Re: Wanted :Keyboard Controller info

Tony Cappellini wrote:

> Can you tell me the names/models of some inexpensive ($200 or less) 61 note or smaller keyboard  controllers ?

Under $200 with 61 keys may be a stretch unless you can find a used one, but if you can
go with only 49 keys, you might check out the Quickshot MIDI Composer.  To compensate
for for its shorter keyboard it has a switch to shift the notes up or down an octave.
The keys themselves are velocity sensitive and full-sized.  It also has pitch bend and
mod wheels and a data-entry slider.  It can be had here in the D.C. area with an an AC
adapter, sustain pedal and Cakewalk Home Studio software for $119.

--
Ken Dood
twodoods@erols.com
=========================================================================
Date:         Wed, 20 Nov 1996 18:28:17 +0200
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Maksim Hohlov <a960792@VA.TTU.EE>
Subject:      Re: Wanted :Keyboard Controller info

I'am sorry, but I do not know anything about stuff you want.
Max.
=========================================================================
Date:         Wed, 20 Nov 1996 11:54:12 EST
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         "Karen N. Rambharose" <H16JJ@CUNYVM.CUNY.EDU>
Subject:      jazz?

please tell me exactly what is jazz and its origin. thanks in advance.

KR
=========================================================================
Date:         Wed, 20 Nov 1996 12:23:20 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Joe McMahon <mcmahon@CLARK.NET>
Subject:      Re: Hot Alternative Band
In-Reply-To:  <199611200945.BAA23590@patty.loop.net> from "Robby D" at Nov 20,
              96 01:45:04 am

>
> Announcing the arrival of LA's hottest new Alternative Rock band:
>
Robby - we're interested if you want to tell us something about the band -
in particular, what interesting electronic directions they're going in,
if any.

If none, this is not the appropriate list. Your press release (I can't in
fairness call it anything else) seems to indicate that this is an
"alternative" - ergo heavy on the guitars, forget the keyboards - band.

If I'm wrong, fill us in on the electronic aspects. If I'm right, this
was an inappropriate post for this list.

 --- Joe M.
=========================================================================
Date:         Wed, 20 Nov 1996 12:28:18 -0500
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: jazz

What is Jazz?  To quote Dizzy Gillespie (or was it Louis Armstrong?):

        "If ya gotta ask, you ain't never gonna know."

__
Ben Cox                                 cox@transarc.com
=========================================================================
Date:         Wed, 20 Nov 1996 12:30:25 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Joe McMahon <mcmahon@CLARK.NET>
Subject:      Re: jazz?
In-Reply-To:  <199611201655.LAA31808@jericho.american.edu> from "Karen N.
              Rambharose" at Nov 20, 96 11:54:12 am

>
> please tell me exactly what is jazz and its origin. thanks in advance.
>
> KR
>
I'm not enough of a music historian to adequately answer a question so
broad as this. I can, however, suggest the following online resources:

Go to infoseek (www2.infoseek.com) and enter the question "what is jazz, its
history, and its origins" in the blank. You will get a number of
useful hits.

You'll know better than I what is useful to you and what is not.

 --- Joe M.
=========================================================================
Date:         Wed, 20 Nov 1996 18:07:49 GMT
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Christian Roth <croth@AUDIOPHILE.COM>
Organization: Christian Roth - film + musik -- private site
Subject:      Re: What about using computer-grade data tapes in your DAT
In-Reply-To:  <1.5.4.16.19961119074904.3a873f60@rauris>

On Tue, 19 Nov 1996 07:49:11 +0100, Peter Ullrich <ullrich@KAPSCH.CO.AT> =
wrote:

>About 50 percents of my DAT-tapes are used computer tapes thrown away by=
 our
>company. Data safety is not guaranteed any longer but for music (not as =
a
>master tape but for demos, cd recording for fun) with error correction =
they
>are ok.
>And they are normally longer (180 Minutes !!!)
>>Ever encounter any problems?


my computer retailer said data dats would have "harder" coating and =
therefore
could damage an audio dat machine's head (and vice versa). Is this =
nonsense?

btw, hi to peter.. nice to see some other austrian here ;)

bye,
chris
---
        Christian Roth                   =20
                                   =20
        film + musik, Austria                     =20
        croth@audiophile.com
=========================================================================
Date:         Wed, 20 Nov 1996 10:56:18 -0000
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         jun kim <freejun@INTERGATE.BC.CA>
Subject:      Re: Wanted :Keyboard Controller info

>Subject:     Wanted :Keyboard Controller info
>Sent:        1996.11.20 7:29 AM
>Received:    1996.11.20 10:41 AM
>From:        Tony Cappellini, newshirt@BEST.COM
>Reply-To:    Electronic Music Discussion List, EMUSIC-L@AMERICAN.EDU
>To:          Multiple recipients of list EMUSIC-L, EMUSIC-L@AMERICAN.EDU
>
>A friend of mine has a sound module but no keyboard, and is looking for a
>keyboard to play the sound module.
>Can you tell me the names/models of some inexpensive ($200 or less) 61
>note or smaller keyboard  controllers ?
>
>
>Thanks
>
>Tony

I don't know 61 keys that you can buy just 200 bucks, but as a 49 key,
you should
take a look PC-180 by Roland.
It might be perfect for you. If you go around, you'll find cheaper one
than expected.

enjoy it :-)
=========================================================================
Date:         Wed, 20 Nov 1996 15:15:35 -0800
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: jazz?
In-Reply-To:  <199611201655.LAA31808@jericho.american.edu> from "Karen N.
              Rambharose" at Nov 20, 96 11:54:12 am

Karen N. Rambharose writes--
>
>please tell me exactly what is jazz and its origin. thanks in advance.

Jazz is a style of music. It originated in many different places from
many different sources, it comes in many different flavors, and it is
still evolving, despite the best efforts of its supposedly loving
devotees to freeze it in amber forever, thereby killing it.

Flip fantasia,

mike
--

mike metlay * atomic city |
 =  atomic@netcom.com  =  |
info line: 1-800-924-atom |
cd orders--> po box 81175 |     LX: I emailed God@Heaven.com
pittsburgh, pa 15217-0675 |     Me: Yeah, but what answer did you get?
or via the worldwide web: |     LX: ...none.  hence: irony.
http://pd.net/atomic-city |
or phone _lofty pursuits_ |
toll free: 1-800-548-6724 |
=========================================================================
Date:         Wed, 20 Nov 1996 23:10:22 +0000
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Nick Rothwell <nick@CASSIEL.COM>
Subject:      Re: What about using computer-grade data tapes in your DAT

>BTW, even computer store prices are too high. If you're paying more than
>$5 a tape for 2-hour DATs, you're paying too much.

Unless you're not in the US, when $10 + tax is a fair price.

         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, 20 Nov 1996 15:42:12 -0800
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: Introduction and arpeggiators
In-Reply-To:  <19961118102224.9482.qmail@hotmail.com> from "Jordi Coloma" at
              Nov 18, 96 10:22:24 am

Jordi, allow me to add a few lines to Bill Fox's good start:

Jordi Coloma writes--
>
>  And now, the questions. I'm very interested in the arpeggiators stuff. I know
>that they were used mainly in the seventies, when sequencers were not as
>sofisticated as they are now. What I would like to know is what exactly and
>arpeggiator is and what a programmable one can do (can it do more things about
>the typical up or down arpeggio sequence?). Moreover I have heard of something
>called RPS, but don't know what it is. Which is the difference between
>arpeggiator and RPS? Does anybody could tell me some examples of use of
>arpeggiators and RPS in Jean Michel Jarre's discography? (that's for having a
>point of reference).

Arpeggiators were best-known in the 1970s but certainly didn't disappear
after that; they're making a big comeback right now, in many of the new
'retro' and 'lead' synthesizers, like the Korg Prophecy, Waldorf Pulse,
and Clavia Nord Lead.

An arpeggiator is a device usually built into a synthesizer. it requires:

- a set of musical notes (usually a chord held on a keyboard)
- a timing source (an internal clock or MIDI clocks or voltage pulses)
- a rule for playing notes (in the arpeggiator's programming)

In the basic form, when you hold a chord, the arpeggiator plays back
those notes in time with the timing sequence, in an order given by the
program.  The earliest arpeggiators used an internal clock with a rate
set by a knob or a clock pulse input (one pulse = one step). If you
held a chord like a C major, C+E+G, the arpeggiator would play
C,E,G,E,C,E,G...or C,E,G,G,E,C,C...  These two types of up-and-down
ordering were nicknamed "Roland style" and "Korg style" after the
keyboards that used them. In addition, you could have the arpeggio
run up and down more than one octave.

There are other orderings possible:

Up (C,E,G,C,E,G...)
Down (G,E,C,G,E,C...)
Random (C,E,C,G,G,E,C,C,G,E,C,G,E...)

Later on, as digital synthesizers got cheaper and more powerful,
arpeggiators (which fell out of favor in the 1980s but didn't
disappear completely) developed more features: they could play
notes in the order you played them, or backwards, they could
repeat notes, add rests, have subtle (or drastic) rhythm shifts,
and so on.

Nowadays, many arpeggiators have the ability to remember small
sequences of notes and play them back in various ways. RPS is one
form of this, that appears on Roland keyboards-- it's not exactly
an arpeggiator, but more of a phrase recorder. Other arpeggiators,
like the Cyclone, can separate and mutate note data vs. rhythm
data for some pretty cool effects. Of the modern arpeggiators, my
current favorite for wide range of abilities with the fewest cute
but impractical toys is the Prophecy's (though I have yet to try
the Pulse).

I am a massive arpeggiator fan. I've owned or recorded with at least
twelve of them, and currently have two: my Prophecy's and my Cyclone.
The Cyclone is a rarity: standalone arpeggiators are actually very
hard to build, because they must input all of the data that you take
for granted when you play a synthesizer.

As for Jean-Michel Jarre's work, which I know very well, I could say
that almost any time you hear a rapidly repeating sequence of notes,
it is either an arpeggiator or his matrisequencer (a special sequencer
that has memorized notes but can vary its memory in a lot of ways).

>  Many thanks in advance. (Sorry for my poor English)

Not at all. We have many non-English-speakers here, and it's considered
very rude to make fun of someone whose English isn't perfect.

mike

--

mike metlay * atomic city |
 =  atomic@netcom.com  =  |
info line: 1-800-924-atom |
cd orders--> po box 81175 |     LX: I emailed God@Heaven.com
pittsburgh, pa 15217-0675 |     Me: Yeah, but what answer did you get?
or via the worldwide web: |     LX: ...none.  hence: irony.
http://pd.net/atomic-city |
or phone _lofty pursuits_ |
toll free: 1-800-548-6724 |

