issue24

EMUSIC-L Digest                                      Volume 61, Issue 24

This issue's topics:
	
	(untitled)
	Being Born With It (Re: keyboard teacher) (2 messages)
	Charles Dodge email
	Free Info
	HELP
	In Film: what is ADR? (3 messages)
	Looking for Matta
	MUSIC OF ROBERT CEELY (2 messages)
	Opcode's email address...
	random questions (2 messages)
	Random Questions :  R E S P O N S E
	Roland Phone Number
	Some CD-related questions
	Sorry to ask, but .   .   . (2 messages)
	Syllabus for elec. music class (3 messages)
	THE UNIVERSE (3 messages)
	Tim Souster, Charles Dodge
	used band instruments
	WARP (record label) address wanted (3 messages)
	Yamaha FM-synths out of production? (2 messages)

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------------------------------------------------------------------------
Date:         Thu, 10 Feb 1994 10:12:17 +0000
From:         Nick Rothwell 
Subject:      


FNELSON@ocvaxa.cc.oberlin.edu writes:

>Tk9USUNFIE9GIEZBQ1VMVFkgVkFDQU5DWQ0KSU4gRUxFQ1RST05JQyBBTkQgQ09N
>UFVURVIgTVVTSUMNCg0KVGhlIENvbnNlcnZhdG9yeSBvZiBNdXNpYyBhdCBPYmVy
>bGluIENvbGxlZ2UgaW52aXRlcyANCmFwcGxpY2F0aW9ucyBmb3IgYSBub24tY29u
>...

Hmm, obviously an algorithmic composition of some kind, but it's come out
in ASCII rather than audio. Never mind, I can upload it anyway ...

        ["...KlangKlangKlang..."]

I love the melancholy resolution of the second melody in the reprise.
Really touching.


                        Nick Rothwell   |   cassiel@cassiel.demon.co.uk
     CASSIEL Contemporary Music/Dance   |   cassiel@cix.compulink.co.uk

------------------------------
Date:         Thu, 3 Feb 1994 11:42:46 +0000
From:         Nick Rothwell 
Subject:      Re: Being Born With It (Re: keyboard teacher)

>What it comes down to is it's easier for people to call hard work and
>determination "talent" and that gives them a way out.  "Oh, I can't do that,
>I don't have that kind of talent."  What they don't have is that kind of
>determination and focus.

I'll go along with that.

One could argue, though, that the "focus" (and/or vision, whatever)
requires a certain something...


                        Nick Rothwell   |   cassiel@cassiel.demon.co.uk
     CASSIEL Contemporary Music/Dance   |   cassiel@cix.compulink.co.uk

------------------------------
Date:         Fri, 4 Feb 1994 17:59:33 +0100
From:         "K.9 Kai Niggemann" 
Subject:      Re: Being Born With It (Re: keyboard teacher)

>>What it comes down to is it's easier for people to call hard work and
>>determination "talent" and that gives them a way out.  "Oh, I can't do tha=
t,
>>I don't have that kind of talent."  What they don't have is that kind of
>>determination and focus.
>
>I'll go along with that.
>
>One could argue, though, that the "focus" (and/or vision, whatever)
>requires a certain something...

How about money and time?

Greetings,

Canine.
--
        "On the net, no-one can tell you're a dog..."
Canine aka Kai Niggemann    |      talk
Administrator of INTERZONE  -the smart BBS (+49-234-58 29 56)|  - action
        Part of MacNet(c), FirstClass=81 Network in Germany    | _________
                                                                       0

------------------------------
Date:         Fri, 11 Feb 1994 00:21:00 GMT-0500
From:         JASON VANTOMME 
Subject:      Charles Dodge email

I think Charles Dodge is on a one year stint at Dartmouth College in
New Hampshire.  I did a 'finger' and turned up:

        Charles.Dodge@dartmouth.edu

so it seems as though he is in fact there.


-----------
Jason D. Vantomme
Music Technology Area,  Faculty of Music
McGill University,  Montreal, PQ  CANADA
email:   vantomme@music.mcgill.ca

------------------------------
Date:         Mon, 14 Feb 1994 19:24:34 -0500
From:         "Alan S. Feinstein" 
Subject:      Free Info

U.S. & Canadian members are welcomed to write to me
for a free copy of my newsletter.  Write: ASF, 37 Alhambra Cir.,
Dept. Emu, Cranston, RI  02905

------------------------------
Date:         Fri, 25 Feb 1994 05:22:21 LCL
From:         Doug Ramsay 
Subject:      HELP

A friend has lent me this MIDI synchronizer - but w/o the manual. I've never
used one before. Would someone who's familiar with it be so kind as to e-mail
me with some general operating instructions? I'll be using it with a Tascam
424.
Thanks in advance!

Peace.

Doug

------------------------------
Date:         Tue, 22 Feb 1994 16:31:24 PST
From:         Peter Uchytil 
Subject:      In Film: what is ADR?

This isn't quite the appropriate place to ask this question, but I bet
someone knows.  In the credits of a film there are several "ADR" people.
They are usually listed right around the Foleys, so I assume ADR has
something to do with the sound recording of the film, but I really have no
idea.  Anyone got a definition?

Thanks.

Pete
--
Peter Uchytil    *     peter@kentrox.com    *    ADC Kentrox - Portland,OR
----------------------------------------------------------------------------
"Every truly great accomplishment is at first impossible" - fortune cookie

------------------------------
Date:         Tue, 22 Feb 1994 22:34:56 -0500
From:         Ronald Beal 
Subject:      Re: In Film: what is ADR?

ADR, at least according to the gospel of the recording industry prof.s at
MTSU is automatic dialouge recording.    it is basicly the process of
rerecording dialouge.   most common uses are to replace bad audio, or to add
and change lines when an actor isn't facing the camera (so you can't see that
his/her lips aren't in synch.    Narrative type recording is also usually done
at this stage.



                                        Atilla

------------------------------
Date:         Thu, 24 Feb 1994 00:48:13 GMT
From:         Jason S Hoffman 
Subject:      Re: In Film: what is ADR?

In <01H97APPM5TUBOTMX3@ACAD1.MTSU.EDU> Ronald Beal 
writes:

>ADR, at least according to the gospel of the recording industry prof.s at
>MTSU is automatic dialouge recording.    it is basicly the process of
>rerecording dialouge.   most common uses are to replace bad audio, or to add
>and change lines when an actor isn't facing the camera (so you can't see that
>his/her lips aren't in synch.    Narrative type recording is also usually done
>at this stage.



>                                        Atilla

No biggy.  I had always been told it was Automatic Dialogue REPLACEMENT, but
that's neither here nor there.  This is also referred to as looping (in tv/
film) and in some drastically stretched cases, Foley (which usually is a sound
effects recording).

-/\/\< /\/\/-\>< |
MC MAX 1
--
Jason S Hoffman
hirez@iastate.edu

------------------------------
Date:         Fri, 11 Feb 1994 14:04:10 +0000
From:         Paul Kriwaczek 
Subject:      Looking for Matta

Does anybody know an artist/musician by the name of Matta? The son of
the famous surrealist painter Roberto Sebastian Echauren Matta? I met
Matta senior in 1989, when he showed some videotape works which were
accompanied by music created by his son. I am very keen to get in touch
with the father - if he is still alive. Matta junior would be able to
help, if I could find a contact number for him.

Thanks.

--
Paul Kriwaczek at Earth Images Associates

------------------------------
Date:         Mon, 14 Feb 1994 12:27:03 -0500
From:         Bob Ceely 
Subject:      MUSIC OF ROBERT CEELY

WHAT DO YOU THINK OF THIS MUSIC?I THINK ITS MASTERFUL!

------------------------------
Date:         Wed, 16 Feb 1994 08:09:06 -0800
From:         metlay 
Subject:      Re: MUSIC OF ROBERT CEELY

Bob Ceely writes of the music of Robert Ceely:

>WHAT DO YOU THINK OF THIS MUSIC?I THINK ITS MASTERFUL!

I THINK TEAM METLAY IS BETTER,AND WE TAKE THE CAPS LOCK OFF. :) :)

--
mike metlay * atomic city * box 81175 pgh pa 15217-0675 * metlay@netcom.com
---------------------------------------------------------------------------
"Connellion to the nutput jaek." (o.c.r. attempting to grok xpander manual)

------------------------------
Date:         Fri, 18 Feb 1994 13:45:31 -0600
From:         Arne Claassen ISE 
Subject:      Opcode's email address...

I misplaced the email address for opcode. opcode@something.other... anyone know?
Thanks...
(dreaming about a PowerPC for HD recording)
--
Arne F. Claassen               |"In cows we trust    | EPS Classic * D4
   | E pluribus Moo"     | Juno 106
            | MTV for eMpty minds | Mac Centris 650

------------------------------
Date:         Tue, 15 Feb 1994 19:10:08 GMT
From:         Patrick T Baker 
Subject:      random questions

I'm taking a class and need to answer a few questions about music, and
particularly electronic music.  I was hoping that someone could email
me some answers to these questions.
Here are a few questions about MIDI.

What is MIDI?  Who invented it?  It has a funny bitrate, doesn't it? (Why?!)
How many different species of music synthesizers are there?
How many synthesizers were sold worldwide last year?
What is the cheapest MIDI synthesizer?
What synthesizer did Ferris Bueller use on his day off?
What was its sampling rate?
What is SMPTE?

                                                Patrick Baker
                                                pbaker@athena.mit.edu

------------------------------
Date:         Tue, 15 Feb 1994 23:18:26 PST
From:         Mike Friesen 
Subject:      Re: random questions

Patrick T Baker asked :
>What is MIDI?  Who invented it?  It has a funny bitrate, doesn't it? (Why?!)
>How many different species of music synthesizers are there?
>How many synthesizers were sold worldwide last year?
>What is the cheapest MIDI synthesizer?
>What synthesizer did Ferris Bueller use on his day off?
>What was its sampling rate?
>What is SMPTE?

I'll allow the more technically savvy netsurfers to answer the
electron-based questions. I'm pretty sure that Ferris Bueller was using an
E-mu Emulator II sampler. If memory serves correctly (I may be wrong here)
it topped out at 32kHz for a sampling rate. I believe, also, that the thing
stored data in an 8-bit compressed format. It stored data on 5.25" disks
which were, at the time of the instrument's creation, limited to 360kbytes.

One might, if one were truly cynical, contemplate the possibility that the
sounds which Matthew Broderick 'triggered' from the keyboard were, in fact,
not from the instrument itself -- but rather flown in by the sound effects
person using something like a Synclavier. Or maybe it was Memorex...


Michael Friesen              North Peace Secondary School
          Fort St. John,  British Columbia, Canada
"To strive, to seek, to find, and not to yeild."-Tennyson
*********************************************************

------------------------------
Date:         Fri, 4 Jan 1980 18:37:50 CST
From:         "Steven T. Awiszus" 
Subject:      Random Questions :  R E S P O N S E

To Pat Baker:

        I can try to answer some of your questions.

1)  What's MIDI?

        MIDI stands for Musical Instrument Digital Interface.  It was created(mo
stly)
 by Sequential Circuits
in the late 70's and was adopted by the International MIDI
Association and ratified in 1983.  Since then it has become
one of the most important aspects of electronic music allowing users to
 interface(connect) and control their musical equipment.  The recording/song
 writing industry has
been radically changed by MIDI(some say for the worse) I say for the better as
 far as audio quality and production
speed is concerned.
        MIDI has a somewhat strange and in conputer terms
somewhat slow bit rate of 31,250 bits/second.  This rate was derived from a
 convienient break down of an 8MHz CPU
clock rate.  Some say this rate is too slow, I say it's not.  I've been using
 MIDI quite extensively now for about
8 years.  I am an Electrical/Computer Engineer and I have
designed and built MIDI devices.  For those who say MIDI is
too slow I say thin out your controller information and if
that does'nt do it DEMULTIPLEX you data lines!  MARK OF THE
UNICORN has made a few excellent DEMULTIPLEXERS.  I believe
they call these the 'TIME PIECES' or something like that.
        MIDI has 16 channels built into its architecture
(actually MIDI is an 8-bit language) and the 'TIME PIECE'
modules extend MIDI's channel capacity up to 512 or more
discreet channels.

        If you need more info on MIDI I have written and
delivered a presentation at my university on this subject,
maybe I could give it to you.

2) What is SMPTE?

        SMPTE is the acronym for Society of Motion Picture
and Television Engineers.  It is a discteet digital time
code used in the television and motion picture industry to
synchronize film/tape and audio.  SMPTE is also used to drive MIDI sequencers
 connected to networks of synths and effects processors while mixing and writing
 soundtracks and the like.  SMPTE has a format something like:

        HOURS/MINUTES/SECONDS/FRAMES/SUB-FRAMES

This may not be exact so check your resources first!

        That's all I have.  Good luck!

                        Steve Awiszus
                        Electrical/Recording Engineer

------------------------------
Date:         Thu, 17 Feb 1994 18:51:46 CST
From:         awiszus@SOLAR.EE.STCLOUD.MSUS.EDU
Subject:      Roland Phone Number

Kyle,
        Rolands U.S. telephone number is:

                (213) 685-5141

        Ask for an owners manual and they will switch you
to the proper line.
                                Have a good one!

                        Steve Awiszus
                        Electrical/Recording Engineer
                        System X Productions

------------------------------
Date:         Tue, 15 Feb 1994 18:57:59 GMT
From:         Herschel A Gelman 
Subject:      Some CD-related questions

I just (finally?) got myself a CD player.  

Two questions springing from this:

(1)  The specifications list the wow and flutter as being less than the
measurable limit.  Is this just to make it sound more impressive?  I would
think that a CD wouldn't be able to have *any* wow and flutter, by the very
nature of digital playback;  the only possible wow and flutter on a CD would
seem to be that introduced from the original master recording if it was analog.
It would seem that a CD player would therefore have to have zero wow/flutter,
not just something "below measurable limits."

(Actually, I suppose that the company would have to go out of their way to get
wow and flutter from a CD -- introduce specialized pitch-shifting circuitry
and stuff....  (-:  )

(d)  I've found that the BMG music club has a couple of CDs I'd be interested
in getting.  Yet there's this persistant net.rumor that CD clubs sell inferior-
quality CDs.  Can anyone on here enlighten me about this?  I managed to get a
copy of a BMG CD which was also available in the library (as a non-club disc)
and couldn't hear any difference (though both had surprisingly large amounts of
hiss in sections...)  Is this alleged inferiority a physical problem with the
disc, then?  Or is there no basis for this whatsoever?

(XIII)  Oops, three questions.  The CD player came with a cable to hook it up
to a receiver/tape deck of the same brand.  Which happens to be a very useful
cable, having a mini-headphone jack on both ends.  So I hooked my box up to the
mic input of my Mac to do direct sampling.  Which led to problems.  I'm
assuming that the levels from a headphone-out are much higher than the Mac is
expecting on a mic input, right?  Is there any (easy) way around this?  So
that I can, say, re-sample my startup sound at a better quality?  I need my
"Duh, hello superior creature" when I turn on the computer...  :)


--
---------------- Herschel Gelman ----------- hagst3+@pitt.edu -----------------

------------------------------
Date:         Tue, 1 Feb 1994 03:09:29 -0400
From:         "Nicholas P. Traenkner" 
Subject:      Re: Sorry to ask, but .   .   .

>If you are really interested you should read up on fractals...

I have heard of something called 'fractal music', but have no idea what
it is, nor what it sounds like. Help on this?

Nick Traenkner
engxt343@ksuvxa.kent.edu

------------------------------
Date:         Tue, 1 Feb 1994 07:34:48 +0000
From:         Nick Rothwell 
Subject:      Re: Sorry to ask, but .   .   .

>If you are really interested you should read up on fractals, and infinite
>number theory. Yes there is more then one infinite number.

An infinite number of them, in fact. The question is: *which* infinite number?


                        Nick Rothwell   |   cassiel@cassiel.demon.co.uk
     CASSIEL Contemporary Music/Dance   |   cassiel@cix.compulink.co.uk

------------------------------
Date:         Fri, 4 Feb 1994 12:50:05 U
From:         Paul Abel 
Subject:      syllabus for elec.music cla

                       Subject:                               Time:11:39 AM OFFICE MEMO          syllabus for
elec.music class          Date:2/4/94
I am currently teaching a class on general electronic music here at Hillsdale
College, and I have been asked by the music dept to see if I can make this
class two semesters long.  What I am requesting is some input into what you
(All the gurus out there) think is important.
My current syllabus covers the usage of midi, digital recording, miking
techniques, the functions of all the machines etc. just general stuff.  I
have quite a bit to work with, including 4 midi boards (1 is a sampler), a
midi time piece as a controller, mark of the unicorns digital performer with
a gig drive for storage, a yamaha dat deck, a 24 channel board, and basically
two racks worth of patch bays and proccessors, all of which is in a control
room seperate from the recording room.
I do have a syllabus roughed out for the second semester, but I thought it
would be interesting to get input from other sources.  Enclosed is the
syllabus from my first semester.  I am looking for ideas that will get more
detailed and fun then that which I am sending.



<<<<<< Attached TEXT file follows >>>>>>
Electronic Music Production
Music 393C




1-25: Handout, discuss goals, grading etc., Discuss The History of Recording

2-1:  The components (hardware); Wiring all the components;     interaction
between components

2-8:  The components (hardware); Wiring all the components;     interaction
between components cont.

2-15:  Miking techniques..  Placement, and different types of mics      for
different situations.

2-22:  The analog process; how things get recorded onto tape, what      kinds of
tape, how to avoid distortion, and general engineering.

3-1:    Practice recording techniques.


3-8:  Quiz:  Identify equipment, hook up the system properly, and       maybe
explain part of the process of recording.  Remainder of         the period discu
ss
the keyboards and how the synthesizers  work.

3-15:  MIDI (function & form)  How does midi differ from analog and     digital
recording, how do the components work together, and     how do we control it.


3-22:  MIDI cont.  what role does the computer take in the process,     SMPTE's
role in the film and video industry, and different midi         formats.

3-29:  MIDI cont.  Recording with midi, how to manipulate files, how    to
convert files to manuscript, and how to edit in a post record   mode.

4-12:  Quiz over midi. The digital process; how things get recorded,    edited
and  manipulated.  How to avoid distortion etc.

4-19:  The digital process cont.

4-26:  The digital process cont.  advice on final project.

5-3:  Students present their final project.

------------------------------
Date:         Mon, 7 Feb 1994 21:29:09 GMT
From:         Herschel A Gelman 
Subject:      Re: syllabus for elec.music cla

In article <199402041748.MAA22574@merit.edu> paul.abel@AC.HILLSDALE.EDU (Paul
Abel) writes:
>I am currently teaching a class on general electronic music here at Hillsdale
>College, and I have been asked by the music dept to see if I can make this
>class two semesters long.  What I am requesting is some input into what you
>(All the gurus out there) think is important.

[syllabus deleted...]

>From your description, sounds like you're covering a whole lot as it is.  I
took "MUSIC 1441" here at Pitt, which is the introductory emusic course.  We
didn't do nearly as much in a semester as you seem to have planned.  (Of
course, one big reason was that we didn't have a setup of that magnitude).
However, one of the things that made the class worthwhile was the fact that
the recitation involved each student getting 2 hours by themselves in the
studio.  Then the class would often involve people playing whatever they had
done last time, with comments and criticism from the prof and the class.  That
kind of freedom to just mess around was one of the best parts of the class.

I also notice that you spend time covering recording techniques, which is
interesting, since for us it was basically up to the students to experiment by
ourselves and figure everything out.  (The prof never even mentioned what any
of those funky, cryptic buttons on the mixing board did--took me a while to get
the effects processor output to be sent to the tape, instead of just to the
speakers...)

--
---------------- Herschel Gelman ----------- hagst3+@pitt.edu -----------------

------------------------------
Date:         Sat, 12 Feb 1994 18:10:53 -0400
From:         William Eldridge 
Subject:      Re: Syllabus for elec. music class

Paul Abel wrote:

>I am currently teaching a class on general electronic music here at
>Hillsdale College, and I have been asked by the music dept to see if
>I can make this class two semesters long.  What I am requesting is
>some input into what you (All the gurus out there) think is
>important.

I'm a little puzzled about your class. Is this Hillsdale's only course offering
in electronic music? For whom is it intended? The title "Electronic Music
Production" and the contents of your proposed syllabus seem to point toward a
course for budding audio engineers who will be helping music creators realize
projects. If so, I have no suggestions for you.

If, on the other hand, the course could be titled "Introduction to Electronic
Music" or "Composition in the Digital Medium," and especially if it's the only
course offering in the subject area, I would urge you to include history,
aesthetics and analysis.

Electronic and computer music has a (relatively) long and fascinating history. I
think you should impress upon your young students that the lovely toys in your
studio did not spring fully formed from the forehead of Zeus but are the result
of decades of collaboration between composers and engineers in pursuit of a
vision of the future first glimpsed by Busoni and Varese. Even if your students
wish only to learn the skills to mimic the latest commercial music trends, they
should realize that the evolution of the technology they'll be employing was, at
least originally, driven by the needs and dreams of composers of art music.

And those composers have produced a large corpus of work which your students
should confront and come to know, if not to love. Some of those works are
"better" than others. What makes them so? This is an aesthetic question.
Wrestling with it can give young composers a frame of reference in which to
evaluate their own work.

Making that work will require more than knowledge of the equipment -- when they
face that blank page (or blank disk space), it helps if they don't have blank
minds. Intimate acquaintance with the content and form of any of a number of
interesting, well-structured works from the canon will give them something to
imitate, be inspired by or react against. Have them each pick a work from a
short list and write an "analysis" paper. Depending on their background, this
might be merely a simple blow-by-blow prose description of what happens in the
piece, but the close listening will be invaluable. Have them invent a way to
graph the piece against a time-grid. What can they say about the form? What is
the overall shape of the work? Does it seem to fall into sections? If so, how do
they differ? How do they relate to each other? What are the important elements
(sounds, rhythms, gestures, etc.)? Are these developed in an organic way, or
does the piece proceed with different premises? How do all these questions
relate to the most salient aspect of any piece of music: the flow of
psychological state or affect it engenders?

Good luck. I hope your students learn a lot and produce some good music.

                            William Eldridge
                            katzja@hugse1.harvard.edu

------------------------------
Date:         Thu, 24 Feb 1994 13:39:13 GMT
From:         JOEL STERN 
Subject:      THE UNIVERSE

          Bill Fox said:

          >Please let me reccommend a TV show!  "How the Universe
          >Changed; a Personal View by James Burke"...


          Please let me second that recommendation. A great program. On a
          par  with  Jacob Bronowski's 1970's series, "The Ascent of  Man",
          but more savvy  about social evolution. Very humorous too.

          Joel Stern
          stern@mail.loc.gov
          tel:301-588-8061  fax:301-585-7642

------------------------------
Date:         Thu, 24 Feb 1994 14:12:24 -0600
From:         David Arthur 
Subject:      Re: THE UNIVERSE

Mail*Link(r) SMTP               RE>THE UNIVERSE
I live in maryland and I need to know what network, what time, and what day.
D.C.A. in Annapolis

--------------------------------------
Date: 2/24/94 2:04 PM
To: David Arthur
From: Electronic Music Discussion Li Bill Fox said:

          >Please let me reccommend a TV show!  "How the Universe
          >Changed; a Personal View by James Burke"...


          Please let me second that recommendation. A great program. On a
          par  with  Jacob Bronowski's 1970's series, "The Ascent of  Man",
          but more savvy  about social evolution. Very humorous too.

          Joel Stern
          stern@mail.loc.gov
          tel:301-588-8061  fax:301-585-7642

------------------------------
Date:         Thu, 24 Feb 1994 17:05:09 -0500
From:         Joe McMahon 
Subject:      Re: THE UNIVERSE

>          >Please let me reccommend a TV show!  "How the Universe
>          >Changed; a Personal View by James Burke"...

For those who have asked, it usually gets rebroadcast around pledge time,
but I believe you should be able to find it at your local (large) video
store.

 --- Joe M.

------------------------------
Date:         Thu, 10 Feb 1994 13:39:04 +0100
From:         Peer Sitter 
Subject:      Tim Souster, Charles Dodge

Does somebody know the address of the composers Tim Souster and Charles Dodge?
Where they are located now, telephone-number, e-mail??

Thank you
Peer
Universitaet zu Koeln
Musikwissenschaftliches Institut
e-mail: alm05@rs1.rrz.uni-koeln.de
.


--
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Peer Sitter                                              Tel: (0)221-4703802
Universitaet zu Koeln (Cologne)                          Fax: (0)221-4704964
Musikwissenschaftliches Institut          e-mail: alm05@rs1.rrz.uni-koeln.de
Albertus Magnus Platz
D- 50923 Koeln
Germany
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

------------------------------
Date:         Thu, 3 Feb 1994 13:47:21 GMT
From:         Ernie Reece 
Subject:      used band instruments

i'm interested in a list of places to buy used band instruments for high
school bands and individuals looking for professional quality equipment.
email or send list to aberdeen high school band,po drawer 607, aberdeen,ms.
39730 or fax 601-369-0987--thanks

------------------------------
Date:         Wed, 23 Feb 1994 10:38:02 +0100
From:         Sjoerd Bijleveld 
Subject:      WARP-label address wanted

Hi,
 Does anyone know the address of the (ambient, detroit techno, electronic)
musiclabel WARP. I only know it's sited in the UK. They seem the have an
interesting serie of electronic music records out called Artificial
Intelligence.

Thanks

Sjoerd Bijleveld

------------------------------
Date:         Wed, 23 Feb 1994 13:56:54 +0100
From:         Sjoerd Bijleveld 
Subject:      WARP (recordlabel) address wanted

Hi,
 Does anyone know the address of the (ambient, detroit techno, electronic)
recordlabel WARP. I only know the company is sited in the UK. They seem the
have an interesting serie of electronic music records out called Artificial
Intelligence.

Thanks,

Sjoerd Bijleveld

------------------------------
Date:         Wed, 23 Feb 1994 23:46:54 -0800
From:         David Chandler 
Subject:      Re: WARP-label address wanted

On Wed, 23 Feb 1994, Sjoerd Bijleveld wrote:

> Hi,
>  Does anyone know the address of the (ambient, detroit techno, electronic)
> musiclabel WARP. I only know it's sited in the UK. They seem the have an
> interesting serie of electronic music records out called Artificial
> Intelligence.
>
> Thanks
>
> Sjoerd Bijleveld
I seem to recall an e-mail address on one of the earlier 12", I'll look
for it.  That series is very significant, and I expect will eventually be
seen as representitive of the "analog-pride" attitude to come out of the
early 90's electronic ambient music scene (3rd generation? perhaps 2nd
*ambient*?)  I've got them all on original vinyl except the first
compilation.  The music that makes me feel really positive about programming
computers and being in the whole environment...

Black Dog Productions has a bbs...


David Chandler  -  chandler@nethost.multnomah.lib.or.us  (503)241-2949

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Date:         Fri, 18 Feb 1994 17:30:13 GMT
From:         Olav-andreas Marschall 
Subject:      Yamaha FM-synths out of production?

I understood that yamaha produces only one synth with "oldie-fm",
unfortunately I prefer fm to a lot of sample-based synths (not only because
I play wx),
why does yamaha do only put fm into its most expensive synth.
Does FM disappear completeley ? and is replaced by some newer synthesizing
technique, I read about some new modelling-based yamahas?
Anybody who knows about yamahas future intentions ?

------------------------------
Date:         Mon, 21 Feb 1994 13:50:04 GMT
From:         David J Greaves 
Subject:      Yamaha FM-synths out of production?

I have the Yamaha chip catalog and it contains a new synth
chip which can do both FM and PCM from an external ROM at
the same time

David
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