9602d

=========================================================================
Date:         Wed, 21 Feb 1996 10:55:59 +0000
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Tom Jordan 
Subject:      Re: New Curriculum

Leo Lavallee wrote:
>
> We are currently developing a grant proposal for the implementation of a K-12
> Electronic Music Curriculum in our school district.
>
> We are looking at many different technologies including, Computer Based
> Training, Video Conferencing and Multimedia Authoring.  We are interested in
> a variety of software applications including, Direct Instrumental Teaching
> Methods, Theory and Music history Programs and Composition and Sequencing
> Programs.
>
> If you are currently involved in any of these areas as an educator,
> facilitator or an equipment provider we would appreciate any imput you may
> have. We would especially appreciate any Public School K-12  "Technology
> Plans" which include a system wide Electronic Music Curriculum.
>
> Thank you in advance for your help!!
>
> Musically yours,
>
> LLavallee   (http://home.aol.com/LLavallee)

I'm an outside resource to schools in the OH, KY, IN area. I
come in and present an introduction to the world of
electronic music/computer music using a sampler, digital
effects, and a killer sound system - lots of fun, and a
great, positive experience. I always hope to inspire and
encourage more activity in the schools after I'm gone.

I have also designed and purchased equipment for a public
arts facility that offers classes to children and
adults.($30,000 worth of EQ)

I know from my many years of experience that using dedicated
music workstations is a faster, more immediate way to get
started composing and cultivating creativity. Ensoniq
samplers and synths are great; very user friendly. They are
very intuitive. Everytime you or a student decide on a
parameter to edit you get the "oh yeah" of how obvious it
is, and then you understand loads more about how you will do
future editing.

Never the less, Macintosh is a great addition for other
possibilities. Subotnick's Making Music for young kids is
really neat. Just conceptually it takes their minds into
some wonderful levels of understanding. Kids can place birds
on telephone lines to graphically make a melody while the
subtle suggestion of a grand staff is presented! It's a
CD-ROM from Voyager.

Any sequencer program is going to be important for older,
more experienced students. But the programs are extremely
time intensive (read: How can you possibly get anything done
within a school schedule with this thing?) Same goes for
notation programs. I would check out Freestyle and the new
Finale and beware, the more sophisticated the program gets -
the more time it takes to do anything.

If you also have to introduce the computer metaphors, you
are losing creative time that could be used to create
finished pieces on a dedicated workstation. I have had 5th
grade kids producing new age, pop, rock, classical, jazz,
environmental, and very nice abstract pieces. They can
dialog with each other and they have a pretty good
vocabulary to explain what they did.

Let me hear back from you! I'm curious what you learn and
what you decide to do. Oh,and where are you located?

Tom Jordan
Wired for Sound! - computer music for kids
tjordan@iac.net
=========================================================================
Date:         Wed, 21 Feb 1996 09:34:00 -0800
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Peter Mueller 
Subject:      New Text Is Born! (fwd)

---------------------------- Forwarded with Changes ---------------------------
From: peterson@UDel.Edu at @UCSD
Date: 2/20/96 6:54PM
*To: mus-disc@strauss.udel.edu at @UCSD
Subject: New Text Is Born! (fwd)
-------------------------------------------------------------------------------


---------- Forwarded message ----------
Date: Sun, 18 Feb 1996 21:34:09 -0600
From: Peter Webster 

Hi all!

I am sending a note to let you all know that David Williams (Illinois State
University) and I are now proud fathers of a new baby.  Our comprehensive
introduction to music technology text, named "Experiencing Music
Technology", is now reality after nearly four years in the birthing process
(labor pains were great, but looking at it lying on the coffee table makes
us both forget the agony!).

It weighs in at 594 pages, has a nice shinny cover, and was born on
Valentine's Day.  It speakes both Mac and Windows and comes with lots of
pictures, tables and graphes for as all to look at.

Neither one of us are able to send cigars, but we can offer you a web site
to check out a snap shot of the contents:
http://www.orat.ilstu.edu/emtbook/emtbook.html.   This site has a link to
Schirmer/Macmillan in New York (the birthing hospital) for the ordering
details should you want a closer look.

Our sincere thanks to all those in ATMI who helped to make this reality and
both Dave and I look forward to your comments and suggestions for its
nourishment in the future!  We both hope that it lives a long life and
contributes something positive to the world!

Peter and David

Peter Webster
School of Music
Northwestern University
Evanston, IL   60208
email:  pwebster@nwu.edu
=========================================================================
Date:         Wed, 21 Feb 1996 14:05:00 PST
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Dan 
Subject:      Compression

I'm looking for some information on the relative merits of brands, etc of
compression.  If anybody could enlighten as to where to look for what to
look for and what to avoid I would be most grateful.
dant@subpop.com
=========================================================================
Date:         Wed, 21 Feb 1996 20:45:18 -0800
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Gerry Pawluk 
Subject:      Yamaha MU 80/50 vs Roland SC 88

Can anyone give me pros and cons to either / both Yamaha MU 80/50 or the
Roland SC 88 or recommend anything comparable?

Also, any comments on the Roland PC-200MKII keyboard controller.

Thanks in advance.
=========================================================================
Date:         Thu, 22 Feb 1996 13:06:47 +1000
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         David Rodger 
Subject:      Re: Compression

Is that compression for squashing more level onto tape or evening out
vocals?  Or is that compression for saving bandwidth in data storage?

David
musdr@lure.latrobe.edu.au
=========================================================================
Date:         Thu, 22 Feb 1996 09:44:02 GMT
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Jesus Tejada 
Subject:      Re: Compression

>I'm looking for some information on the relative merits of brands, etc of
>compression.  If anybody could enlighten as to where to look for what to
>look for and what to avoid I would be most grateful.
>dant@subpop.com

Hi Dan,
As far as I know there are 3 good compression programs for Mac, which are
my prefered.  I quote it in prelation order:
1.  Compact Pro, a shareware program, which fee shareware I don't know.
Its use it's very simple.  Save both as a normal archive format and as a
autocompressed archive format, which don't need the program in order to
unstuff it.
2.  Stufflt Lite, another shareware program.  It works like Compact Pro.
3.  Disk Doubler is both a menu extension which add a special menu in order
to stuff/unstuff and a program.

Hope this helps.

Jesus Tejada
Professor of Music Tech
Department of Music
University of La Rioja
E-26004 Logrono
Spain
=========================================================================
Date:         Thu, 22 Feb 1996 10:16:11 GMT
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Jesus Tejada 
Subject:      Re: Compression

>Is that compression for squashing more level onto tape or evening out
>vocals?  Or is that compression for saving bandwidth in data storage?
>
>David
>musdr@lure.latrobe.edu.au

Oh, no, David, these programs are data compression computer programs, are
not audio compression programs.
I think Dan's email was ambiguous a bit.  I'm sorry for misunderstanding.

Jesus Tejada
Professor of Music Tech
Department of Music
University of La Rioja
E-26004 Logrono
Spain
=========================================================================
Date:         Thu, 22 Feb 1996 12:31:12 MET-1METDST
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Adrian Chryk 
Organization: ISIS PW
Subject:      Electric Wind Instrument from AKAI
Comments: To: SYNTH-L-request@AMERICAN.EDU

Have you seen one of them ???
How are prices of used gear ???
Are there new models of EWI ???        L  ADRIAN
     I        XCHRYK@WODNIK.iis.pw.edu.pl
=========================================================================
Date:         Thu, 22 Feb 1996 13:01:04 MET-1METDST
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Adrian Chryk 
Organization: ISIS PW
Subject:      Re: Yamaha MU 80/50 vs Roland SC 88

On 21 Feb 96 at 20:45, Gerry Pawluk wrote:

> Can anyone give me pros and cons to either / both Yamaha MU 80/50 or the
> Roland SC 88 or recommend anything comparable?
MU80's got a AD/DA converter, so you can modify audio signal by putting
him into MU80 build-in effect processors.
> Also, any comments on the Roland PC-200MKII keyboard controller.
small,but usefull. Try Yamaha keyboard controllers- it can be better.
> Thanks in advance.
>
        L  ADRIAN
     I        XCHRYK@WODNIK.iis.pw.edu.pl
=========================================================================
Date:         Thu, 22 Feb 1996 11:56:56 GMT
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Jesus Tejada 
Subject:      Re [2]: New Curriculum

>We are currently developing a grant proposal for the implementation of a K-12
>Electronic Music Curriculum in our school district.
>
>We are looking at many different technologies including, Computer Based
>Training, Video Conferencing and Multimedia Authoring.  We are interested in
>a variety of software applications including, Direct Instrumental Teaching
>Methods, Theory and Music history Programs and Composition and Sequencing
>Programs.
>
>If you are currently involved in any of these areas as an educator,
>facilitator or an equipment provider we would appreciate any imput you may
>have. We would especially appreciate any Public School K-12  "Technology
>Plans" which include a system wide Electronic Music Curriculum.
>
>
>Thank you in advance for your help!!
>
>
>Musically yours,
>
>LLavallee   (http://home.aol.com/LLavallee)

Dear Leo,
I am professor of music technology at University of La Rioja in Spain.
First place, I'd like to do some pedagogical remarks about the use of music
technology  in classroom.  I think the use of this kind of tools for music
education is very interesting;  first because it saves a lot of time in
classroom and gives to teachers/proffesors the chance to teach in a more
individualized way.  This last is logic:  if the teacher have more class
time due  he/she has not to play directly an instrument, he/she can give an
individualized music education and controls the alumni' learning
deficiency.  The second advantage in using music technology, under my point
of view, is the preparation of curriculum materials made to our needs, suit
for our childrens'level of skills adquisition in a giving time.  This
implies the use of sequencers and score editors, that is way, the use of
general purpose tools, not specifically educative.
Of course, I can't extend about this topic, but I'd like to have a little
chat via private email with that people who are interested in music
technology and its application in music education.
Respect to programs you may use in classroom, I advise to you:
1. A sequencer program with a clear and simple graphic interface -like
Passport's Trax or another similar-.
2.  A score editor program, not so complicated to trouble your pupils -like
Encore-.
3.  An aural training program like Ars Nova's Practica Musica (indeed a
good program).
Because these programs are cheap and it have a very good relationship
quality/price/pedagogical considerations, I give you these brands, but
another brands can serve to the same goals.
Hope this helps.
With my best wishes.

Jesus Tejada
Professor of Music Tech
Department of Music
University of La Rioja
E-26004 Logrono
Spain
=========================================================================
Date:         Thu, 22 Feb 1996 08:20:09 -0500
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Damien Moody 
Subject:      Re: Compression
In-Reply-To:  

On Thu, 22 Feb 1996, Jesus Tejada wrote:

> >I'm looking for some information on the relative merits of brands, etc of
> >compression.  If anybody could enlighten as to where to look for what to
> >look for and what to avoid I would be most grateful.
> >dant@subpop.com
>
> Hi Dan,
> As far as I know there are 3 good compression programs for Mac, which are
> my prefered.  I quote it in prelation order:
> 1.  Compact Pro, a shareware program, which fee shareware I don't know.
> Its use it's very simple.  Save both as a normal archive format and as a
> autocompressed archive format, which don't need the program in order to
> unstuff it.
> 2.  Stufflt Lite, another shareware program.  It works like Compact Pro.
> 3.  Disk Doubler is both a menu extension which add a special menu in order
> to stuff/unstuff and a program.
>
> Hope this helps.
>
> Jesus Tejada
> Professor of Music Tech
> Department of Music
> University of La Rioja
> E-26004 Logrono
> Spain
>
        I don't know if you might also be looking for IBM compression,
but if so, PKZIP works very well. This is also shareware and is very
lossless.

Damien Moody         dmoody@capaccess.org
=========================================================================
Date:         Thu, 22 Feb 1996 10:00:57 -0500
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Faust is Alone 
Subject:      Re: Compression

With all the "talk" about compression, and things of that nature, I have a
simple question.  I really don't have any knowledge of what equipment of this
type actually does, and so  I was wonder if there was a way; book or other
medium were I can find out just what compression, expanders and limiters
actually do, or how the effect the overall sound?  I tried the talking to the
sales person at a local music store, but they just seem to talk over my head
with all their technical jargon, basically what I am looking for is something
that will explain things in layman terms.  Anything at this moment would be
greatly.  Thanks in advance.


-------------------------------------------------------------------------------
                        ttfn

                        Jamie  [jbarbour@jcvaxa.jcu.edu]
=========================================================================
Date:         Fri, 23 Feb 1996 13:46:53 +1000
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         David Rodger 
Subject:      Re: Compression

Hi Jamie...

IN answer to your question (don the mask and snorkel... here goes!):

COMPRESSION:
A compressor allows you to "squash" a signal into a desired dynamic range.

Ever wondered why Mariah Carey's voice is a similar level (loudness)
regardless of whether she's shrieking or whispering?  By reducing the level
of her really loud notes, the compressor allows the engineer to increase the
overall level of the vocals, making the soft notes louder.

Compressors generally have a threshold.  If the audio level stays under this,
no compression occurs.  If it reaches or exceeds the threshold, the signal
will be compressed.  What happens is that the engineer decides how much
compression to use.  So if a comp ratio of 4:1 is set, then once the
threshold is exceeded the signal coming _out_ of the compressor will rise
by only 1 dB for every 4dB of rise of the original signal.  Compressors
also commonly have controls for attack and release.  Attack allows you to
set how quickly the compression starts once the signal has exceeded the
threshold.  Release allows you set how quickly the compression stops once
the signal falls below the threshold.  Adjusting these enables you to
filter out noise (though don't go thinking they're like EQ -- they're
not).

Because loud peaks are squashed and the overall level is now increased, it
means that the noise floor of the original signal will be more easily heard.
Setting of attack and release will determine how easily this noise is heard
between transitions from over- to under- the threshold or from under to
over.  IF you hear a "pumping" sound, adjust attack and release until you
can't.

Another reason for adjustable attack is that the brightness of a sound can
have a lot to do with the attack of the sound.  Excitation of a guitar
string, or a violin bow contains more high frequency content (as non-
haramonics -- i.e. not related to the _note_ played) than the following
sustained portion of the sound.  If the compression attack is too slow,
--sorry, mistake.
If the compression comes in too fast, the attack of the sound will be
squashed and you'll lose some of that high-frequency sound which makes
the instrument seem bright.  Setting the compression to come in just
after the attack (pluck or bowscrape or whatever) will preserve the
brightness, but still squash the level generally.

Some compressors also allow you to choose the way the compression comes in
(besides simply fast or slow) -- that is, the 'curve' of its onset.  A
"hard knee" setting will look at the attack time and, after the time has
expired, bring int he compression suddenly.  A "soft knee" setting brings
it in more gradually after the attack time has passed.

Some products (like the Aphex Compellor) have only a couple of controls:
'drive' and 'output'.  The drive is the amount of compression.  The attack
and release are set automatically depending on the nature of the incoming
signal.

LIMITING
One often sees limiters on compressors too, or as stand-alone units.  They
are more commonly used in mastering, although they can be used to absolutely
stop a signal from rising any further.  Many engineers will use compression
followed by hard limiting at a higher threshold.

Simple limiters simply have a threshold setting at which the signal will not
be allowed to rise any further.  More sophisticated models may have attack
and release controls and "frequency-conscious" limiting.  The latter is when
several frequency bands are monitored.  If any one of them reaches the
threshold, it is held and will go no higher.

GATES
Noise gates are kind of like limiters in reverse.  If a signal falls below
a certain threshold, it will be cut off (atttenuated severely).  This can help
to filter out tape noise at times when there is no signal.  It is often used
on drums with multiple microphones.  There will always be some spill: e.g.
the snare mic will pick up a little hi-hat, some toms and so on.  We can
more easily process the snare sound if we can isolate it from the sounds
of the other isntruments which got into that microphone.  A noise set correctly
may enable us to do this.

It is worth knowing about expanders, too.  They are similar to noise gates,
except that instead of muting the signal, they will expand it if it falls
below a certain threshold.  i.e. make the quiet parts quieter, without
cutting them out altogether.  The controls are similar to a compressor,but
the ratio control refers to the amount of expansion.  For example, if
the signal falls 1 dB below the threshold, a 4:1 expansion ratio will cause
it to be attenuated by 4dB.

I'm afraid that when discussing these things, it is necessary to use a certain
amount of jargon, becasue there may be no other way to describe a signal's
or a devices characteristics.  But I hope I have not blinded you with science.
Any mistakes I've made -- and there a bound to be one or two, if not more --
will no doubt be corrected by my colleagues on the list.

Regards,
David Rodger
The only Pool Lifeguard on emusic-l (as far as I know).
musdr@lure.latrobe.edu.au
=========================================================================
Date:         Wed, 21 Feb 1996 22:12:36 -0800
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Timothy Kelly 
Subject:      Re: Yamaha MU 80/50 vs Roland SC 88

Hi All,
   Sound wise, the MU has more sounds, but most of the extra sounds are
just variations and not actual different samples, or the MU would sound
like one of those $50 soundcards where they try to squeeze 128 sounds
into 512K.
   Sound Canvas has all the software advantages, support, patch
editors, program support. And many still think it sounds better than
the MU's. Your ears have to decide which sounds you like better.
   If the MU and XG are successful, the software support will come.
   I am thinking of getting the MU/50 sb db so my Sound Canvas can duet
with the Yamaha.
   A Roland and Yamaha layered together are always going to sound
better than either one can alone. If your budget allows buy both.
   Either will the do the job just fine.
   Happy Sounds
   Timothy Kelly
   MidiVox
--
MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays.

Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some
Drums, Sing a Cello.

Become a Human Sequencer, Human Vocoder, Human Breath Controller.

AES "Best in Show." EM "Editors Choice." " MidiVox Roars."
Keyboard.
=========================================================================
Date:         Thu, 22 Feb 1996 09:58:42 -0800
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         "Holly A. Miller" 
Subject:      Re: New Curriculum
In-Reply-To:  <312AFA3F.A97@iac.net>

I would like to throw another question into this thread. As part of Goals
2000 here in the States, new National Standards for music education have
been adopted at the National level.  (How long it will take for local
school districts to adopt these and implement them remains to be seen)  I
am interested in developing curriculum and assesment tools utilizing the
technology  available that will specifically address the National
Standards.

Has anyone else out there done any work along these lines?  Maybe we
could collaborate rather than everyone trying to invent their own wheel.

Holly Miller
ham@halcyon.com

43507 SE 76th St.
Snoqualmie, WA  98065
=========================================================================
Date:         Fri, 23 Feb 1996 23:27:33 -0500
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Fred Wehr 
Subject:      Re: Compression

For references on effects processors...

You may want to check out Paul White's "Creative Recording" Series. There
were three last time I checked: (1) Effects and Processors (2)Microphones and
Recording Techniques, and (3) Acoustics, Soundproofing and Monitoring.  They
are not particularly heavy going, but contain a lot of well-written basic to
intermediate information on recording techniques.  I guess they may be a bit
out of date by now, but I have found them very useful.  They are published in
the UK - Music Maker Books.  I don't know if they are available direct in the
US - I got them mail order when I lived over there.

Good luck.

Fred Wehr
=========================================================================
Date:         Fri, 23 Feb 1996 09:36:04 CST
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         harry haecker 
Subject:      Re[2]: Compression

Hi--

Thanks for the mini-tutorial, David...it's good to see posts like this,
where I learn something for a change.

So, can some people suggest a good quality, reasonably priced box that will
do compression, limiting, noise gating, and expansion?  By reasonable, I
mean USA $350 (or less).  I know, like anything else, you get what you pay
for, but I can't afford a $2000 box, either!

Harry Haecker (haeckerh@nwrc.gov)
The only nutria calling contest winner on the whole Net (that I know of)!
=========================================================================
Date:         Sat, 24 Feb 1996 12:16:24 +0100
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Daniele Chiesa 
Subject:      Re: Yamaha MU 80/50 vs Roland SC 88

>Hi All,
>   Sound wise, the MU has more sounds, but most of the extra sounds are
>just variations and not actual different samples, or the MU would sound
>like one of those $50 soundcards where they try to squeeze 128 sounds
>into 512K.
>   Sound Canvas has all the software advantages, support, patch
>editors, program support. And many still think it sounds better than
>the MU's. Your ears have to decide which sounds you like better.
>   If the MU and XG are successful, the software support will come.
>   I am thinking of getting the MU/50 sb db so my Sound Canvas can duet
>with the Yamaha.
>   A Roland and Yamaha layered together are always going to sound
>better than either one can alone. If your budget allows buy both.
>   Either will the do the job just fine.
>   Happy Sounds
>   Timothy Kelly
>   MidiVox
>--
>MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays.
>
>Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some
>Drums, Sing a Cello.
>
>Become a Human Sequencer, Human Vocoder, Human Breath Controller.
>
>AES "Best in Show." EM "Editors Choice." " MidiVox Roars."
>Keyboard.
>
Hi,
if the problem is getting good sounds, why don't try the awe32?
It allow to load in memory (8 or 28 MB) all the sounds you like
and there are very goooooood sounds from emu.
=========================================================================
Date:         Fri, 23 Feb 1996 17:09:00 -0800
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Peter Mueller 
Subject:      Not on topic: net-humor

______________________________ Forward Header __________________________________

To: joke
Subject: Re: 101 Ways to be Obnoxious on Usenet
Newsgroups: rec.humor.funny
X-Newsreader: TIN [version 1.2 PL2]

: ----------------------------------------------------------------------------

: Note to the profoundly impaired: this list is intended as humor, and
: consists mostly of things that you should NOT do. NOT NOT NOT do. Once
: more, slowly, d-o-n-'-t d-o t-h-e-s-e t-h-i-n-g-s. If you do, you're a
: bad, naughty person. Bad person! Naughty! Naughty, *bad* person! Ok, now
: that *that's* out of the way, without further ado...

: ----------------------------------------------------------------------------

:   1.  Post a message asking how to post messages.
:   2.  Lead a tireless crusade for the creation of newsgroups with silly
:      names like alt.my.butt.is.hairy.
:   3.  Put 4 addresses, 5 lines of "Geek Code", 6 ASCII-art bicycles, a PGP
:      key, and your home phone in your signature.
:   4.  Reinvigorate a discussion by switching attributions in followups.
:   5.  Post recipes on rec.pets.cats.
:   6.  Post a compendium of old articles from a thread that died months ago
:      with a title such as "*** HAS JOE SMITH FORGOTTEN HIS LIES? ***"
:   7.  Post a 56-part binary MPG file of your dog throwing up to
:      news.answers. Announce that you screwed it up and repeat.
:   8.  On the MST3K groups, ask what happened to Joel.
:   9.  Ask readers of rec.music.misc to post their favorite Zeppelin tune
:      "for a poll".
:  10.  Reacquaint the readers of rec.humor with the "two-strings-go-in-a-bar"
:      joke.
:  11.  Determine a perversion so bizarre or obscure that it doesn't yet
:      have its own sex group.
:  12.  Post your new "War Heroes of India" FAQ to soc.culture.pakistan.
:  13.  Start this week's new AOL virus rumor.
:  14.  Format your posts for 90 columns (or 20).
:  15.  Provide a valuable public service by notifying the eager readers of
:      roughly 1,200 newsgroups of your new "HOOTERAMA" phone sex service or
:      "PorqWhiffe" pheramone cologne.
:  16.  Post elaborate conspiracy theories to talk.politics.misc detailing
:      how ATF agents under the control of Chelsea Clinton and Socks have
:      implanted invisible microchips in your genitals.
:  17.  Fill that empty mailbox, make new friends, delight your postmaster,
:      and selflessly lead others to riches with a few "MAKE MONEY FAST"
:      posts.
:  18.  Attempt to sell your sweaty underwear in alt.clothing.lingerie.
:  19.  Follow up a 200-line post to add only your signature.
:  20.  Crosspost Amiga articles to the Mac and PC newsgroups for a valuable
:      interchange of provocative ideas.
:  21.  Announce a mailing list for Bill Gates' VISA card number.
:  22.  Inform the readers of alt.sex that your friend at a particular
:      address is taking a penis length survey, and the first 1000 people to
:      send him their measurements will receive free naked pictures of Cindy
:      Crawford.
:  23.  Correct every spelling mistake you encounter, but misspell the word
:      "imbecile" in your followup flames.
:  24.  Flame yourself, and complain to your own postmaster.
:  25.  Ask readers of the Star Trek groups when they last had dates.
:  26.  Post personal ads on groups such as alt.sex.diapers listing your work
:      phone number.
:  27.  Post under the name Dave Rhodes.
:  28.  Followup every post in a newsgroup ranking them on a scale from 1 to
:      10.
:  29.  Establish your own little Usenet niche by writing a Wink Martindale
:      FAQ.
:  30.  Advise other readers to ftp to 127.0.0.1 for "really cool nudie pics".
:  31.  Post daily word searches to rec.puzzles.
:  32.  Post your trig homework to sci.math and ask the readers to e-mail you
:      the answers, since you "don't read the group".
:  33.  Provoke insightful and productive debates on fresh new topics such as
:      abortion, gun control, the existence of God, penile circumcision, and
:      the relative superiority of Mac or PC operating systems.
:  34.  Pick a cutesy handle that inspires vicarious embarrassment in other
:      readers, such as "SoHot4U", "SokSnifer", or "WetNWild".
:  35.  Maintain a high-level of constructive decorum by addressingsomeone
:      with whom you disagree as "monkey boy".
:  36.  Inform the readers of the sex groups that they're "going straight to
:      hell", and then proceed to followup a variety of titillating posts.
:  37.  Post to alt.folklore.urban that this guy that a friend of your
:      uncle's ex-girlfriend's boss knew received the donated heart of River
:      Phoenix.
:  38.  Relentlessly inform the readers of groups such as rec.pets.iguanas
:      or sci.agriculture of your UFO, JFK, OJ, NRA, NSA, Nutrasweet, and
:      Azeri genocide theories. Relate them all to sunspot activity and
:      ancient astronauts.
:  39.  Post instructions telling other readers how to put you in their
:      killfile.
:  40.  Post whining, misspelled, and vaguely creepy personal ads in wildly
:      inappropriate newsgroups, and followup to berate the readers for not
:      responding.
:  41.  Announce that a particular site has opened up a new combination OJ
:      Jury Info/Homemade Bombs/Kiddie Porn/Scientology Documents/Computer
:      Subliminal Hypnosis ftp archive.
:  42.  Construct a device that lets your pets post to Usenet by pawing or
:      pecking a feeder bar.
:  43.  Post the Niemann Marcus cookie recipe to rec.food.recipes.
:  44.  Eliminate nearly all meaningful traffic on a newsgroup for weeks by
:      challenging its readership to come up with as many synonyms as possible
:      for the word vomit.
:  45.  Accuse other posters of being AI experiments, Perl scripts, or Emacs
:      macros.
:  46.  Claim that you can see "hidden images" in another person's posting
:      when you cross your eyes.
:  47.  Ask Austrian readers about kangaroos.
:  48.  Ask Australian readers about alpine skiing.
:  49.  Include Rush lyrics or Rush quotes in all your posts.
:  50.  Accuse female posters of being male.
:  51.  Make an anonymous posting accusing others of cowardice.
:  52.  Accuse a fellow AOL or Prodigy subscriber of being a "newbie" because
:      their 3 months on the net are dwarfed by your own span of 4.
:  53.  Insist that anyone objecting to your compulsive fascination with
:      consuming the flesh of strangled disabled minors is "judgemental".
:  54.  If you've grown tired of typing, effectively end a thread by accusing
:      others of being Nazis.
:  55.  Ask readers of soc.culture.nordic whether the Swedish Chef has a
:      Sampo.
:  56.  Write and regularly post a FAQ about yourself.
:  57.  Post graphic descriptions of your bowel movements, genital sores,
:      and various suppurating wounds to alt.tasteless.
:  58.  Ask readers of sci.med for urgent, step-by-step instructions on
:      removing arrows, or inquire why all your extremities have turned dark
:      purple.
:  59.  Insist that there's no such state in the U.S. as "New Mexico".
:  60.  Post only in Esperanto.
:  61.  Claim a copyright on the word "Usenet", and followup with a bill all
:      posts you encounter that contain it.
:  62.  Sell "posting permits" in news.announce.newusers.
:  63.  Post single-part text messages in MIME format.
:  64.  Ask the readers of rec.sewing whether any of them want to be the
:      drummer for your new band, "Death Monkeys".
:  65.  Claim to be an amorous highschool cheerleader while posting under a
:      name such as "Robert Bradley Smith, Jr."
:  66.  In the spirit of purest optimism, ask other readers to followup with
:      their account passwords and credit card numbers.
:  67.  Why use a single question mark or exclamation point when you can use
:      at least thirty?!?!?!?!?!?!?!?!?!?!?!?!?!?!?!?!?!?
:  68.  List a cute organization name in your header, such as "Canadians for
:      Global Warming".
:  69.  Insult a poster from another nation based on his country's performance
:      in World War II.
:  70.  Post vitriolic, frothing, hair-trigger flames in polite newsgroups, as
:      if you were a testosterone-crazed adolescent debating which shotgun is
:      superior in alt.games.doom.
:  71.  Followup spam posts in the belief that the originator, who probably
:      follows the group closely and is desperately curious about receiving
:      feedback, will see your impassioned plea and be so moved by your
:      lengthy, point-by-point indictment of their conduct that they pledge
:      to desist from such activity for all time.
:  72.  Regardless of its accuracy, followup another post with the line
:      "BZZZT! Wrong answer!" or "Hello! McFly!"
:  73.  Use a 120-line ASCII graphic of Spock as your signature.
:  74.  Post to soc.culture.women asking "what's your favorite brand of oven
:      mitt, little ladies?"
:  75.  Post to news.annnounce.newusers asking if there are any nurses in
:      Portland willing to spank you. Followup with an apology. Followup again
:      with the original article.
:  76.  Post with a newsreader that replaces punctuation marks with strange,
:      non-ASCII characters.
:  77.  Steer all debates to your own pet subjects of expertise, regardless of
:      their relevance.
:  78.  Make it clear from your postings that you've a profound inability to
:      distinguish "The X Files" as fiction.
:  79.  Insist that another poster is really Serdar Argic or Kibo.
:  80.  Post 20-part encoded image files from NASA ftp archives that you claim
:      show clear evidence of alien settlements.
:  81.  Insinuate vague conspiracies in all your posts.
:  82.  Spam post alarming ten-year-old files about Congressional bills to tax
:      modem usage "in the name of freedom".
:  83.  Claim that unidentified government agencies are censoring your posts.
:  84.  Ask readers to collect aluminum pop-tops on behalf of Craig Shergold.
:  85.  Ask readers of comp.sci.algorithms how to get Super Mario to the
:      castle.
:  86.  POST IN ALL CAPS
:  87.  omit all punctuation
:  88.  omitallspaces
:  89.  DOALLTHREEOFTHEABOVE
:  90.  Ask the readers of alt.current-events.net-abuse where to purchase
:      Cantor and Siegel's book.
:  91.  Post the phone number of the Michigan Militia to alt.conspiracy as the
:      "Classified ATF Secret Hotline".
:  92.  Compose an exhaustively researched 15-part FAQ detailing the favorite
:      movie musicals of relatives of the Deep Space Nine cast. Post it weekly
:      in its entirety.
:  93.  Strive to ensure that no two consecutive words in your posts are
:      correctly spelled.
:  94.  Enrich the lives of thousands with a thoughtful and impassioned debate
:      on the topic "AOL users suck".
:  95.  Dispense essential and priceless financial advice, such as the
:      assertion that no one is legally required to pay taxes.
:  96.  Demand that others cease using the letter e, as you find it "dply
:      offnsiv".
:  97.  Post to rec.music.misc insisting that "Curt Kobain should leave Pearl
:      Jam since they'll never tour again."
:  98.  Assume that the entire Usenet hierarchy shares your interest in
:      helping lonely Ukrainian lasses find love.
:  99.  Followup another person's posts every twelve minutes to accuse them of
:      "obsessing".
: 100.  Followup two dozen of another person's posts to accuse them of
:      harassing you. Send copious e-mail if you're ignored.
: 101.  Start pointless debates over topics such as whether Whoopi Goldberg
:      has eyebrows, what happens when you cross the International Dateline,
:      and whether the bad guy in Popeye cartoons was named "Bluto" or
:      "Brutus".


: --
: Selected by Jim Griffith.  MAIL your joke to funny@clari.net.
: Attribute the joke's source if at all possible.  A Daemon will auto-reply.

: Remember: Always give your jokes a descriptive "Subject:" line.
: Don't use "joke" or "submission" or "joke submission," please.

--
-------------------------------------------------------------------
Steven Misrack                          (619) 623-1600 x325 (voice)
MillenniaNet                            (619) 623-1603      (fax)
Vice President, Technology.
steve@MillenniaNet.COM
-------------------------------------------------------------------
Steven Misrack                          (619) 623-1600 x325 (voice)
MillenniaNet                            (619) 623-1603      (fax)
Vice President, Technology.
steve@MillenniaNet.COM


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>Date: Thu, 22 Feb 1996 08:58:15 GMT
>From: steve@MillenniaNet.COM ({Darkavich})
>Message-Id: <199602220858.IAA25244@millennianet.com>
>To: valerie@ucsd.edu, andy@ucsd.edu, crys@ucsd.edu, mark@ucsd.edu,        dougc
=========================================================================
Date:         Sun, 25 Feb 1996 16:24:13 -0500
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Thomas Blow 
Subject:      Roland Sound Modules -- Percuss

I have recently got hold of the new Roland Sound modules SE1 and OC1.
 According to the documentation these modules have percussion sets -- a
"standardset" for the SE1 and two for the OC1: "Orchestra Set" and "Golden
Ocean".

I have only been able to access one of the sets on the OC1, probably the
Orchestra Set.  There is some trick to accessing the others that the
documentation avoided discussing.


Can anyone on this list help?

Thanks
=========================================================================
Date:         Sun, 25 Feb 1996 17:17:56 -0500
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Will Moore 
Subject:      Re: Roland Sound Modules -- Percuss

Poor Documention?  On a Roland? Nah...

At 04:24 PM 2/25/96 -0500, you wrote:
>I have recently got hold of the new Roland Sound modules SE1 and OC1.
> According to the documentation these modules have percussion sets -- a
>"standardset" for the SE1 and two for the OC1: "Orchestra Set" and "Golden
>Ocean".
>
>I have only been able to access one of the sets on the OC1, probably the
>Orchestra Set.  There is some trick to accessing the others that the
>documentation avoided discussing.
>
>
>Can anyone on this list help?
>
>Thanks
>
>
------------------------------------------------------

=========================================================================
Date:         Sun, 25 Feb 1996 20:14:19 -0500
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         HUGO FOIGELMAN 
Subject:      Hello

I'm glad to meet you,whoever you are,and a little
surprised,because this is my first time in this
kind of global communication.Anyway,here I am,my
name is Hugo,I play keyboards,I'm from Argentina,
graduated in the national conservatory in piano,
I'm 32,and spending some time in NYC.So,hello everybody.
=========================================================================
Date:         Sun, 25 Feb 1996 19:15:02 -0800
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Timothy Kelly 
Subject:      Re: Hello, IPhone Anyone?

Hi All,
   Glad to always see someone new posting to one of the music groups.
   I just got a new modem with Internet Phone software.
   Anyone else on this list using Internet Phone?
   Anyone tried jamming or trading song or sound ideas with it?
   It cant be any worst than ham radio, or am radio.
   And both of them move a lot of music and sound.
   Happy Emusic.
   Timothy Kelly
   MidiVox

--
MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays.

Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some
Drums, Sing a Cello.

Become a Human Sequencer, Human Vocoder, Human Breath Controller.

AES "Best in Show." EM "Editors Choice." " MidiVox Roars."
Keyboard.
=========================================================================
Date:         Mon, 26 Feb 1996 13:38:32 +0000
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         "D.M.Kelly" 
Subject:      Oboe and Electronic media......an interaction...

Well, that's one possible title.

I'm referring to a recent spark of inspiration re. possible dissertation
topics to explore...I've homed in on something...

The idea of oboe and electronic media seems an engaging one and I thought
this list may be appropriate, interested and able to chuck some
suggestions my way.

I have recently taken part in a premiere performance of a work by
Christopher Marr at the University of East Anglia for electroacoustically
altered oboe samples with live oboe miced up and put through the PA system
with it. It was an incredible effect and I found immense satisfaction in
performing 'with myself' albeit a distorted 'myself'. With diverse
manipulation of the original samples I gave, and with over twenty
loudspeakers strategically stationed around the concert hall, the event
was truly awesome. This is something I would like to pursue further
and a dissertation would give me an ultimate opportunity to do so.

Any others out there who share this interest? Anyone wish to be
involved in my research? If so, I would dearly love to hear from you
and exchange ideas - whatever gems you have to offer.

What, if any, pieces are already established for this format?

(oboe + Electronics/EA, live EA-altered-oboe, oboe pieces exhibiting
evidence of EA approach etc.)

I only know of Chris Marr's piece and evident possibilites of arrangements of
existing stuff for sax and electronic gadgetry, samples, synths, even
DJs (like Courtney Pine's latest album, for example, featuring DJ Pogo)

One guy referred to a piece by Matt Sullivan at the IDRS conference in
Bloomington. I know nothing about this but I would certainly like to.

Let's pave the way for the future...

Looking forward to your interaction,

dominic kelly.
=========================================================================
Date:         Mon, 26 Feb 1996 10:58:52 -0500
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Electronicmusic Foundation 
Subject:      Theremin and more

A few days ago, I read a few messages that praised the Delos compact disc of
theremin music played by Clara Rockmore. It's true. It's a great disc! And
it's available through CD-eMUSIC which is a program of Electronic Music
Foundation.

We'd like to extend an invitation to you all to check out our web pages. I'm
sure you'll find a lot of things of interest, including the easy availability
of otherwise hard-to-find compact discs. The Electronic Music Foundation web
page is

http://www.emf.org

The CD-eMUSIC web page is

http://www.emf.org/emusic.html

Let me know what you think.

Nick@emf.org

##
=========================================================================
Date:         Mon, 26 Feb 1996 12:06:24 EST
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Philip Stanbury-Jones <100731.2404@COMPUSERVE.COM>
Subject:      Auto Scoring

I was just wondering if anyone could tell me if the knew of hardware and
software that will let you whistle or sing into a microphone and will then take
this digital audio sample and convert it into either music notation or MIDI data
or both. I appreciate that this is a tricky thing to do and you have to be able
to sing pretty acurately in both time and pitch but someone must have done it
somewhere to some degree of sucess?

If you have heard of any such system I would be very interested.

Thanks

Phil Jones (UK)
email:   100731.2404@compuserve.com
=========================================================================
Date:         Mon, 26 Feb 1996 11:44:01 -0800
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Timothy Kelly 
Subject:      Re: Auto Scoring

Hi All,
   Both Autoscore and Melody Maestro, claim to do single line pitch to
midi via a mic and soundcard. There are about as successful as hardware
based mic pitch to midi.
   I prefer Melody Maestro for it allows you to use any kind of single
note midi input, keyboard, guitar, wind, MidiVox, etc. One doesnt even
have to bother with the mic based input. Then Melody Maestro will do
all the harmony parts and backing tracks for you. I find it very
entertaining to see what the computer softwares ideas of harmony and
counterpoint are.
   The best I have ever seen anyone do with hardware or software based
audio pitch to midi is 50% at slow tempos and when you are a very
accurate vocalist.
   Thats why MidiVox uses patented hardware and no audio based pitch to
midi. Right out of the box, one can do 90% to 100% accuracy at even
fast tempos, and with a little daily vocal warm up practice 100%
accuracy everytime because of reading vocal cord vibration, shape, and
movement, all in real time.
   Anyone considering using a hardware or software mic based audio
pitch to midi dont buy it unless you can return it for a full refund if
it doesnt meet your needs.
   The software packages do the best they can based on the limitations
of the computers hardware.
   Happy Emusic
   Timothy Kelly
   MidiVox
--
MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays.

Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some
Drums, Sing a Cello.

Become a Human Sequencer, Human Vocoder, Human Breath Controller.

AES "Best in Show." EM "Editors Choice." " MidiVox Roars."
Keyboard.
=========================================================================
Date:         Mon, 26 Feb 1996 15:17:27 -0500
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Joe Miklojcik 
Subject:      Buchla Thunder?

{ I originally posted this to rec.music.makers.synth.  I don't blame you if
you don't read news, so I'm sending it here as well. Please forgive me if you
read both and this annoys you. }

I'm always interested in finding out about bizzare MIDI controllers.  (And
I'm not a performance artist -- imagine that!)  The problem with almost
all unusual MIDI instruments I've yet to come across is that the designers
come up with a good idea ("wear it on your head!"), but fail to follow
through in creating a playable instrument ("... and it only weighs
85lbs.!").  The ZenDrum I tried, for example, is a very interesting
creation with wonderful possibilities, but the pads just aren't as
expressive as conventional electronic drum triggers.

So I'm looking into a Thunder Board.  I found the Lightning page (look up
"lightning wand" in your fave search engine), found an email address, and
mailed away for information on it.  I've yet to get anything -- although
I'd be more than willing to share with anyone who is interested. I thought
that in the mean time I'd ask around here to see if anyone reading this
list has had any experience with this Thunder controller, and can give me
reviews.

For that matter, if anyone here has had any interesting experiences with
*any* MIDI controller that has not been built to simulate an
analog/acoustic musical instrument, I'd love to swap tales with you.

BTW, I'm sorry if I spelled Mr. Buchla's name incorrectly, but I'm up well
past my God-given bed time and so can't be bothered to etc.  I hearby give
him my official permission to spell my name however he damn well pleases.

Also, forgive the quip about performance artists up there, I like you all
just fine.  I'm just sick of seeing "great for performance artists" on the
feature list for every MIDI controller that doesn't closely resemble a
traditional instrument.

Happy trails.
=========================================================================
Date:         Mon, 26 Feb 1996 16:12:56 -0500
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         NEC_CEELY@FLO.ORG
Subject:      Re: Oboe and Electronic media......an interaction...

I have a piece entitles TOTEMS which is for OBOE and tape.
Recorded on BEP records. I'll send you an LP of it if you want it.
It has Fred Cohen on OBOE.
ROBERT CEELY
=========================================================================
Date:         Tue, 27 Feb 1996 14:08:48 +1000
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         David Rodger 
Subject:      Re: Buchla Thunder?

HI Joe,
about unusual MIDI controllers.  There are quite a few which use human movement
and control MIDI or other media.  For example....

Mattel PowerGlove
    Various people have hacked this to varying degrees, including Laetitia
    Sonami (Lady's Finger glove) and Axel Mulder @ Simon Fraser University.
    John Lamar @ Berklee College has worked with the glove (unmodified) and
    a Goldbrick interface.  A guy called Eric Singer has the last few
    Goldbrick interfaces (converts glove output to ADB bus for Mac) for sale
    and I'm told that there are a couple of toy wholesalers who still have a
    few PowerGloves.

Gesture and Media System
    Designed by Will Bauer and Bruce Foss in Edmonton.  Bruce has recently
    rejoined Will in the development of this system.  Uses a single-point
    tracking wand to pick up ultrasonic pulses from speakers around a stage.
    Available for PC only at this stage.

BioControls Biomuse and Minimuse,
    Respectively 8- and 4-channel bioelectric signal detectors.  Software
    for PC, but Atau Tanaka (formerly CCRMA, Stanford, now at IRCAM) has
    written some for Mac.  Musical applications are limited (expect for
    Tanaka's efforts).  Research is now mostly for VR and disability tools.
    Detects EMG, EOG, EKG and ECG.

BodySynth
    EMG controller designed by Ed Severinghaus and Chris van Rallte in San
    Francisco.  Standalone unit: 4 channels of EMG input with extensive
    cross-controlling and signal shaping capabilities.  Early version used by
    Laurie Anderson.  Bay Area artist Pamela Z currently uses one.

Very Nervous System
    A video analysis optical motion detector designed by artist David Rokeby.
    Uses custom hardware (NuBus card) and Opcode's MAX software as an
    interface.  Supposed to be quite good; a system is currently being used
    by the adaptive Technology Research Centre @ Uni of Toronto for rehab
    of a patient suffering a degenerative nervous disorder.  David does a lot
    of installation work.  There are systems in Vancouver, Toronto and
    Providence (Brown University).

Holosound
    Developed by Godfried Willem-Raes in Ghent, Belgium.  Detects doppler shift
    and other parameters with analog computers before sampling for MIDI
    applications.  No gear is worn on the performers' bodies.

SOUND=SPACE
    Developed by Rolf Gehlhaar in the Netherlands.  Also uses off-the-body
    emitter/sensor pairs and detects distance of performers in 2D.  Not sure
    if it does Doppler shift.

Electric Field Sensing (FISH sensors)
    Developed by the Physics and Media group at the Media Lab, MIT.  Very
    complicated to explain.  There are various implementations of this.
    Look up their web site, http://physics.www.media.mit.edu/
    (You'll need Netscape 2.0b5 for better.)  Also, there are various post-
    script papers on their ftp site: ftp://ftp.media.mit.edu/
    (Can't remember the directory.)  Look for "Applying Electric Field
    Sensing to Human-Computer Interfaces" and "Musical Applications of
    Electric Field Sensing"  either on the ftp or http sites.  One of those
    is called efchi95.ps.

3DIS
    An Australian System developed by Simon Veitch of Perceptual Systems.
    Originally developed for music, but now more for security applications.
    Uses multiple cameras and frame analysis to detect motion in regions
    of space.  American/Australian composer Warren Burt used this in the
    late 80s.  (I don't know where he is now, but he's using the Buchla
    Lightning and has just written about it in the first issue of "Journal
    of Improvisational Practice" an obscure journal just started in Melbourne,
    Australia.)

Magnetic trackers
    A chap called George Logemann has used the Polhemus Isotrak for music.
    He wrote a short poster session for the International Computer Music
    Conference proceedings of 1989.  I haven't been able to track him down
    yet.

Optical trackers
    There are many optical trackers on the market, used for computer graphics
    animation and biomechanics studies (Selspot, CODA mpx30, DMA Primus, for
    example).  I've yet to come across anyone using these for music.

For a comprehensive list of motion tracking technologies, look at Axel Mulder's
Web site at Simon Fraser University.  Published specs and references are listed
too.
    http://www.sfu.ca/Research/

Can't remember the URL exactly, but SFU's home page is easy to navigate.

Hope this helps.

David
musdr@lure.latrobe.edu.au
=========================================================================
Date:         Tue, 27 Feb 1996 11:51:45 -0500
Reply-To:     Electronic Music Discussion List 
Sender:       Electronic Music Discussion List 
From:         Joe Miklojcik 
Subject:      Non-emulating controllers (was: Re: Buchla Thunder?)

WARNING: This is insomnia mail.  Furthermore, I'm not sure of the volume of
this list.  If I'm over-posting, somebody slap me down.

> Mattel PowerGlove

I actually own a Mattel PowerGlove.  The fates had it that I one day walked
into a Toys-R-Us and there were about twenty of them in beat up boxes.  I
bought one immediately for US$18.  When I went back with a friend to look for
lefties, the rest were gone.  I've played with it on the Nintendo and managed
to paste  together a serial interface to connect the thing to my PC.

There are several problems with the PowerGlove as a musical instrument.  One,
the spatial  tracking isn't reliable.  With a theremin and knowlege of how to
tune it, you can make it so a certain distance from the antenna always plays
roughly the same pitch.  The PowerGlove is much more difficult to calibrate.
 Two,
each finger can only assume one of three positions, which is quite limited.
(I've heard rumors that it has a mode of operation with greater degrees of
finger-flexing accuracy.)  Three, if you're going to use it for longer than a
few minutes, you have to be seated in an arm chair.  Otherwise you get
Gorilla Arm.  Finally, it's out of production, so if it breaks, you're out of
luck.

Also, Nintendo is really difficult to play with the PowerGlove.  That isn't a
good sign for using it as an instrument.  In some random Web browsing one day
I came across a list of other Gloves -- the page was more into VR in general
than the glove though, and I can' t remember the URL.

<>

The problem I see with wands and/or motion detection is that it might be
diffiulct to play chords.  Even with two wands.  On the EMUSIC-L web site, in
the paper on man-machine interface, there is some reference to "air drums"
which could be a very viable use for wands.  But then, you'll want to hit
drum sticks against something so they'll bounce for rolls, etc., at which
point you may as well put the controll in the pad.  It may be interesting to
use wands to do slow decay controlled by note-off velocity.

Aside, the man-machine interface paper is great.  I'm making all my musician
friends read it.

<>

I'd reallly like to hear some music made with a controller that monitors your
body.  I've seen Laurie Anderson video where she appears to be playing a body
drum, but that just seems to be pads you wear, not actual biological
monitoring.

Some questions:

What is doppler-shift?  I understand the doppler effect in terms of sound and
waves, but not in the context of you're writing.

What is a Polhemus Isotrak?  Is it tracking the position of conductors moving
through different magnetic fields, or am I way off?

In general, you're list is a fantasic starting point for my growing sick
fascination with non-emulating electronic music controllers.  I'd like to see
you're list in the FAQ. But what  I'd really like is  to hear some music made
with these things.  I don't know what you're sources are, but if you still
have them around and they document the music, it would be vastly useful.

Thanks.