From isis.cs.du.edu!iwoehr Mon Jun 22 11:12:01 1992 Return-Path: Received: from 137.39.1.7 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Mon, 22 Jun 92 11:11 PDT Received: from isis.cs.du.edu (via uunet.UU.NET) by relay2.UU.NET with SMTP (5.61/UUNET-internet-primary) id AA20364; Mon, 22 Jun 92 14:10:59 -0400 Received: by isis.cs.du.edu (5.52/DU-1.0-isis) id AA10672; Mon, 22 Jun 92 12:11:55 MDT From: iwoehr@isis.cs.du.edu (Ivan Woehr) Message-Id: <9206221811.AA10672@isis.cs.du.edu> Subject: Re: ftp is here again To: eps@reed.edu (to:Joe Niski) Date: Mon, 22 Jun 92 12:11:51 MDT In-Reply-To: ; from "Joe Niski" at Jun 20, 92 11:05 pm X-Mailer: ELM [version 2.3 PL11] > that's not necessarily true; we could always move the files to another > machine on the net. It was nice of Heiji Horde, sysadmin, to keep the > offer of space on altosax open; but i kind of feel like it's imposing > on the goodwill of the wonderful folks there when i'm just an alumnus > and ex-employee. We have lots of space so far on our machine.. How much is the current eps site taking up in megs? I might be able to move it over here. > i'll gladly work with any volunteer(s) to make a smooth transition to a > new place. As I said, I'll see, though it may be about 3 weeks as we are moving to a faster machine (yeh!) Only a Sparc Server II though... Not bad from a pyramid though!:) Ivan Woehr From horde Mon Jun 22 11:27:06 1992 Return-Path: Received: from 127.0.0.1 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Mon, 22 Jun 92 11:26 PDT Message-Id: To: iwoehr@isis.cs.du.edu (Ivan Woehr) cc: eps@reed.edu (to:Joe Niski) Subject: Re: ftp is here again In-reply-to: Your message of Mon, 22 Jun 92 12:11:51 MDT. <9206221811.AA10672@isis.cs.du.edu> Date: Mon, 22 Jun 92 11:26:09 -0700 From: "Mr. Heiji Horde" In message <9206221811.AA10672@isis.cs.du.edu> you write: > We have lots of space so far on our machine.. How much is the current >eps site taking up in megs? I might be able to move it over here. For anyone who wants to know, the current state of the ftp archive occupies 42megs of space. Any site that would want to maintain it would want a MINIMUM of 50megs. More is always preferred. - Heiji horde@reed.edu "I'll archive accounts one of these days." From tellab5.tellabs.com!tomh Mon Jun 22 17:11:41 1992 Return-Path: Received: from 128.215.65.2 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Mon, 22 Jun 92 17:10 PDT Received: from intelhf.hf.intel.com by hermes.intel.com (5.65/10.0i); Mon, 22 Jun 92 17:10:30 -0700 Received: by intelhf.intel.com (/\==/\ Smail3.1.24.1 #24.4); Mon, 22 Jun 92 17:11 PDT Received: by intelhf.intel.com (/\==/\ Smail3.1.24.1 #24.4); Mon, 22 Jun 92 09:05 PDT Sender: m2xenix@hermes.intel.com (Randy Bush UUCP) Received: by m2xenix.psg.com (/\==/\ Smail3.1.25.1 #25.2) id ; Mon, 22 Jun 92 08:38 PDT Received: from uunet.uu.net (via LOCALHOST.UU.NET) by relay2.UU.NET with SMTP (5.61/UUNET-internet-primary) id AA06920; Mon, 22 Jun 92 11:38:36 -0400 Received: from tellab5.UUCP by uunet.uu.net with UUCP/RMAIL (queueing-rmail) id 113727.23329; Mon, 22 Jun 1992 11:37:27 EDT Received: from sun9z.suntell by tellab5.tellabs.com (4.1/smail2.5/10-21-91) id AA29588; Mon, 22 Jun 92 09:04:26 CDT Date: Mon, 22 Jun 92 09:04:26 CDT From: tomh@tellab5.tellabs.com (Tom Huber) Message-Id: <9206221404.AA29588@tellab5.tellabs.com> To: eps@reed.edu Subject: strange behavior Hello everyone, I've had several interesting experiences with my EPS "classic" (OS2.40) lately. After playing a nice, big sounding chord, the system locks up - the keyboard and all of the buttons, etc stop working. The nice, big chord continues to sound (although it is no longer "nice" at this point:-), even if I cut the master volume completely. The only way to recover the EPS is to shut it off. This tends to be inconvenient in a live situation, so I'm wondering if anyone else has experienced this, and if so, how the problem was remedied. Thanks in advance for any insights. Tom =============================================================================== tomh@tellabs.com | | My opinions are, by definition, my own. Tom Huber | GO | Tellabs, Inc. | IRISH! | You can't fool all the people all the time, Lisle, IL | | but if you succeed once, it lasts four years. =============================================================================== From psy.uwa.edu.au!scott Mon Jun 22 19:10:45 1992 Return-Path: Received: from 128.250.1.21 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Mon, 22 Jun 92 19:09 PDT Received: from wapsy.psy.uwa.oz.au by munnari.oz.au with SMTP (5.83--+1.3.1+0.50) id AA24064; Tue, 23 Jun 1992 12:09:27 +1000 (from scott@psy.uwa.edu.au) Received: by psy.uwa.edu.au (4.1/SMI-4.1) id AA08957; Tue, 23 Jun 92 10:07:53 WST Date: Tue, 23 Jun 92 10:07:53 WST From: scott@psy.uwa.edu.au (Scott Fisher) Message-Id: <9206230207.AA08957@psy.uwa.edu.au> To: eps@reed.edu Subject: Humanize... Adding Human Feel To A Quantized Track with SHIFT TRACK feature: Blatantly plagarised from an Ensoniq publication by Scott Fisher without permission in an attempt to wake up a sleeping EPS users group...look what happens when I go on holiday...you all fall asleep :-) Here's How: 1. First you will need to create a "scratch-pad" track in which data will be manipulated. Call up the filter event parameter and select just 1 note that appears frequently in your quantized track. 2. Copy just that 1 note to another track location and then go back to the original track erase that note altogether. 3. Assign the same sound/instrument to your new (1 note) track, now play both tracks. At this point you should hear no difference to how it sounded originally. 4. Select the copied track (single note one) using the SHIFT TRACK parameter enter a value of +1 to move the track forward by 1 clock. Now play the tracks again, now you should hear an important but subtle difference in the "feel" of the sequence. 5. To make the effect even more apparent you can repeat steps 1 to 4 above on a different note (this time move it back -1 clocks). When you are finnished use MERGE TRACKS feature to put it all back together. Regards Scott. _______________________________________________________________________________ Scott Fisher [scott@wapsy.uwa.oz] PH: Aus [61] Perth (09) Local (380 3574). _--_|\ N Department of Psychology / \ W + E University of Western Australia. Perth --> *_.--._/ S Nedlands, 6009. PERTH, W.A. v *** ERROR 144 - REBOOT? is a registered trademark of ENSONIQ Corp *** ------------------------------------------------------------------------------- . From psy.uwa.edu.au!scott Mon Jun 22 19:15:26 1992 Return-Path: Received: from 128.250.1.21 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Mon, 22 Jun 92 19:14 PDT Received: from wapsy.psy.uwa.oz.au by munnari.oz.au with SMTP (5.83--+1.3.1+0.50) id AA24217; Tue, 23 Jun 1992 12:14:16 +1000 (from scott@psy.uwa.edu.au) Received: by psy.uwa.edu.au (4.1/SMI-4.1) id AA08968; Tue, 23 Jun 92 10:12:43 WST Date: Tue, 23 Jun 92 10:12:43 WST From: scott@psy.uwa.edu.au (Scott Fisher) Message-Id: <9206230212.AA08968@psy.uwa.edu.au> To: eps@reed.edu Subject: Zero G OK I'm back and babbling with a vengence :-) I had the fortune to play with, and sample some bits of a sample CD by Zero-G (the third in their series). It contains over 1000 sounds and is aimed at the Techno/analog/rap/hip-hop etc biz. Now don't think it's not of interest to you if you are not into that stuff because it has a few hundred analog Bass and percussion sounds. Remembering how quickly you all snapp'd up the RL-TEK PERC 1 samples I uploaded it seems there is some demand for that sort of thing. I'll upload some of the samples I have made later and give a more thorough review of the CD. Regards Scott. _______________________________________________________________________________ Scott Fisher [scott@wapsy.uwa.oz] PH: Aus [61] Perth (09) Local (380 3574). _--_|\ N Department of Psychology / \ W + E University of Western Australia. Perth --> *_.--._/ S Nedlands, 6009. PERTH, W.A. v *** ERROR 144 - REBOOT? is a registered trademark of ENSONIQ Corp *** ------------------------------------------------------------------------------- From psy.uwa.edu.au!scott Mon Jun 22 19:40:23 1992 Return-Path: Received: from 128.250.1.21 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Mon, 22 Jun 92 19:39 PDT Received: from wapsy.psy.uwa.oz.au by munnari.oz.au with SMTP (5.83--+1.3.1+0.50) id AA24998; Tue, 23 Jun 1992 12:39:11 +1000 (from scott@psy.uwa.edu.au) Received: by psy.uwa.edu.au (4.1/SMI-4.1) id AA08986; Tue, 23 Jun 92 10:37:41 WST Date: Tue, 23 Jun 92 10:37:41 WST From: scott@psy.uwa.edu.au (Scott Fisher) Message-Id: <9206230237.AA08986@psy.uwa.edu.au> To: eps@reed.edu Subject: Strange Behaviour...Naaaa Just the norm... Subject: NOT SO strange behavior >I've had several interesting experiences with my EPS "classic" (OS2.40) lately. >After playing a nice, big sounding chord, the system locks up - the keyboard >and all of the buttons, etc stop working. The nice, big chord continues to >sound (although it is no longer "nice" at this point:-), even if I cut the >master volume completely. The only way to recover the EPS is to shut it >off. This tends to be inconvenient in a live situation, so I'm wondering if >anyone else has experienced this, and if so, how the problem was remedied. >Thanks in advance for any insights. >Tom Well, Tom I'd say it's time to have your keyboard inductor card hardwired to your mother-board :-) You are describing the "classic" symptoms of a common (but luckily cheap and easy to fix) problem with nearly every Ensoniq keyboard made after the SQ-80 and up until early last year. There is a ribbon cable that connects the keyboard keys to the main processor board. The connectors on the end of this become intermittent with age, causing exactly the sort of problem you describe. $20-30 later (at your keyboard shop) some solder and 1/2 an hour should have your EPS up and running just fine. If you have already had the above done, to quote Monty Python... RUN AWAY RUN AWAY!!! :-) P.S Both my EPS and my EPS 16 Plus behaved in the way you described each after about 18 months and 6 months respective use. Both were permanently fixed (for free) by my local dealer. Regards Scott. _______________________________________________________________________________ Scott Fisher [scott@wapsy.uwa.oz] PH: Aus [61] Perth (09) Local (380 3574). _--_|\ N Department of Psychology / \ W + E University of Western Australia. Perth --> *_.--._/ S Nedlands, 6009. PERTH, W.A. v *** ERROR 144 - REBOOT? is a registered trademark of ENSONIQ Corp *** ------------------------------------------------------------------------------- From fys.uio.no!t.g.finstad Tue Jun 23 07:43:23 1992 Return-Path: Received: from 129.240.2.50 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 23 Jun 92 07:42 PDT Received: from ulrik.uio.no by pat.uio.no with local-SMTP (PP) id <01126-0@pat.uio.no>; Tue, 23 Jun 1992 16:41:46 +0200 Date: Tue, 23 Jun 1992 16:41:32 +0200 Message-Id: <9206231441.AAfidibus03071@fidibus.uio.no> To: eps@reed.edu From: Terje Finstad Subject: Re: Humanize... Cc: t.g.finstad@fys.uio.no .. ZZZZZZ, bzzz,Z-ZZZZ,.bzzz.Z-Ah, bzzz hu, mmm, what?, that funny e-mail buzzer is kind of getting buzy again , What's up? Is Scott back? >group...look what happens when I go on holiday...you all fall asleep :-) > yeah > >Adding Human Feel To A Quantized Track with SHIFT TRACK feature: >1. First you will need to create a "scratch-pad" track in which > ......... >3. Assign the same sound/instrument to your new (1 note) track, now >............. >4. Select the copied track (single note one) using the SHIFT TRACK This is a clever way of doing things. (if you want to do everything with the EPS and not with a computer) I just want to add some comments on the goal I assume is attempted, (The reason for this is I got pissed off at work, so I HAVE TO do something bad today.) OK, if I'm realistic I don't think that all those who want to shift tracks on an EPS have an ambition to become one of the most innovative composers in the twentieth century. May be my purpose is just to trick my friend (=my mother) to believe that I (and not a computer) played what she was hearing off my EPS sequencer. That's an accepted excuse to randomize notes but is not an accepted (by me) ideal. I assume of coarse the goal is making good music. This can be accomplished in a number of ways. One does neither have to know nor articulate the goal in advance. Good creative music also happens by chance and piecewise experimentation. However I dont think it has ever hurt a gifted person to know in advance which music-tehcnical-specification causes a certain character of the music. Norrowing in on the subject at hand this means for instance knowing which timings make it "swing". Knowing this will not by it self make good music. Applying those principles ( which has to be aquired through the study of music, but which can also be delivered from a music-researcher to the rest of the world ) will not prevent making creative and new music, if one is sticking with 'the familiar' in only the rythmic dimension, and let the innovations happen in other dimensions. There is in technical terms several things happenings with the timing of music. (1)In music played by humans there is pulse or rythmic flow. This advances by a TEMPO. This is normally not constant. It is more constant in dance music than in music which has other functions. Other types of music also generally has more frequent/sudden and larger change in tempo than dance music has. (2) The RYTHMIC FEEL of music also comes from the non-equal division of the beats in a bar. The displacements are characteristic of each music style. This used to be the most important factor in dance music. The displacements ( how much the played beat is bihind a mathematically equal-division of the bar ) can be extremely large in ethnic music. If one is observing a little closer things can be quite interesting. I am only somewhat familiar with norwegian ethnic music: In most of the dances that are in 3/4 there are exceptionally large displacements ( for people accustomed to "accepted" formal music ). One can also notice geographic differences from valley to valley, as well as (of coarse) individual differences. Good musicians also seem to control the displacements during the coarse of the piece. One can rationalize this by viewing the subleties of the feel as something that creates tension. And variations in this will make the music breathe. This is anologous to the tensions and resolutions created by other dimensions such as harmonic tension. It is of coarse difficult to say with certainty that these variations in feel are done deliberately as rythmic variations or they partially could be caused by ergonomic pecularities of the instrument a piece is played on. (3)Then there is RANDOMNESS to the attack time, which can be either said to be due to a) The human musician's inability to respond accurately b) The perfect clocks inability to represent what is important in music. One can lump any deviations from - the attack time one would have expected - into randomness. So some of these deviations may have been made deliberately, and would have been close to those of a previous performance of the piece made under the same conditions. ( This is seldom the case as good musicians, not least classical performers, are actually experimenting when they are delivering a piece, and don't deliver it the same way twice. Relatively large differences may be caused by one flaw/experimentation which forces the following segment to be performed differently ) The word (feel) for point(2) above was not chosen very well as in common speaking all these things (1 to 3) goes into the rythmic feel of the piece. In addition the loadness/velocity is uttermost important. A drum track from the old days laid down by an old timer ( = person not applying a stale meter feel ) will have "velocity" variations in a similar fashion to the rhytmic timing and the end result ( the rythmic feel of the piece ) is of coarse the combination of these two. {Hey, I must have been really pissed off, and I've not yet come to a natural way of ending this ) So I try ending with discussion of a camaign: DON'T RANDOMIZE MY TRACKS Do what you want with your own, but if you randomize mine, my dream of having a yearly music festival and a music conservatory named after me is distroyed. ( some may say I wouldn't notice if everything in my tracks was completely randomized anyhow ) This is not meant as a critique ( or flame ) of the original posting. Making a metric stale track sounding better by slightly randomizing it's timing is normally accepted as a quick and dirty method. And I think the world should get away from those rock steady meters. This is not because I think it does not sound good,( although that is my opinion ) We will all get used to this and it will become the norm. Then we have lost important factors in musical expression. So by randomizing you are doing something to preventing us from beeing locked to a steady beat. To me there is a philosophical preference for not wanting to randomize notes. I would also, of coarse, prefer making good tracks in the first place. Sometimes that is not possible. If the situation is I have to start out from a stale track and I could get somewhere by shifting notes, then I would like to know why I place a note at a certain place before I do it. The knowledge of the relationship between time displacements and the effect it has is a help for making such displacements. If I had this I could make a 'perfect' track, this would not have any of the randomness caused by the inaccurcies of the human motoric system. This could sound "inhuman" even if I only applied principles only found in existing music, although I doubt that would be readily observable as such. Certainly, the number of rules to go by may be large. I would not apply randomness to such a piece just to account for some human inaccuries. Often it is also technically much easier to play only timings live and not worrying about fingerings. Even on the EPS one can do this for simple things. Fixing quantized tracks to give then the right feel is very complicated to do algorithmically for melodic lines. This is because there are so many rules one have to apply for each individual style. This is actually much more complex than algorithmic composition ( w/o performance ) if one wants to do it well. ( I'm still not finished ?? ) When it comes to rythm tracks for drum machines it seems quite posible to apply 'feel' algorithmically. Does any have experience on using such a program? Any experience with R8's or things like that? Do they sound like you want them to?. What principles does those actually use? Or this is not strictly EPS?. ( now I am finished ) Regards ---------- --------- Terje G. Finstad ==================================================================== From rsinc.com!keith Tue Jun 23 09:56:42 1992 Return-Path: Received: from 192.5.156.17 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 23 Jun 92 09:56 PDT Received: by gateway.rsinc.com (rsinc-gateway.920524) Tue, 23 Jun 92 10:56:27 MDT Return-Path: Date: Tue, 23 Jun 92 10:56:27 MDT From: Keith R. Crosley Message-Id: <9206231656.AA01038@gateway.rsinc.com> To: eps@reed.edu Subject: EPS ftp sites? Hi! Maybe I missed something when I subscribed to this group, but people mention 'uploading' files and 'downloading' them... to where? I haven't seen anyone mention the address. Could someone please fill me in? BTW: I have an EPS 16+ and do industrial-type sound mangling with it! Also... any word on a new version of the OS? I stopped getting Transoniq Hacker when my subscription ran out. The only thing I really miss about it is the box that they run each issue that lists current versions of Ensoniq operating systems. Thanks! --- Keith From horde Tue Jun 23 10:07:04 1992 Return-Path: Received: from local by romulus.reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 23 Jun 92 10:06 PDT Message-Id: Date: Tue, 23 Jun 92 10:06 PDT From: horde (Mr. Heiji Horde) To: eps@reed.edu Subject: Altosax is down for the time being... Sorry folks, but it hit 100 degrees in Portland on Monday and I don't think that altosax liked it at all. It sits in an office without any air conditioning so there's no telling how hot it really got in there. [See Joe, should have left it downstairs with me. :) ] Anyhow, it has suffered a disk crash and it will take me some time before I can get to altosax and fix it. Hopefully it will be back up by Wednesday afternoon. Until then, the EPS ftp site at altosax.reed.edu will be down. -Heiji horde@reed.edu From psy.uwa.edu.au!scott Tue Jun 23 19:30:15 1992 Return-Path: Received: from 128.250.1.21 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 23 Jun 92 19:25 PDT Received: from wapsy.psy.uwa.oz.au by munnari.oz.au with SMTP (5.83--+1.3.1+0.50) id AA05795; Wed, 24 Jun 1992 12:25:36 +1000 (from scott@psy.uwa.edu.au) Received: by psy.uwa.edu.au (4.1/SMI-4.1) id AA10589; Wed, 24 Jun 92 10:24:04 WST Date: Wed, 24 Jun 92 10:24:04 WST From: scott@psy.uwa.edu.au (Scott Fisher) Message-Id: <9206240224.AA10589@psy.uwa.edu.au> To: eps@reed.edu Subject: Samples and OS >From keith@rsinc.com Wed Jun 24 01:49:07 1992 > >Maybe I missed something when I subscribed to this group, but >people mention 'uploading' files and 'downloading' them... >to where? I haven't seen anyone mention the address. Could >someone please fill me in? Samples are presently avaliable via anonymous ftp at altosax.reed.edu /pub/samples Contact me and let me know what computer system you are using and I'll give you specific info. I'd suggest you start working your way through the archives of this group, avaliable for anonymous ftp from reed.edu, /pub/mailing-lists/eps >BTW: I have an EPS 16+ and do industrial-type sound >mangling with it! Great! Richard Hagen is someone else I know does the same (on the group too) >Also... any word on a new version of the OS? I stopped >getting Transoniq Hacker when my subscription ran out. The >only thing I really miss about it is the box that they run >each issue that lists current versions of Ensoniq operating >systems. 1.1 is the latest.... We are presently waiting for OS 1.2, I have seen 1.17 in beta-test when I visited the Electric Factory here in Australia (Ensoniq HQ here in OZ). Regards Scott. _______________________________________________________________________________ Scott Fisher [scott@wapsy.uwa.oz] PH: Aus [61] Perth (09) Local (380 3574). _--_|\ N Department of Psychology / \ W + E University of Western Australia. Perth --> *_.--._/ S Nedlands, 6009. PERTH, W.A. v *** ERROR 144 - REBOOT? is a registered trademark of ENSONIQ Corp *** ------------------------------------------------------------------------------- From fscott.sco.COM!sco.sco.COM!jondr Wed Jun 24 15:53:45 1992 Return-Path: <@fscott.sco.COM:jondr@sco.sco.COM> Received: from 137.39.1.5 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Wed, 24 Jun 92 15:52 PDT Received: from sco.sco.COM by relay1.UU.NET with SMTP (5.61/UUNET-internet-primary) id AA26884; Wed, 24 Jun 92 18:52:36 -0400 Received: from fscott.sco.COM by sco.sco.COM id aa12052; Wed, 24 Jun 92 15:53:16 PDT To: eps@reed.edu Subject: eps 16 plus effects routings From: Desi The Three-Armed Wonder Comic Sender: jondr@sco.COM Date: Wed, 24 Jun 92 15:54:00 PDT Message-Id: <9206241554.aa08407@fscott.sco.COM> can someone out there with a 16 Plus and the oex-6 output expander explain to me exactly how the effects routings work? i used to think i was a smart guy, but this is just insanely complicated. if you're using a multiple effect program (like delay+chorus+distortion or something), does this require multiple buses? i've got fx send bus2 and bus3 off right now and we're processing everything at the board, but it would be nice to handle some stuff on the machine's end. the diagram on the oex-6 explains nothing. i wind up using aux1 a whole lot just because it doesn't go through any Weird Shit. i really hate the oex-6. the oex-8 was much nicer. i completely understood how that baby worked. eight mono outputs, plus the stereo mains. simplicity. this new setup is completely incomprehensible. plus the fact that it likes to treat the setup as four stereo pairs rather than lots of mono outs really stinks because i can never remember if hard left is -99 or +99. sigh. enough bitching. Jon Drukman (finely honed machine) uunet!sco!jondr jondr@sco.com ------------------------------------------------------------------------------- Initiative is the dropkick of champions. From psy.uwa.edu.au!scott Thu Jun 25 00:05:37 1992 Return-Path: Received: from 128.250.1.21 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 25 Jun 92 00:05 PDT Received: from wapsy.psy.uwa.oz.au by munnari.oz.au with SMTP (5.83--+1.3.1+0.50) id AA29523; Thu, 25 Jun 1992 17:05:19 +1000 (from scott@psy.uwa.edu.au) Received: by psy.uwa.edu.au (4.1/SMI-4.1) id AA12721; Thu, 25 Jun 92 15:03:46 WST Date: Thu, 25 Jun 92 15:03:46 WST From: scott@psy.uwa.edu.au (Scott Fisher) Message-Id: <9206250703.AA12721@psy.uwa.edu.au> To: eps@reed.edu Subject: Uploading... >From niski@reed.edu Thu Jun 25 14:39:01 1992 >we filled up those 42 MB between early February and the end of May. >It doesn't look like anything's been uploaded since then. Yeah, what happn'd to all you avid sound-swappers out there? I have heaps of stuff I could upload...why did every one stop? One thing I thought would be interesting is to sample "hello" messages so we could hear what each other sound like :-) Who want's to go first? :-) After the site issue settles down I'll get back on track and start uploading stuff again, if the new site has room. Scott. _______________________________________________________________________________ Scott Fisher [scott@wapsy.uwa.oz] PH: Aus [61] Perth (09) Local (380 3574). _--_|\ N Department of Psychology / \ W + E University of Western Australia. Perth --> *_.--._/ S Nedlands, 6009. PERTH, W.A. v *** ERROR 144 - REBOOT? is a registered trademark of ENSONIQ Corp *** ------------------------------------------------------------------------------- From ads.com!pdel Thu Jun 25 00:21:25 1992 Return-Path: Received: from 128.229.30.16 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 25 Jun 92 00:21 PDT Received: from bert.ads.com by ads.com (5.65+/1.34v1.3) id AA08967; Thu, 25 Jun 92 00:21:59 -0700 From: pdel@ads.com (Peter Delevoryas) Received: by bert.ads.com (5.65+/4.7) id AA02134; Thu, 25 Jun 92 00:21:58 -0700 Date: Thu, 25 Jun 92 00:21:58 -0700 Message-Id: <9206250721.AA02134@bert.ads.com> To: scott@psy.uwa.edu.au Subject: Re: Uploading... Cc: eps@reed.edu >Yeah, what happn'd to all you avid sound-swappers out there? Hey I have an idea, let's take the mailing list, randomly pick a name, and have a mailer send them a message like: ", you have been chosen to be this week's sample submitter! You may submit any kind of sample, as long as it's not copyright. As a reward, your sample will be evaluated by your peers and the rating applied the sound." This would then lead to something like: "This week's chartbuster is Joe Niski's sample of a disk drive melting down in 120deg. weather! Joe's sample topped the charts with a solid 8 out of possible 10 rating!" Okay you guys, to further motivate you, I promise that if people will start submitting sounds, then I will upload a beautiful sample (haven't done it yet, but trust me) of, yes, authentic SLEIGH BELLS! Ho-Ho-Ho, just in time for Christmas! PD From uunet.UU.NET!bristol!arisb Thu Jun 25 04:28:25 1992 Return-Path: Received: from 137.39.1.5 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 25 Jun 92 04:28 PDT Received: from uunet.uu.net (via LOCALHOST.UU.NET) by relay1.UU.NET with SMTP (5.61/UUNET-internet-primary) id AA01286; Thu, 25 Jun 92 07:28:11 -0400 Received: from bristol.UUCP by uunet.uu.net with UUCP/RMAIL (queueing-rmail) id 072756.17058; Thu, 25 Jun 1992 07:27:56 EDT Received: by bristol.UUCP (4.1/SMI-4.1) id AA04174; Wed, 24 Jun 92 16:47:42 EDT Date: Wed, 24 Jun 92 16:47:42 EDT From: bristol!arisb@uunet.UU.NET (Aris Buinevicius) Message-Id: <9206242047.AA04174@bristol.UUCP> To: eps@reed.edu Subject: new add Please add me to your mailing list; I used to be aabuinev@eos.ncsu.edu; please take me -off- with that id.. Please add for arisb@bristol.com thanks Aris From physics.su.OZ.AU!studer Thu Jun 25 16:03:02 1992 Return-Path: Received: from 129.78.129.1 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 25 Jun 92 16:02 PDT Received: from alfven.physics.su.OZ.AU by physics.su.OZ.AU (5.61+IDA+MU/1.34) id AA18652; Fri, 26 Jun 1992 09:02:32 +1000 Received: by alfven.physics.su.OZ.AU (4.1/5.17) id AA05941; Fri, 26 Jun 92 09:02:31 EST Date: Fri, 26 Jun 92 09:02:31 EST From: studer@physics.su.OZ.AU (Andrew Studer) Message-Id: <9206252302.AA05941@alfven.physics.su.OZ.AU> To: eps@reed.edu Subject: Loading up some sounds Yes I think that after an initial flurry of activity things have died down a bit in terms of sample trading. I think we're all recovering from that huge stack of PD_* sounds! There's some good stuff there. And it seems someone has already done what I wanted to do- sample the start of Genesis' "It's Gonna Get Better" and found that the intro is just as wierd backwards as forwards! I'll get some stuff happening when: 1) The archive site gets happening. 2) I get my PC back (a far bigger problem). 3) I come to grips with my WaveStation A/D 4) I get time. Hey, I still haven't done part 2 of that LoopMod article yet. That gets priority. And yes, I will sample the WaveStation sounds at some stage. That's 484 waveforms. Ooooaaaah. I'll try and get the LoopMod article done on the weekend. What I want to put in it is stuff about the LFO, plus a tutorial, plus a set of "templates" which are parameter settings I've found that do interesting things. And, yes, I'll get some more LoopMod sounds together, including the tutorial demos. Andrew Studer... studer@physics.su.oz.au From comsys.dialix.oz.au!hp750.comsys!leigh Fri Jun 26 03:59:59 1992 Return-Path: Received: from 128.250.1.21 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 03:58 PDT Received: from uniwa.uwa.oz.au by munnari.oz.au with SMTP (5.83--+1.3.1+0.50) id AA12740; Fri, 26 Jun 1992 17:39:50 +1000 (from hp750.comsys!leigh@comsys.dialix.oz.au) Received: by uniwa.uwa.edu.au (5.65c) id AA06601; Fri, 26 Jun 1992 15:39:48 +0800 Received: from comsys by DIALix.oz.au id aa22979; 26 Jun 92 15:15 WST Received: from hp750.comsys by hp370.comsys with SMTP (15.11/15.6) id AA03796; Fri, 26 Jun 92 14:55:55 was Received: by hp750.comsys (16.8/15.6) id AA06301; Fri, 26 Jun 92 14:53:36 +0800 From: Leigh Smith Subject: PC->SCSI->EPS + Tape Drive question To: EPS users mail list Date: Fri, 26 Jun 92 14:53:35 WAST Cc: Leigh Smith , leigh@hp750.comsys.dialix.oz.au Mailer: Elm [revision: 70.30] Message-Id: <9206261515.aa22979@DIALix.oz.au> A question for the assembled throng of EPS-16+ experts: I'm planning to get a Tape drive for backing up my PC. I'm also planning to get the memory expansion and SCSI interface for the EPS-16+. If I get a SCSI tape drive, and ensure the tape drive and EPS are set as different devices, properly terminate the connections and daisy chain the two, what chance do I have of communicating to the EPS from the PC via SCSI? I intend to do the software myself. Note I'm not intending the EPS to use the tape drive for anything. I was planning the PC ->SCSI-> EPS connection anyway, but the addition of a second hard disk (IDE not SCSI) has made the tape drive neccessary and I'm hoping to reduce the cost a tad and improve the function of the process by using the SCSI controller of the tape drive. Has anyone attempted PC/SCSI/EPS connections and have any advice to pass on? Thanks in advance, Leigh From sndcrft.dialix.oz.au!steveq Fri Jun 26 04:09:56 1992 Return-Path: Received: from 128.250.1.21 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 04:08 PDT Received: from uniwa.uwa.oz.au by munnari.oz.au with SMTP (5.83--+1.3.1+0.50) id AA18037; Fri, 26 Jun 1992 21:08:29 +1000 (from steveq@sndcrft.dialix.oz.au) Received: by uniwa.uwa.edu.au (5.65c) id AA16758; Fri, 26 Jun 1992 19:08:24 +0800 Received: from sndcrft.DIALix.oz.au by DIALix.oz.au id aa01074; 26 Jun 92 18:37 WST Received: by sndcrft.DIALix.oz.au (HERMES RMAIL 1.00 Rev. Jan 16 1992) id <08agd9a@sndcrft.DIALix.oz.au>; 20 Nov 85 00:00 MET From: steveq@sndcrft.dialix.oz.au (Steve Quartly) Message-Id: Organization: Sound Craft Creative Music Subject: Re: Uploading... To: pdel@ads.com Reply-To: steveq@sndcrft.dialix.oz.au Cc: eps@reed.edu X-Software: HERMES GUS 1.00 Rev. Jan 16 1992 Date: Wed, 20 Nov 1985 00:30:16 MET In <9206250721.AA02134@bert.ads.com>, you write: > > >Yeah, what happn'd to all you avid sound-swappers out there? > > Hey I have an idea, let's take the mailing list, randomly pick > a name, and have a mailer send them a message like: > > ", you have been chosen to be this week's sample submitter! > You may submit any kind of sample, as long as it's not copyright. > As a reward, your sample will be evaluated by your peers and the > rating applied the sound." > > This would then lead to something like: > > "This week's chartbuster is Joe Niski's sample of a disk drive > melting down in 120deg. weather! Joe's sample topped the charts > with a solid 8 out of possible 10 rating!" Hey Great idea! Lets try it. Ahhhh, except for one thing.... not everyone has ftp access. Hmmmmmmmmmm? See ya, -- <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><> S t e v e Q u a r t l y, P e r t h W e s t e r n A u s t r a l i a, _--_|\ N PH: Aus [61] Perth (09) Local (309 4445). / \ W + E Perth --> *_.--._/ S 43rd Law of Computing: Anything tha can go wr v error: Segmentation violation -- Core dumped. steveq@sndcrft.DIALix.oz.au <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><> From sndcrft.dialix.oz.au!steveq Fri Jun 26 08:43:59 1992 Return-Path: Received: from 128.250.1.21 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 08:43 PDT Received: from uniwa.uwa.oz.au by munnari.oz.au with SMTP (5.83--+1.3.1+0.50) id AA25855; Sat, 27 Jun 1992 01:43:31 +1000 (from steveq@sndcrft.dialix.oz.au) Received: by uniwa.uwa.edu.au (5.65c) id AA28222; Fri, 26 Jun 1992 23:43:29 +0800 Received: from sndcrft.DIALix.oz.au by DIALix.oz.au id aa10969; 26 Jun 92 22:20 WST Received: by sndcrft.DIALix.oz.au (HERMES RMAIL 1.00 Rev. Jan 16 1992) id <08agfeg@sndcrft.DIALix.oz.au>; 20 Nov 85 00:47 MET From: steveq@sndcrft.dialix.oz.au (Steve Quartly) Message-Id: Organization: Sound Craft Creative Music Subject: .EDE format To: eps@reed.edu Reply-To: steveq@sndcrft.dialix.oz.au X-Software: HERMES GUS 1.00 Rev. Jan 16 1992 Date: Wed, 20 Nov 1985 00:46:28 MET Hi Guys, Hey when is someone out there gonna write the .EDE format for the IBM and other platforms? The .GKH is not very memory efficient at all and we could conserve quite a bit of disk space at altosax with the .EDE format. Any volunteers? See ya, -- <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><> S t e v e Q u a r t l y, P e r t h W e s t e r n A u s t r a l i a, _--_|\ N PH: Aus [61] Perth (09) Local (309 4445). / \ W + E Perth --> *_.--._/ S 43rd Law of Computing: Anything tha can go wr v error: Segmentation violation -- Core dumped. steveq@sndcrft.DIALix.oz.au <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><> From fl08-g.comm.mot.com!schickda Fri Jun 26 10:05:48 1992 Return-Path: Received: from 129.188.136.100 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 10:05 PDT Received: from comm.mot.com ([145.1.3.2]) by pobox.mot.com (4.1/SMI-4.0) id AA20092; Fri, 26 Jun 92 12:04:07 CDT Received: from fl08-g.comm.mot.com (node_27d3b.comm.mot.com) by comm.mot.com (4.1/SMI-4.0) id AA23912; Fri, 26 Jun 92 12:11:30 CDT Received: by fl08-g.comm.mot.com ( 5.52 (84)/5.17) id AA10227; Fri, 26 Jun 92 12:52:51 EDT Message-Id: <9206261652.AA10227@fl08-g.comm.mot.com> From: schickda@fl08-g.comm.mot.com (David Schick) Date: Fri, 26 Jun 92 12:52:47 EDT Subject: Re: Uploading... To: eps@reed.edu HELLO, EVERYBODY! Some1 said: ? Hey I have an idea, let's take the mailing list, randomly pick ?a name, and have a mailer send them a message like: ? ? ", you have been chosen to be this week's sample submitter! ? You may submit any kind of sample, as long as it's not copyright. ? As a reward, your sample will be evaluated by your peers and the ? rating applied the sound." And lo, a brief time ago, in a mailing list scattered 'round the globe, steveq replieth: !Hey Great idea! ! !Lets try it. ! !Ahhhh, except for one thing.... not everyone has ftp access. ! !Hmmmmmmmmmm? ! !See ya, Yes, this could be a problem. A week or two I 'posted' a request for information about how someone w/o ftp access could upload a sample. I also asked if any1 with ftp access would be willing to upload files from those of us who are less fortunate. I received absolutely no response whatsoever, so I assume that a) it is not possible b) it is 2 much of a hassle for those with ftp to carry us (understandable, there might be a lot of people who would want to upload this way) c) my 'post' did not make it 2 the rest of u d) every1 hates me and is ignoring me [wimper, whine 8*() ]. I, for1, would love2 start contributing, but don't know how. (and the random idea is cool, 2!) with honest vituperation, - Zoltan ------------------------------------------------------------------ | schickda@fl08-g.comm.mot.com NO-O-O-O-O-O-O-O-SE! | | | | (new .sig soon - getting tired of the old1) | ------------------------------------------------------------------ From wri.com!andre Fri Jun 26 10:27:36 1992 Return-Path: Received: from 140.177.10.12 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 10:27 PDT Received: from rurutu.wri.com by dragonfly.wri.com with SMTP id AA27551 (5.65c/IDA-1.4.4 for ); Fri, 26 Jun 1992 12:27:20 -0500 Return-Path: Date: Fri, 26 Jun 92 12:20:17 -0500 From: andre@wri.com Message-Id: <9206261720.AA04415@rurutu.wri.com> Received: by NeXT Mailer (1.63) To: schickda@fl08-g.comm.mot.com (David Schick) Subject: Re: Uploading... Cc: eps@reed.edu Well, I could see doing the occasional upload for people. I just don't want to get swamped. In fact, I'd like to do some of my own uploads, but time is my most precious resource these days. However, if a hear from a few folks, I'll try to work something out. I work on a NeXT Station, which can read DOS disks, but I can also convert from Mac disks as well. I'm not sure what has to de be done in terms of encryption, so I'll have to explore that a bit yet as well.... andre@wri.com From ads.com!pdel Fri Jun 26 11:16:31 1992 Return-Path: Received: from 128.229.30.16 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 11:15 PDT Received: from deimos.ads.com by ads.com (5.65+/1.34v1.3) id AA15884; Fri, 26 Jun 92 11:16:46 -0700 From: pdel@ads.com (Peter Delevoryas) Received: by deimos.ads.com (5.65+/4.7) id AA01060; Fri, 26 Jun 92 11:16:47 -0700 Date: Fri, 26 Jun 92 11:16:47 -0700 Message-Id: <9206261816.AA01060@deimos.ads.com> To: schickda@fl08-g.comm.mot.com Subject: Re: Uploading... Cc: eps@reed.edu >I, for1, would love2 start contributing, but don't know how. (and the random idea is cool, 2!) Hey, maybe we should randomize on people w/ftp access to help those w/out it! >with honest vituperation, I think that in the spirit of the EPS group, we should vituperously attempt to help this person upload some samples. Anyone who is familiar with a word like vituperous probably has equally exotic samples available ! whaddya think? If each ftp-able person would volunteer to upload *1* of his sounds, think how many more there would be at altosax. It would be vituperous! (that word starts to grow on you). So, in a vituperous attitude, Zoltan, I volunteer to do 1 of your sounds. If you know how to uu-encode and split a sound up for e-mailing, go ahead and send it. If not, I'll dig up the "how-to" and post it. PD From fys.uio.no!t.g.finstad Fri Jun 26 11:19:40 1992 Return-Path: Received: from 129.240.2.50 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 11:18 PDT Received: from ulrik.uio.no by pat.uio.no with local-SMTP (PP) id <22133-0@pat.uio.no>; Fri, 26 Jun 1992 20:16:52 +0200 Date: Fri, 26 Jun 1992 20:16:45 +0200 Message-Id: <9206261816.AAfidibus12468@fidibus.uio.no> To: eps@reed.edu From: Terje Finstad Subject: Re: .EDE format Cc: t.g.finstad@fys.uio.no In reply to steveq@sndcrft.dialix.oz.au (Steve Quartly) Message-Id: > > >Hey when is someone out there gonna write the .EDE format for the IBM and >other platforms? >The .GKH is not very memory efficient at all and we could conserve quite >a bit of disk space at altosax with the .EDE format. Is there a space conservation with the .EDE files?, and is disk conservation really an issue, unless it is significant?. ( to avoid confusion, in my note the .EDE file is a format first used by Gary Gieblers Ensoniq Diskette Manager (EDM). It is used for saving the contents of a complete diskette to a PC hard-disk. The space saving comes from using a map which tells if a sector is empty on the the EPS diskette, then there is no need to write the empty sectors content to the hard disk. ) The eps-board was discussing this, I got the impression the conclusion was that compared with a *compressed* version of a .GKH diskimage there were no big savings. After all the 16blank.gkh.Z is only something like 3k. I imagine that it could be spacesaving if we/you/whoever is going to upload a diskette with little data in it that we start with filling a *fresh diskette ( if the EPS just ereases the entry in the directory when deleting, then an ereased diskette will not compress as well, although I have not looked at what the EPS does. I thought this was the reason for having 16blank.gkh.Z ) ==== Or is it a print error in Steve Q's message, He mean .EFE files? ( Again to avoid confusion, in my note the .EFE file is a format first used by (EDM). It is used for saving the contents of individual "file types" from the EPS diskette such as Instruments, Sequences, Effects and so forth. ) Well since this is not what was stated anyhow, it is no reason for bringing back all the good reasons the eps-board and group presented for storing complete disk images, instead of individual files. === We can also save space with avoiding duplicate sounds if possible. There are a few I think. ( Disk pd_31 is definitely the same instrument as b3.gkh, may be also pd_37 and synclavier.gkh are duplicates, but may be these are so good it doesnt hurt to have many of them there ) In some places it is also quite appropriate to have duplicates when the instrument is used in a sequence. ( My mother particularily liked Night in Tunesia = pd_24. good Dizzy impression, nize tune , great mother, If she had heard it before *she would have bought me my EPS ) >Any volunteers? >See ya, >-- S t e v e Q u a r t l y, P e r t h W e s t e r n A u s t r a l i a, P.S. Steve, Get the clock on your computer fixed.:-) Your time is again 20th of November. It causes problems with the mail system. I wonder what it will do to the timing of your MIDI tracks? Regards Terje //////// \\\\\\\\\\\\\\\\ / \\\\\\\\\\\\\\\\ /////////// / / instad \\\\\\\\\\\\\\\\ / \\\\\\\\\\\\\\\\ / erje \\\\\\\\\\\\\\\\ -------------- ================================================= From cps.msu.edu!boland Fri Jun 26 11:46:43 1992 Return-Path: Received: from 35.8.56.86 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 11:46 PDT Received: from indian.cps.msu.edu by atlantic.cps.msu.edu (4.1/rpj-5.0); id AA27757; Fri, 26 Jun 92 14:46:17 EDT Received: by indian.cps.msu.edu (4.1/4.1) id AA15973; Fri, 26 Jun 92 14:46:16 EDT Date: Fri, 26 Jun 92 14:46:16 EDT From: boland@cps.msu.edu Message-Id: <9206261846.AA15973@indian.cps.msu.edu> To: eps@reed.edu Subject: Playback Question? I've been noticing something strange with my 16+ when playing certain sounds. The sound is centered at "0". Let's say I'm playing a sample called "Anvil". If I tap on the key, it will play in a certain point in space and as I continue to tap on the key the sound will relocate to different areas in space... (ie, 0,+16,-30,0,-40,-70,+50) The 16+ doesn't show these values when I monitor the pan position as I play, the 16+ claims I'm still at "0". But I know I'm hearing the sound in different locations... Has anybody else encountered this "problem"? Or does anyone know why this would be happening? The effects setting can be set on anything and it will still do this... Thanks for any direction, boland@cps.msu.edu From cps.msu.edu!boland Fri Jun 26 12:01:52 1992 Return-Path: Received: from 35.8.56.86 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 12:01 PDT Received: from indian.cps.msu.edu by atlantic.cps.msu.edu (4.1/rpj-5.0); id AA27960; Fri, 26 Jun 92 15:01:40 EDT Received: by indian.cps.msu.edu (4.1/4.1) id AA16197; Fri, 26 Jun 92 15:01:40 EDT Date: Fri, 26 Jun 92 15:01:40 EDT From: boland@cps.msu.edu Message-Id: <9206261901.AA16197@indian.cps.msu.edu> To: eps@reed.edu Subject: Scsi Cable to 25 pin? I just ordered a removable hard drive and would like something longer than the 2 foot 25-50 scsi cable that comes with the drive. I'm planning on buying a 15 foot 25/25 cable for the extension, is there any reason this wouldn't work? I ask because it would be much cheaper to by a regular 25/25 pin as an extension than buy a 15 ft 25/50 SCSI cable. Does any body see any problems with this? Thanks, boland@cps.msu.edu From carina.cray.com!dh Fri Jun 26 12:12:35 1992 Return-Path: Received: from 128.162.19.7 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 12:12 PDT Received: from rmstar.cray.com by timbuk.cray.com (4.1/CRI-MX 1.6ag) id AA24409; Fri, 26 Jun 92 14:12:06 CDT Received: by rmstar.cray.com id AA08187; 4.1/CRI-5.4a; Fri, 26 Jun 92 14:11:43 CDT From: dh@carina.cray.com (Dave Holst) Message-Id: <9206261911.AA08187@rmstar.cray.com> Subject: Re: uploading... To: eps@reed.edu Date: Fri, 26 Jun 92 14:11:37 CDT X-Mailer: ELM [version 2.3 PL11b-CRI] If you can find some way to get the file to me, I would be more then happy to ftp it. As another poster mentioned though, I do not want to get swamped. I do have many gigabytes of disk space available to spool requests up until I get the time to ftp them across... Regarding the 'random idea', make sure that this is voluntary. Some of us lurkers are busy (work, marriage plans, work, church, work, wedding performances, work, etc). David C. Holst dh@rmstar.cray.com ps. Yes, lurkers do post once in awhile.... ========================================================================== _/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \ _/ \__/ \__/ \__/ \__/ \__/ \__/ dh@rmstar.cray.com \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \ From fl08-g.comm.mot.com!schickda Fri Jun 26 13:57:23 1992 Return-Path: Received: from 129.188.136.100 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 13:57 PDT Received: from comm.mot.com ([145.1.3.2]) by pobox.mot.com (4.1/SMI-4.0) id AA26612; Fri, 26 Jun 92 15:55:37 CDT Received: from fl08-g.comm.mot.com (node_27d3b.comm.mot.com) by comm.mot.com (4.1/SMI-4.0) id AA25892; Fri, 26 Jun 92 16:02:58 CDT Received: by fl08-g.comm.mot.com ( 5.52 (84)/5.17) id AA10557; Fri, 26 Jun 92 16:44:15 EDT Message-Id: <9206262044.AA10557@fl08-g.comm.mot.com> From: schickda@fl08-g.comm.mot.com (David Schick) Date: Fri, 26 Jun 92 16:44:12 EDT Subject: Re: Vituperous Uploading To: eps@reed.edu Oh, hello. < I think that in the spirit of the EPS group, we should vituperously < attempt to help this person upload some samples. Anyone who is < familiar with a word like vituperous probably has equally exotic < samples available ! whaddya think? If each ftp-able person would < volunteer to upload *1* of his sounds, think how many more there would < be at altosax. It would be vituperous! (that word starts to grow on you). < < So, in a vituperous attitude, Zoltan, I volunteer to do 1 of your sounds. < If you know how to uu-encode and split a sound up for e-mailing, go ahead < and send it. If not, I'll dig up the "how-to" and post it. was most gratuitously uttered by pdel@ads.com (Peter Delevoryas) Whoa! I've only had my EPS-16+ for a few months, and have only just begun2 really start using it. I don't have a huge warehouse full of ultra-bizzare yet useful samples (@least, not yet!). I do have 1 instrument now that might be of interest 2group. It is a set of (primarily industrial) percussive sounds which were originally sampled from my R8, then mixed, matched, hosed, conglomerated, twisted and combined with sounds like my mouse slamming down on my desk with distortion, knives being thrown very hard into my kitchen sink, etc. I use these sounds quite often. Peter - I'll email this 2u Monday, uuencoded (thanku!). My mention of wanting2 contribute was more in an ongoing sense, as I'm really just getting started. I've used ftpmail a bit now 4grabbing samples, but was disappointed 2find that I couldn't put samples as well. Maybe we should take a survey 2find out how many un42n8 people there r without ftp WHO WOULD LIKE 2 CONTRIBUTE. Maybe we could collect a list of people who would (on an every-so-often basis) b willing2 upload samples 4the ftpless. I would Bwilling2 collect and summarize the results of this survey. Maybe this is something the board needs2 discuss? BTW, vituperation (in abscence of a dictionary but instead the presence of my somewhat shaky memory) means something like "using abusive language" or "talking abusively" My use of the word was SERIOUSLY sarcastic if not completely random and I hope no1 took any1 offense. with much remistigation (I made that1 up) - Zoltan ------------------------------------------------------------------ | schickda@fl08-g.comm.mot.com NO-O-O-O-O-O-O-O-SE! | | | | (new .sig soon - getting tired of the old1) | ------------------------------------------------------------------ From fl08-g.comm.mot.com!schickda Fri Jun 26 14:26:29 1992 Return-Path: Received: from 129.188.136.100 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 14:26 PDT Received: from comm.mot.com ([145.1.3.2]) by pobox.mot.com (4.1/SMI-4.0) id AA27166; Fri, 26 Jun 92 16:24:55 CDT Received: from fl08-g.comm.mot.com (node_27d3b.comm.mot.com) by comm.mot.com (4.1/SMI-4.0) id AA26010; Fri, 26 Jun 92 16:32:14 CDT Received: by fl08-g.comm.mot.com ( 5.52 (84)/5.17) id AA10584; Fri, 26 Jun 92 17:13:23 EDT Message-Id: <9206262113.AA10584@fl08-g.comm.mot.com> From: schickda@fl08-g.comm.mot.com (David Schick) Date: Fri, 26 Jun 92 17:13:20 EDT Subject: Re: Vituperous Uploading To: eps@reed.edu Oh, hello. < I think that in the spirit of the EPS group, we should vituperously < attempt to help this person upload some samples. Anyone who is < familiar with a word like vituperous probably has equally exotic < samples available ! whaddya think? If each ftp-able person would < volunteer to upload *1* of his sounds, think how many more there would < be at altosax. It would be vituperous! (that word starts to grow on you). < < So, in a vituperous attitude, Zoltan, I volunteer to do 1 of your sounds. < If you know how to uu-encode and split a sound up for e-mailing, go ahead < and send it. If not, I'll dig up the "how-to" and post it. was most gratuitously uttered by pdel@ads.com (Peter Delevoryas) Whoa! I've only had my EPS-16+ for a few months, and have only just begun2 really start using it. I don't have a huge warehouse full of ultra-bizzare yet useful samples (@least, not yet!). I do have 1 instrument now that might be of interest 2group. It is a set of (primarily industrial) percussive sounds which were originally sampled from my R8, then mixed, matched, hosed, conglomerated, twisted and combined with sounds like my mouse slamming down on my desk with distortion, knives being thrown very hard into my kitchen sink, etc. I use these sounds quite often. Peter - I'll email this 2u Monday, uuencoded (thanku!). My mention of wanting2 contribute was more in an ongoing sense, as I'm really just getting started. I've used ftpmail a bit now 4grabbing samples, but was disappointed 2find that I couldn't put samples as well. Maybe we should take a survey 2find out how many un42n8 people there r without ftp WHO WOULD LIKE 2 CONTRIBUTE. Maybe we could collect a list of people who would (on an every-so-often basis) b willing2 upload samples 4the ftpless. I would Bwilling2 collect and summarize the results of this survey. Maybe this is something the board needs2 discuss? BTW, vituperation (in abscence of a dictionary but instead the presence of my somewhat shaky memory) means something like "using abusive language" or "talking abusively" My use of the word was SERIOUSLY sarcastic if not completely random and I hope no1 took any1 offense. with much remistigation (I made that1 up) - Zoltan ------------------------------------------------------------------ | schickda@fl08-g.comm.mot.com NO-O-O-O-O-O-O-O-SE! | | | | (new .sig soon - getting tired of the old1) | ------------------------------------------------------------------ From fl08-g.comm.mot.com!schickda Fri Jun 26 14:44:07 1992 Return-Path: Received: from 129.188.136.100 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 14:43 PDT Received: from comm.mot.com ([145.1.3.2]) by pobox.mot.com (4.1/SMI-4.0) id AA27480; Fri, 26 Jun 92 16:42:15 CDT Received: from fl08-g.comm.mot.com (node_27d3b.comm.mot.com) by comm.mot.com (4.1/SMI-4.0) id AA26088; Fri, 26 Jun 92 16:49:36 CDT Received: by fl08-g.comm.mot.com ( 5.52 (84)/5.17) id AA10596; Fri, 26 Jun 92 17:30:54 EDT Message-Id: <9206262130.AA10596@fl08-g.comm.mot.com> From: schickda@fl08-g.comm.mot.com (David Schick) Date: Fri, 26 Jun 92 17:30:51 EDT Subject: Re: Vituperous Uploading To: eps@reed.edu Oh, hello. < I think that in the spirit of the EPS group, we should vituperously < attempt to help this person upload some samples. Anyone who is < familiar with a word like vituperous probably has equally exotic < samples available ! whaddya think? If each ftp-able person would < volunteer to upload *1* of his sounds, think how many more there would < be at altosax. It would be vituperous! (that word starts to grow on you). < < So, in a vituperous attitude, Zoltan, I volunteer to do 1 of your sounds. < If you know how to uu-encode and split a sound up for e-mailing, go ahead < and send it. If not, I'll dig up the "how-to" and post it. was most gratuitously uttered by pdel@ads.com (Peter Delevoryas) Whoa! I've only had my EPS-16+ for a few months, and have only just begun2 really start using it. I don't have a huge warehouse full of ultra-bizzare yet useful samples (@least, not yet!). I do have 1 instrument now that might be of interest 2the group. It is a set of (primarily industrial) percussive sounds which were originally sampled from my R8, then mixed, matched, hosed, conglomerated, twisted and combined with sounds like my mouse slamming down on my desk with distortion, knives being thrown very hard into my kitchen sink, etc. I use these sounds quite often. Peter - I'll email this 2u Monday, uuencoded (thanku!). My mention of wanting2 contribute was more in an ongoing sense, as I'm really just getting started. I've used ftpmail a bit now 4grabbing samples, but was disappointed 2find that I couldn't put samples as well. Maybe we should take a survey 2find out how many un42n8 people there r without ftp WHO WOULD LIKE 2 CONTRIBUTE. Maybe we could collect a list of people who would (on an every-so-often basis) b willing2 upload samples 4the ftpless. I would Bwilling2 collect and summarize the results of this survey. Maybe this is something the board needs2 discuss? BTW, vituperation (in abscence of a dictionary but instead the presence of my somewhat shaky memory) means something like "using abusive language" or "talking abusively" My use of the word was SERIOUSLY sarcastic if not completely random and I hope no1 took any offense. Now read Peter's 'post' again! with much remistigation (I made that1 up) - Zoltan ------------------------------------------------------------------ | schickda@fl08-g.comm.mot.com NO-O-O-O-O-O-O-O-SE! | | | | (new .sig soon - getting tired of the old1) | ------------------------------------------------------------------ From hpeskdl.fc.hp.com!kdl Fri Jun 26 15:04:05 1992 Return-Path: Received: from 15.255.152.4 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 15:03 PDT Received: from hpeskdl.fc.hp.com by hp.com with SMTP (16.8/15.5+IOS 3.13) id AA13457; Fri, 26 Jun 92 15:03:57 -0700 Received: by hpeskdl.fc.hp.com (16.7/15.5+IOS 3.22) id AA14463; Fri, 26 Jun 92 16:04:21 -0600 From: Kelly Larson Message-Id: <9206262204.AA14463@hpeskdl.fc.hp.com> Subject: Re: Playback Question? To: boland@cps.msu.edu Date: Fri, 26 Jun 92 16:04:21 MDT Cc: eps@reed.edu In-Reply-To: <9206261846.AA15973@indian.cps.msu.edu>; from "boland@cps.msu.edu" at Jun 26, 92 2:46 pm Mailer: Elm [revision: 66.33] > > > I've been noticing something strange with my 16+ when playing certain sounds. > The sound is centered at "0". Let's say I'm playing a sample called "Anvil". > If I tap on the key, it will play in a certain point in space and as I > continue to tap on the key the sound will relocate to different areas in > space... (ie, 0,+16,-30,0,-40,-70,+50) The 16+ doesn't show these values > when I monitor the pan position as I play, the 16+ claims I'm still at "0". > But I know I'm hearing the sound in different locations... > > Has anybody else encountered this "problem"? Or does anyone know why this > would be happening? The effects setting can be set on anything and it will > still do this... > > Thanks for any direction, > boland@cps.msu.edu > Sounds to me like exactly what happens when you have the 'random panning' mode selected. This is a pretty cool thing to have with drum tracks, or sometimes with a repeated single note sequence. It adds some movement in the mix, and can really sound cool with headphones on. I'm not sure which menu page this is set on, but you might want to check and make sure that this isn't what is happening to you. =============================================================================== /\ | / / \ | /\ Kelly Larson /\ / \ /\ | / / \ | /\/ kdl@hpeskdl.fc.hp.com / \/ \ \/\| | /-\ /-\ | |\/ \ Engineering Systems Lab / / \ / | | / / /__/ | |/ \/ Hewlett Packard Company / / / | \ / / | \ / COLORADO! / | \ / / | =============================================================================== From hpeskdl.fc.hp.com!kdl Fri Jun 26 16:39:55 1992 Return-Path: Received: from 15.255.152.4 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 26 Jun 92 16:39 PDT Received: from hpeskdl.fc.hp.com by hp.com with SMTP (16.8/15.5+IOS 3.13) id AA14165; Fri, 26 Jun 92 16:39:41 -0700 Received: by hpeskdl.fc.hp.com (16.7/15.5+IOS 3.22) id AA14695; Fri, 26 Jun 92 17:40:06 -0600 From: Kelly Larson Message-Id: <9206262340.AA14695@hpeskdl.fc.hp.com> Subject: Re: Playback Question? To: eps@reed.edu (EPS Mailing List) Date: Fri, 26 Jun 92 17:40:05 MDT Mailer: Elm [revision: 66.33] > > > I've been noticing something strange with my 16+ when playing certain sounds. > The sound is centered at "0". Let's say I'm playing a sample called "Anvil". > If I tap on the key, it will play in a certain point in space and as I > continue to tap on the key the sound will relocate to different areas in > space... (ie, 0,+16,-30,0,-40,-70,+50) The 16+ doesn't show these values > when I monitor the pan position as I play, the 16+ claims I'm still at "0". > But I know I'm hearing the sound in different locations... > > Has anybody else encountered this "problem"? Or does anyone know why this > would be happening? The effects setting can be set on anything and it will > still do this... > > Thanks for any direction, > boland@cps.msu.edu > Sounds to me like exactly what happens when you have the 'random panning' mode selected. This is a pretty cool thing to have with drum tracks, or sometimes with a repeated single note sequence. It adds some movement in the mix, and can really sound cool with headphones on. I'm not sure which menu page this is set on, but you might want to check and make sure that this isn't what is happening to you. =============================================================================== /\ | / / \ | /\ Kelly Larson /\ / \ /\ | / / \ | /\/ kdl@hpeskdl.fc.hp.com / \/ \ \/\| | /-\ /-\ | |\/ \ Engineering Systems Lab / / \ / | | / / /__/ | |/ \/ Hewlett Packard Company / / / | \ / / | \ / COLORADO! / | \ / / | =============================================================================== From silver.lcs.mit.edu!kalin Sat Jun 27 09:26:28 1992 Return-Path: Received: from 18.52.0.230 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Sat, 27 Jun 92 09:26 PDT Received: by silver.lcs.mit.edu id AA28859; Sat, 27 Jun 92 12:26:11 -0400 Date: Sat, 27 Jun 92 12:26:11 -0400 From: kalin@silver.lcs.mit.edu (Dan Kalin) Message-Id: <9206271626.AA28859@silver.lcs.mit.edu> To: boland@cps.msu.edu Cc: eps@reed.edu In-Reply-To: boland@cps.msu.edu's message of Fri, 26 Jun 92 15:01:40 EDT <9206261901.AA16197@indian.cps.msu.edu> Subject: Scsi Cable to 25 pin? Be careful when ordering a 25-to-25 pin scsi cable, especially a long one (6-feet or more). I found that the suppliers will just sell an RS-232 type cable that has the right connector on each end but may not have the right signals sheilded/twisted for SCSI applications. If you do find a source for theses cables, please share the info! However, for your application, I would just put aside the 2-foot cable and get a longer 25-50 pin SCSI cable rather than trying to find an extension. -Dan Kalin From fl08-g.comm.mot.com!schickda Sat Jun 27 09:58:38 1992 Return-Path: Received: from 129.188.136.100 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Sat, 27 Jun 92 09:58 PDT Received: from comm.mot.com ([145.1.3.2]) by pobox.mot.com (4.1/SMI-4.0) id AA02547; Sat, 27 Jun 92 11:57:01 CDT Received: from fl08-g.comm.mot.com (node_27d3b.comm.mot.com) by comm.mot.com (4.1/SMI-4.0) id AA27739; Sat, 27 Jun 92 12:04:32 CDT Received: by fl08-g.comm.mot.com ( 5.52 (84)/5.17) id AA11697; Sat, 27 Jun 92 12:45:37 EDT Message-Id: <9206271645.AA11697@fl08-g.comm.mot.com> From: schickda@fl08-g.comm.mot.com (David Schick) Date: Sat, 27 Jun 92 12:45:33 EDT Subject: Re: Playback Question To: eps@reed.edu Hello in repetition. ^ Sounds to me like exactly what happens when you have the 'random ^ panning' mode selected. This is a pretty cool thing to have with drum ^ tracks, or sometimes with a repeated single note sequence. It adds ^ some movement in the mix, and can really sound cool with headphones ^ on. I'm not sure which menu page this is set on, but you might want to ^ check and make sure that this isn't what is happening to you. Once the waveform in question is selected, press EDIT then AMP and scroll over 2the PAN MOD screen. If it is set2 RANDM and the value is not 0, then that is probably your problem. - Zoltan (schickda@fl08-g.comm.mot.com) PS sorry if multiple copies of my last letter have been cluttering your inbox. Each time I sent1, it came back as unsent, but I was just bombarded with millions of my own letter today...