response 1 of 25:

Sep 14 14:32 UTC 1997

Other issues to consider are midi or not to midi and the related issue of
sequencers.  I'm not a big fan of sequencers as I think they make compositions
sound too mechanical, not leaving room for expressive improve, but I admit to a
lack of experience using sequencers so jump in with a different opinion.

response 3 of 25:

Sep 14 23:00 UTC 1997

I've got a Korg somethingorother connected to an old Mac SE in my basement.
So, I've done some pieces on it, either instrumentals or reciting poetry over
music.  I find that a sequencer works fine, but it is difficult to make
expressive melodic lines.  One thing that I've had some degree of success with
in that regard is creating two tracks for each instrument - one for the notes,
and one on which to record dynamic changes.  That way, I can go back later
and add finer articulation and phrasing and such like.
I'd be interested to see some of the stuff you've come up with, raven, and
likewise where you got your software.

response 5 of 25:

Sep 15 21:25 UTC 1997

WHat's the deal with remixing, Steve?  How does one capture, for instance,
just the vocals, without picking up background too?

response 7 of 25:

Sep 16 06:27 UTC 1997

Oh damnit, some of you are just too rich!  I have *never* been able to afford
MIDI systems.  I worked with it at school-- with sound modules, a drum
machine, a digital reverb/sound effect machine, an electronic keyboard, a
synthesizer, a watered-down version of MasterTracks for the AppleIIgs, a
12-channel mixer, a sampler, a Denon tape deck, and a 4-track recording deck.
Trouble is, I never really learned how to use it all.

raven-- where did you download all this stuff?  (I would never be able to
download even if I could-- too little memory, and it's my folks' comp)

response 9 of 25:

Sep 17 03:53 UTC 1997

I am so not rich.  my remixes don't sound all that great, the just do some
stuff that I wanted to see done to the song :)  Like I said, though, pirated.
I should only dream of affording a MIDI system.

response 11 of 25:

Sep 22 03:28 UTC 1997

Please do give the URL...I'll be waiting with baited breath...

response 13 of 25:

Jul 21 07:35 UTC 1998

I'm studying sound production, technology and engineering at MTSU.  One of
the first things I discovered is that producers and engineers have a good deal
of creative input into a composition, where as many peole are under the
impression that the musicians do it all.
In order to develop technique and style in production I realized I needed as
much time as possible doing tracks, mixes and mastering, so I decided to build
a "virtual studio" using a computer, A/D converters, two track open reel
master and other odd and ins.
Here's what I found:
-Check out the Steinberg software for sound recording.  It's expensive but
it does everything.  Cubase for sound, WaveLab for media.  Almost any plug-in
will work with Stienburg software.  www.steinburg.com
-Fast CPU speeds will be needed if you plan to use alot of tracts
simultaniously.  Most of us might record a guitar and vocals, maybe keyboard
drums.  If you plan to have several tracks for your drum kit, a bunch of
guitars, patched tracks, lot of vocals, etc.  You see what I mean!  If you
want to mix this stuff and have it sound right you'll need a Pentium II 266,
preferably a 300.
-You'll need a large hard drive for major projects.  SCSI is actually a good
thing to have here.
-Memory is cheap, get lots of it.
-For clean recordings you need to put the computer in a seperate room.  If
you're using professional equipment, the fan on your computer will get
recorded.
-Outboard A/D, D/A converters are necissary for professional aps.  The insides
of your computer produce too much electronic and RF noise to put them inside.
Some newer cards on the market are shielding the plug in card for
interference.  Abdigital is one of these companies (abdigital.com).
-Greater word length gets a better (higher) signal to error ratio, but the
sound recording will take up more storage space.  By this I mean 16bit vs
20bit vs 24bit.  Many low priced cards use 24bit conversion on recording and
playback and most allow you to select between 16, 20 and 24 (CDs use 16bit).
-You'll need mic preamps unless you're using a mixer, line amp or direct
input.
I obviously love to talk tech, so if anybody wants to give me some tips or
ask questions mail me at aws2b@mtsu.edu or just post a message to this
conference.

response 15 of 25:

Jul 23 06:25 UTC 1998

hey goose, it's good to meet people interested in this stuff too! 
Unfortunately I do not know of BJ Hill.  Is he in the recording industry
program?  Are you still in touch with him?  I can get his number for you if
you would like.

response 17 of 25:

Jul 28 04:05 UTC 1998

When I've looked at MIDI and sequencing (granted I have no experience with
MIDI) I was planning to use sound cards and wavetables to load sounds from
those instrument CD's or just sample the sound and load it onto the card. 
Mainly I was planning this because it extremly versitile and cost effective,
but hearing what you've said about the MC303 has got my attention.  I'm
looking at my Roland catalog and I see alot of Sound Canvas equipment new for
$400 - 800, but I don't see any MC-series equipment.  You must have been
lucky.  I more concerned with finding a MIDI controller with all the great
features like 16 polyphony, velocity and after-touch, but those things cost
thousands!

response 19 of 25:

Jul 30 03:02 UTC 1998

  MTSU = ?

response 21 of 25:

Jul 31 02:43 UTC 1998

Anybody interested in studing the technical or business side of the recording
industry should take a look at MTSU.

Try www.mtsu.edu        

response 23 of 25:

Aug 1 05:00 UTC 1998

I've heard that because MIDI is serial, if you try to control too much at one
time you will experience a lag in the music.  Is this why one would want more
MIDI channels?  Is the baud rate a standard or can it be user defined?