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| Author |
Message |
| 13 new of 87 responses total. |
scott
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response 75 of 87:
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Jul 8 03:24 UTC 2001 |
The latest two Subotnick records are quadrophonic. How the heck did that work
with vinyl?
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krj
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response 76 of 87:
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Jul 8 04:03 UTC 2001 |
Well, this is the wrong item for this digression, but you did ask...
There were two incompatible systems for quadrophonic sound in LPs.
I think the Columbia system was called "SQ" and it was described as
a "matrix" system which played games with the phase of the signals.
The advantage of the matrix system is that it made no special demands
on the turntable; the quad decoding was all done in the receiver or
by an outboard decoder box. However, there was reported to be
some bleeding among the channels.
RCA's system was called CD-4. It treated all 4 channels as discrete
signals; for the rear channels, there was a "difference" or "carrier"
signal which was boosted by 30,000 cycles and pressed into the
vinyl as ultrasonic information.
The problem with this idea is that vinyl signals pressed
between 30K-50K are very, very delicate, and they are
destroyed pretty quickly under normal vinyl wear conditions.
On the positive side, the desire to preserve that 30K-50K signal
led to some substantial advances in phono stylus geometry to minimize
record wear.
I found a website which tells me I'm not entirely correct here:
visit: http://hometown.aol.com/matrixquad/about.htm
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scott
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response 77 of 87:
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Jul 8 04:40 UTC 2001 |
A carrier wave of 30KHz on a turntable? Were they on crack, or some similar
drug which predated crack? ;)
Thanks, Ken.
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mcnally
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response 78 of 87:
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Jul 9 22:30 UTC 2001 |
not cracks.. LPs have *grooves*
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orinoco
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response 79 of 87:
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Jul 11 18:18 UTC 2001 |
X : crack :: vinyl : DVD ?
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arianna
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response 80 of 87:
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Jul 19 06:17 UTC 2001 |
<suddenly suffers a flashback of the SAT and mock-punches dan> d=
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orinoco
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response 81 of 87:
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Jul 20 01:41 UTC 2001 |
<blames his employer>
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scott
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response 82 of 87:
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Jul 20 02:15 UTC 2001 |
Update: Only 2 (out of the 16) left to transfer. Out of the whole batch I'm
only recommending the Morton Subotnick, although there's a couple interesting
things in the other stuff.
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scott
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response 83 of 87:
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Jul 21 23:17 UTC 2001 |
Done!
Here are the gory details:
1. Karlheinz Stockhausen
Kontakte for Electronic Sounds, Piano, and Percussion
Refrain for 3 Instrumentalists
(Candide CE 31022)
2. John Cage
Concerto for Perpared Piano & Orchestra (in 3 Parts) (1951)
Lukas Foss
Baroque Variations (1967)
1. On a Handel Larghetto
2. On a Scarlatti Sonata
3. On a Bach Prelude "Phorion"
(Nonesuch H-71202)
3. Morton Subotnick
4 Butterflies (1974)
(Columbia M 32741)
4. Morton Subotnick
A Sky of Cloudless Sulphur (1978)
After the Butterfly (1979)
(Nonesuch H-78001)
5. Morton Subotnick
Silver Apples of the Moon (1967)
(Nonesuch H-71174)
6. Morton Subotnick
The Wild Bull (1968)
(Nonesuch H-71208)
7. Morton Subotnick
Touch (1969)
(Columbia Masterworks MS 7316)
8. Morton Subotnick
Sidewinder (1971)
(Columbia Masterworks M 30683)
9. George Crumb
Ancient Voices of Children (1971)
1. I. El nino busca su voz
2. Dances of the Ancient Earth
3. II. Me he perdido muchas veces por el mar
4. III. ?De Donde vienes, amor, mi nino?
5. IV. Todas las tardes en Granada, todas las tardes se muere un nino
6. Ghost Dance
7. V. Se ha llenado de luces mi corazon de seda
(Nonesuch H-71255)
10. George Crumb
(1978)
Lux Aeterna
Dream Sequence (Images II)
Four Nocturnes
(Columbia/Odyessy Y 35201)
11. George Crumb
(1974)
Voice of the Whale (Vox Balaenae)
Night of the Four Moons
(Columbia M 32739)
12. Charles Dodge
Earth's Magnetic Field
(Nonesuch H-71250)
13. Andrew Rudin
Tragoedia (a composition in four movements for electronic music
synthesizer)
1. Kouros
2. Hybris
3. Peitho
4. Ate
(Nonesuch H-71198)
14. Charles Wuorinen
Time's Encomium (for synthesized & processed synthesized sound)
(Nonesuch H-71225)
15. Electronic Music (1965[?] compilation)
Compilation of pieces recorded at the Columbia-Princeton Electronic
Music Center.
Andres Lewin-Richter
Study N. 1
Ilhan Mimaroglu
Le Tombeau d'Edgar Poe
Tzvi Avni
Vocalise
Walter Carlos
Variations for Flute and Electronic Sound
Dialogues for Piano and Two Loudspeakers
(Turnabout TV 4004, monaural)
16. Electronic Music Vol. IV (1968 compilation)
Winners of First International Electronic Music Competition, Dartmouth
College
Olly W. Wilson (Winner)
Cetus
William Hellermann (4th finalist)
Ariel
Eugeniusz Rudnik (3rd finalist)
Dixi
Pril Smiley (1st finalist)
Eclipse
Bohdan Mazurek (5th finalist)
Bozzetti
Jozef Malovec (2nd finalist)
Orthogenesis
(Turnabout TV 34301)
Probably the most interesting stuff (to me) is the Morton Subotnick, although
the last two albums are good compilations of different styles of electronic
music.
The most annoying albums are the George Crumb, since his style involved
regular orchestras and vocalists *attempting* to do strange new things.
I have no idea about the status of most of these recordings. Some of the
Subotnick recordings are reissued and available from Subotnick's own website,
http://www.mortonsubotnick.com
Wendy (formerly Walter) Carlos also has an active website at
http://www.wendycarlos.com although the one compilation I have isn't
mentioned in her discography.
Anyway, I did all this basically to save the recordings for whoever is
curious. If you really like something I didn't, it's yours if you ask nicely.
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orinoco
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response 84 of 87:
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Jul 22 00:32 UTC 2001 |
That's quite a list.... Sounds like you've got a good bit more aural
fortitude than I.
I think it's interesting that you hated the Crumb so much, since he's about
the only composer on that list who I'd expect to like. (That is, I love what
Crumb I've heard, don't like Stockhausen or Subotnick at all, can't see the
point of even those Cage pieces that do have rhythms and tunes to them, and
haven't heard anything to make me think I'd like anyone else on the list.)
The novel effects he gets out of acoustic instruments is part of Crumb's
appeal to me; there's a richness to the sound that you don't hear in much
electronic music of that era.
So really, I'd like to prod you to give the Cage a few more listens, but if
you don't want it I'd gladly take it off your hands. I'd even ask nicely.
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arianna
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response 85 of 87:
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Jul 22 04:36 UTC 2001 |
<rotfl> AURAL FORTITUDE?! I'm SO stealing that.
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orinoco
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response 86 of 87:
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Jul 22 14:07 UTC 2001 |
You think that was a joke? Listening to Stockhausen is like having your
eardrums poked with twigs.
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raven
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response 87 of 87:
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Jul 23 03:35 UTC 2001 |
re #86 haha, very good as well, I would say listening to Stockhausen is
like listening to highly amplified fingernails being scratched on a chalk
board.
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