25 Jun
2000
25 Jun
'00
1:22 p.m.
to Clockwork Orange (still as Walter). By the time of
Tron, Walter had become Wendy.
Your dates and music are misaligned. the "Walter"
was not used during the period and was neither played
up or down. It was a itlem of convenience of the record
compmanies. However by then it was history.
I know as I have all the albums as originals bought when
they were originally released and have kept a Yamaha
belt drive going for real music. ;)
She is one of many talents that took electronics and
rather than make Rover howl, did achieve serious music.
Allison
25 Jun
25 Jun
4:56 p.m.
>to Clockwork Orange (still as Walter). By the
time
of
Tron, Walter
had become Wendy.
Your dates and music are misaligned. the "Walter"
was not used during the period and was neither played
up or down. It was a itlem of convenience of the compmanies. However by then it was history.
I know as I have all the albums as originals bought
when
they were originally released and have kept a Yamaha
belt drive going for real music. ;)
Well, you should check your original. If it's from
1971, the year Clockwork was released, then it says
"Walter." If it's one of the later re-releases, it may
say "Wendy." But, clearly, Wendy was Walter in 1971.
6:41 p.m.
<snippage about Wendy Carlos>
She is one of many talents that took electronics and
rather than make Rover howl, did achieve serious music.
Allison
You are absolutely correct on that one, Allison. I read an interview
with Bob Moog where he was discussing the early days of synths.
After "S-OB" was released and just exploded, everybody and their
brother had to have a Moog. Problem was, most of what was
produced on them was total crap, probably sounding like what I
would do if I couldn't sequence the hell out of something. (Ever hear
George Harrison's "Electronic Music"? 'Nuff said.......)(And yes, I
know that wasn't George. It was really just the synth salesman
noodling and demoing the machine, and George released it under
his name. If you have an original copy, you can see the other guy's
name before George made the record company print over his name
on the jacket......)
Bob's comment was that it became very apparent that what made
"S-OB" the huge hit that it was wasn't his synth, it was Wendy....
It's even more amazing to listen to that album now and think about
the technology that didn't exist back then for sequencing and
midi...what she did manually was astounding. She and Larry Fast
have always been heroes of mine.
Paul Braun WD9GCO
Cygnus Productions
nerdware_nospam(a)laidbak.com
7:21 p.m.
Is it still possible to get Switched on Bach on CD?
Sellam International Man of Intrigue and Danger
-------------------------------------------------------------------------------
Looking for a six in a pile of nines...
Coming soon: VCF 4.0!
VCF East: Planning in Progress
See http://www.vintage.org for details!
9:25 p.m.
Is it still possible to get Switched on Bach on CD?
Yes. Check out the Wendy Carlos site under
"discography" - www.wendycarlos.com.
-W
9:31 a.m.
Hello Paul
On 25-Jun-00, you wrote:
Regards
--
Gary Hildebrand --- Vintage Hammond collector!
ghldbrd(a)ccp.com
<snippage about Wendy Carlos>
Well to a lot of people used to Lawrence Welk, synth music has been likened
to 'crap' . . . .
There is a lot of good synth music out there if you look for it, and don't
try to compare it to symphonic scores. Morton Subotnick and Tomita were the
early leaders, among others. Quite a few of them were on the Nonesuch
record label. Back in my vinyl accumulation days, I amasssed quite a
selection.
My interests there stem from over 40 years' association with Laurens
Hammond's invention back in the 30's. which by definition is the one of the
earliest known 'synthesizers' with a very user-friendly interface. Too bad
they are so danged heavy. I have three of them: B3, M3 and X77.
One last note: Wendy used 'Walter' to enter a men's world in music back
then. Women still don't enjoy parity with men in the music industry, unless
they are a country singer.
She is one of many talents that took electronics and
rather than make Rover howl, did achieve serious music.
Allison
You are absolutely correct on that one, Allison. I read an interview
with Bob Moog where he was discussing the early days of synths.
After "S-OB" was released and just exploded, everybody and their
brother had to have a Moog. Problem was, most of what was
produced on them was total crap, probably sounding like what I
would do if I couldn't sequence the hell out of something. (Ever hear
George Harrison's "Electronic Music"? 'Nuff said.......)(And yes, I
know that wasn't George. It was really just the synth salesman
noodling and demoing the machine, and George released it under
his name. If you have an original copy, you can see the other guy's
name before George made the record company print over his name
on the jacket......)
Bob's comment was that it became very apparent that what made
"S-OB" the huge hit that it was wasn't his synth, it was Wendy....
It's even more amazing to listen to that album now and think about
the technology that didn't exist back then for sequencing and
midi...what she did manually was astounding. She and Larry Fast
have always been heroes of mine.
Paul Braun WD9GCO
Cygnus Productions
nerdware_nospam(a)laidbak.com
4:30 a.m.
Well to a lot of people used to Lawrence Welk, synth
music has been likened
to 'crap' . . . .
I don't know, that human pumped synth was pretty neat. ;)
There is a lot of good synth music out there if you
look for it, and don't
try to compare it to symphonic scores. Morton Subotnick and Tomita were the
early leaders, among others. Quite a few of them were on the Nonesuch
You named a few of mine plus vinyl from the early computer music
conferences.
they are so danged heavy. I have three of them: B3,
M3 and X77.
Havent banged on one of those in years, nothing like Taccota&fuege/Dminor
to a rock beat on a full bore C3... gave the prof gray hair.
Allison
5:03 p.m.
Allison typed forth and the following was the result:
And to my ears, there's nothing like a full-bore Hammond being
driven by Jon Lord from Deep Purple. Nobody, but nobody gets that
angry, hulking, growling sound from an organ like Lord.
Speaking of Tomita....on his "Bermuda Triangle" album (mine is on
blue vinyl......) he included an encoded message that required
someone with a Tarbell cassette interface to read. I never had the
necessary equipment, and it's always bugged me as to what the
message was. Has anyone here ever decoded it?
I'm not familiar with Subotnick. What is his style? Is it more like
Carlos, Tomita, or Fast? Or, something completely different?
Paul Braun WD9GCO
Cygnus Productions
nerdware_nospam(a)laidbak.com
Well to a lot
of people used to Lawrence Welk, synth music has been
likened to 'crap' . . . .
I don't know, that human pumped synth was pretty neat. ;)
There is a lot of good synth music out there if
you look for it, and
don't try to compare it to symphonic scores. Morton Subotnick and
Tomita were the early leaders, among others. Quite a few of them were
on the Nonesuch
You named a few of mine plus vinyl from the early computer music
conferences.
they are so danged heavy. I have three of them:
B3, M3 and X77.
Havent banged on one of those in years, nothing like Taccota&fuege/Dminor
to a rock beat on a full bore C3... gave the prof gray hair.
Allison
5:30 a.m.
On Mon, 26 Jun 2000, Gary Hildebrand wrote:
Well to a lot of people used to Lawrence Welk, synth
music has been likened
to 'crap' . . . .
Now that's a case of the pot calling the kettle black! From what I
recall, the music on the Lawrence Welk show was quite similar what one
heard the organ salespeople playing, in shopping-mall music stores, on
those horrible types of home organs with all of the built in horrid
noises like cha-cha and polka rythms, etc.
Did any home organs have computers with floppies, etc. inside them?
One last note: Wendy used 'Walter' to enter a
men's world in music back
then. Women still don't enjoy parity with men in the music industry, unless
they are a country singer.
Ermm, wasn't she actually a he, who wanted to be a she, before an
operation? That's what I heard, anyway.
--
R. D. Davis
rdd(a)perqlogic.com
http://www.perqlogic.com/rdd
410-744-4900
7:12 a.m.
On Mon, 26 Jun 2000, R. D. Davis wrote:
Did (s)he get the operation before or after getting into the music
business?
On Mon, 26 Jun 2000, Gary Hildebrand wrote:
I always wanted one of those, but they were too expensive ($1000 and up).
By the time I could afford one, they were pretty much disappeared,
replaced by cheap keyboards with built in horrid rhythms...
Well to a lot of people used to Lawrence Welk,
synth music has been likened
to 'crap' . . . .
Now that's a case of the pot calling the kettle black! From what I
recall, the music on the Lawrence Welk show was quite similar what one
heard the organ salespeople playing, in shopping-mall music stores, on
those horrible types of home organs with all of the built in horrid
noises like cha-cha and polka rythms, etc.
Did any home organs have computers with floppies, etc. inside them?
Not until the mid-90's. On the other hand, there was a "Marantz
Reproducing Piano" that was like a player piano, but used digital signals
on a casette tape rather than the punched paper rolls.
http://www.mninter.net/~mfontana/pc2mid/desc.html
Some of the Allen Organs had a digital system where the tone quality was
determined by an 80-column punched computer card, but these were high-end
instruments, not really home organs. (Someone over on the Electronic
Organ List hacked this system, and determined just how the cards were
supposed to be punched in order to produce a certain sound)
One last note:
Wendy used 'Walter' to enter a men's world in music back
then. Women still don't enjoy parity with men in the music industry, unless
they are a country singer.
Ermm, wasn't she actually a he, who wanted to be a she, before an
operation? That's what I heard, anyway.
9:32 a.m.
On Mon, 26 Jun 2000, R. D. Davis wrote:
GSA outlet in Fullerton has one for I "think" $50.
California State Agency for Surplus Property
701 Burning Tree Road
Fullerton, CA 92633
714-449-5900
Fax: 714-449-5917
On Mon, 26 Jun 2000, Gary Hildebrand wrote:
I always wanted one of those, but they were too expensive ($1000 and up).
By the time I could afford one, they were pretty much disappeared,
replaced by cheap keyboards with built in horrid rhythms... Well to a lot of people used to Lawrence Welk,
synth music has been
likened
to 'crap' . . . .
Now that's a case of the pot calling the kettle black! From what I
recall, the music on the Lawrence Welk show was quite similar what one
heard the organ salespeople playing, in shopping-mall music stores, on
those horrible types of home organs with all of the built in horrid
noises like cha-cha and polka rythms, etc. 
10:23 a.m.
On Mon, Jun 26, 2000 at 11:12:22AM -0500, Charles P. Hobbs (SoCalTip) wrote:
Some of the Allen Organs had a digital system where the
tone quality was
determined by an 80-column punched computer card, but these were high-end
instruments, not really home organs. (Someone over on the Electronic
Organ List hacked this system, and determined just how the cards were
supposed to be punched in order to produce a certain sound)
Neat! I remember a snazzy tuner that was around in the 80s which used
a punch card, that's cool that they were used to encode tone quality
too. The tuner had a little circle of LEDs which would appear to "roll"
in one direction or the other, depending on which way you needed to go.
And the punch card allowed non-equal temperaments, great for harpsichordists
who don't feel like doing mean tone the equal-beating way. I wish I
remembered what these things were called so I could look for one...
What would be *really* neat would be an automatic harpsichord tuner, with
some kind of slow high-torque motor to turn the tuning pins. But I'll bet
the debugging process would involve breaking a whole lot of strings!
John Wilson
D Bit
1:49 p.m.
On Mon, Jun 26, 2000 at 11:12:22AM -0500, Charles P. Hobbs (SoCalTip) wrote:
I saw another organ like that once, Gulbransen maybe.
Did any home
organs have computers with floppies, etc. inside them?
Not until the mid-90's. On the other hand, there was a "Marantz
Reproducing Piano" that was like a player piano, but used digital signals
on a casette tape rather than the punched paper rolls.
http://www.mninter.net/~mfontana/pc2mid/desc.html
Some of the Allen Organs had a digital system where the tone quality was
determined by an 80-column punched computer card, but these were high-end
instruments, not really home organs. (Someone over on the Electronic
Organ List hacked this system, and determined just how the cards were
supposed to be punched in order to produce a certain sound)
Yep, a church I used to go to had one of those. It was quite a nice-
sounding organ; big too, with two large manuals and 3 octaves or so of
pedals. The cards were just for new add-on sounds (and I'm sure they
made plenty of extra money from them); it had a large complement of
built-in sounds selected by the typical flip-switches. The cards were
made of plastic for durability. I think they must've used an optical
matrix to read the entire card at once, because you didn't have to feed
it in at any particular speed; just stick it in a slot and take it back
out again. I suspect it must've used an advanced form of FM synthesis;
the amount of data to define a sound that way would be about right for
a punch card. But it sounded way better than say a Yamaha DX7.
--
_______ Shawn T. Rutledge / KB7PWD ecloud(a)bigfoot.com
(_ | |_) http://www.bigfoot.com/~ecloud kb7pwd(a)kb7pwd.ampr.org
__) | | \________________________________________________________________
Get money for spare CPU cycles at http://www.ProcessTree.com/?sponsor=5903
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13 comments
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-
allisonp＠world.std.com -
foo＠siconic.com -
ghldbrd＠ccp.com -
mikeford＠socal.rr.com -
nerdware＠laidbak.com -
rdd＠smart.net -
rutledge＠cx47646-a.phnx1.az.home.com -
transit＠lerctr.org -
wilson＠dbit.dbit.com -
wmsmith＠earthlink.net