Conference napalm::commusic_v1

    ... and Karl used to be such a sedate type. See what MIDI does to
    you?       ;^)
    
    Edd

    You know how in some towns the newspaper will publish the names
    of 'johns' apprehended while negotiating with a hooker ?
    
    How about we publish the names of noters with studios who won't
    condescend to participate in the compilation tape ?
    
    And, Edd, if you think I'm 'shy and retiring', you obviously never
    observed me infuriating everyone in the CYCLES conference.
    
    Karl

    Karl have you gone to the niceness school we're running over in
    the MUSIC conference?
    
    My tape's in the works Karl, don't publish my name.  I spent all
    yesterday slaving over a hot drum machine programming my little fingers
    to the bone.  So you'd better listen to my interminable (256 bars)
    paradiddle variations and, what's more, LIKE IT!!  You WILL LIKE
    IT!  Do you hear me?  I SAID DO YOU HEAR ME?  
    
    oops...wrong conference, wrong persona.
    
    But seriously, I do have a tape in the works, I was just going to
    squeeze in under the 1 May deadline, but now I have another week.
    Also, I didn't notice 'til today that the tape's got to go to Ohio!
    
    I don't really have a studio anyway, just some stuff, you know...

    len.
    

    It's on the way guys. Honest !!!!!
    
    			PK.

    RE: CONTRIBUTE OR DIE
    
    -please don't kill me if mine gets lost in the mail...
    
    Todd
    

    I cut two tracks last night, I'll do my third tonight, tape should
    go in the mail tomorrow.  I promise...
    
    len.
    

    All right, all right, I'll get it in the mail by Friday.  I'm spending
    all my time BUILDING our studio, not recording in it yet!!
    
    		Derek

    Hey, I REPENT!!!
    
    I wrote yesterday that I'd only received 2 tapes.  Little did I
    know that I would walk in and find 4 (count 'em) waiting on me last
    night.  I wonder how many I'll have tonight?
    
    Sweating ...
    
8^)

    Brad,
    
    New and improved version is in the mail... This one is considerably
    quieter. Complete with syrupy strings. I wanna make a living off
    of elevator music.
    
    T'was mailed Wednesday 30-April. Keep this tape also.
    
    Edd

    My tape will go out Monday morning unless I really blow this weekend.
    Every morning when I listen to what I did the night before I decide
    to go back and "fix it".  I've got three "tunes" down so far, and
    have two more to go.  If there's time (Sunday night?) I'll throw in
    one of my covers.  Between this, my new Amiga, sequencing George
    Chaltas' woodwind quintet, and my "other responsibilities" I've
    just plain run out of time.  I had hoped to be able to submit a
    tape of George's piece (if he didn't mind) to the compilation, but
    it's just not going to be done in time.  Next tape....
    
    len.
    

    
    Question for you....
    
    I'd really like to hear this tape, but I'm not a musician and therefore
    not a contributor. I'm just a mobile DJ who's very interested in
    what you folks do in your studios. How do you feel about someone
    like me being on your mailing list? If you really want to keep it
    to yourselves, no problem, no offense.
    
    Christofer deHahn
    
    

    I think all you have to do is sign up in the appropriate note.
    
    len.
    

    Just thought I'd whet your appetites a bit ...
    
    So far, I've put around 70 minutes worth on the first 90 of the set.  I
    anticipate that there will be 2 tapes in the set, since I have yet to
    receive Derek's and Len's, and they both sound a bit longer than the
    norm. 
    
    The quality of the tape is pretty good.  Some of the submissions have
    been kinda noisy.  If so, I mixed down into my 144 and remixed back to
    the K-960.  NOTE: IF YOU CAN MAKE A DBXed TAPE TO SEND BUT FAIL TO DO
    SO, PLAN ON RECEIVING A VISIT FROM THE LYBIANS.  I've lost 5 of my
    massive 140 lbs. trying to get noise out of these things.  That's a
    nit, though - thanks for taking time to make sure your submission is in
    good shape.  Most have been real decent. 

    This is one of the best ideas that we could have come up with. Some of
    you out there have real talent - i.e., why in blazes are you working
    for DEC?  I've been hauling a copy of the current state of the master
    around in my car to listen to it.  Nifty stuff.  My personal favorite
    so far is the stuff from Dave Dreher (music, NOT lyrics - plz take no
    offense). 

    Keep those tapes coming!
    
8^)
    
    BTW - how would we handle the logistics of more than one master
    set floating around?  It could take a while for the master to "make
    the rounds", as it were.  Should contributers get first crack at
    the master set?  And how are we gonna "critique" the works?  Seperate
    topic for each one?  Comments?

    I'd be interested in getting a couple of masters in route if it
    would speed the process up. We would need to define the route for
    each one, no real problem.
    
    As far as critiques perhaps we should just start a note for the
    tape Vol. I and post all to that note, or a note for each contibutor,
    and reuse it for each volume of the tape. This doesn't matter too
    much to me either way.
    
    dave

    A second master (set) is a good idea. Perhaps the first 10 listeners
    receive set one, the second 10 get set two... BTW, has anyone posted
    a requested turnaround time ? "I,_______, solemnly SWEAR to send
    the tape(s) along within 4 days of receipt".
    
    Brad, are you intending to publish a topic called 'liner notes'?
    Have people VAXmailed their notes to you? If so, as the tapes make
    their way around, listeners could just post their impressions as
    replies to the 'liner notes' topic.
    
    Karl Moeller
    SWS Tucson AZ

Re: .14
    
    Don't be so hasty about 2 masters, Dave.  YOU'RE the first one on
    the master.   8^)
    
Re: .15
    
    Yeah, I'm working on liner notes.  Some have sent me notes, others
    haven't.  Once I get my crap together (may be a week or so  ;-)
    I'll flame on anyone who hasn't VAXmailed or posted liners.
    
    And, yeah, I'll post a liner notes topic when I get it done.
    
8^)

    First?? I'm First?? Oh god.....but just think if you're first then
    you get the least fatigued feedback :-)
    
    I've already exposed myself to all of you, being first is no big
    deal........
    
    dave (who_can't_wait_to_hear_the_tape)

    Is there consensus as to whether there will be two master tape sets
    circulating? I see that there's 19 recipients listed. How about
    set #1 goes to recipient #1 thru #10, and set #2 goes to recipient
    #11 thru 20.
    
    Also, due to the gratifying response to this call to arms, please
    consider this topic renamed to :
    
                      CONTRIBUTE OR GET REAL SICK
    
    Is Jim Ravan still moderator of this conference? I VAxmailed him
    but got no response, and no topic rename, either.
    
    KM the IInd

    OK! OK! Take the pins out of the dolls!
    
    Sure, 2 tapes. Split the list down the middle like Karl says. Do
    whatever Karl says. He doesn't want to be disagreed with. He WILL
    get nasty. ;^)
    
    Brad, this will cost you a half a buck or so to start a second set
    through the mail, but then you did score a boxcar cassettes,
    right? And you certainly don't want a dibilitating case of beri-beri,
    lyprosy or worse, do you? Brad? Brad? BRAD!?!?? TALK TO US BRAD!!
    
    
    

    How about making as many copies as possible with the extra tapes?
    Like 3 or 4 or what ever.  Maybe a seperate tape for our overseas
    friends?  The faster these get around the better.  I can't wait
    for the lively debate over this stuff ... ;^)
    
    re: .13  Thanks...A man of obvious taste...
    My wife (who sings and wrote the lyrics) wasn't thrilled when
    I showed her your comment... Something I've been telling her
    about all along.  I don't listen to the lyrics much anyway, I
    concentrate on the music.  How many songs, especially dance songs,
    have the same 'sex/love/I want it' type lyrics?  I tune it out...
    
    Dave
     
    
    

    I agree with at least 2 tapes circulating.  I am dying to hear other
    people's stuff and also dying for some constructive criticism on
    mine.
    
    		Derek

    You know, Brad, I haven't seen a note saying you got my tape...
    Did you?
    
    Dennis Savage

Re: .19 (voodoo et al)
    
    Greater is He that is in me than He that is in the world ... ;-)
    
Re: Ellen's (Dreher) discontent ...
    
    Will send MAIL on that, I hope (if blasted net stays up). 
    
Re: Dennis' tape
    
    Nope - haven't received it.  I've been looking for it, but I haven't
    seen it yet.  When did U mail it?  Egad, we may have suffered our first
    casualty ... 8^( 

    I WILL DELAY MAILING OF THE MASTER UNTIL DENNIS' STUFF GETS HERE. It's
    the least I can do.  Cheer up, dude ...  8) 

Re: Multi Tapes
    
    Yeah, I should probably bite the bullet and make a double copy. The
    master is a set of 2 C90s (2nd is not full).  I'll see if I can cop
    another cassette deck and hack another master (ie, tape 1 out to tape 2
    in).  If we had more than 2 master sets floating around, logistics
    would get REAL ugly.  If someone else wants to volunteer to keep track,
    go for it.  I don't want that one.  2's enough ... 
    
    Just had a brainstorm - make your own copy of the master set if you
    want to listen for more than the time limit (to be defined). Would
    anyone flame on that? 
    
    BTW, Edd - I'm using your 2 tapes for one master set, since you were
    nice enough to send 'em out.  Maybe you should be last on the list and
    can get your tapes back after all. 

    Did I answer everyone???  (puff puff)
    
8^)

    Well s*** - It's been on the way for over a week now. I'll super
    mail another on tomorrow. Thanks for waiting and my appologies to
    all impatient listeners.
    
    Dennis

    Well... as long as there's room, Brad, did you get my VAXmail on
    the possible addition of a tune on the SECOND side of my submitted
    tape? (don't think I don't think ahead...) 
    
    And, as long as there's time, of course.
    
    $SET LABORED/ADMISSION I intended all along to (gasp) copy the noter's
    tape, so that I can enjoy all your music ALL YEAR LONG ! 
    
    $SET BELLIGERENT anyone got a problem with us making copies so we
    can savor the music ?
    
    Karl Moeller

    I, ahem, also, ah, also was intending to, um, make a copy....
    
    Edd

    	Having read the long submission on copyright (and since my
    submision is copyrighted), I'll offer the following suggestion.
    Each recipient of the tape may make 1 copy of the master set if
    all of the proper copyright notices are put on the copy you make.
    The copy we make, of course, shouldn't be used for profit, etc.
    
    	I think that will make things legal and remove some concerns
    of nervous copyright holders.  This way, you have permission to
    copy (once) the copyrighted material and the new copy will carry
    the legal notices so others will know the correct status of each
    person's material.
    
    	Is that too confusing?  Is it agreeable to everyone?
    
    - John -

    Recipiants of this tape have my permission to copy my material for
    their own use and enjoyment.
    
    If, by some strange stroke of fate, someone wishes to use my material
    for other purposes, that may be negotiated with me at that time.
    
    dave

Karl -
    
    Got you VAXmail, and will do a $SET TUNE/SIDE=2/INCLUDE soon as
    I get a chance.
    
Re: ALL
    
    I have good news and bad news.
    
    The bad news is that last week (in the middle of making the tape),
    a severe gust of wind during a thunderstorm (circa 65 mph) wasted
    a tree behind our house.  The tree, in turn, wasted the power line
    coming into our transformer, sending a magnificent spike through
    the entire house.  Needless to say, both my decks bit the dust as
    we lost power (for almost 14 hours!).
    
    The good news is that nothing seems to be amiss, either with the
    decks or the tape.  I'm still cleaning up the tree, since it fell
    across the road and blocked traffic for around 4 hours or so (very
    big tree).  Soon as I get the rest of the wood out of the ditch,
    I'll get back to recording.

    Thought you'd all like to know.
    
8^(

    Is there anyone who objects to the recipients of the tape making
    copies. I don't.
    
    In order to speed the distribution process up, how's this suggestion...
    At least 2 of the other recipients are geographically close to me.
    MENTOR::REG is in this building, and Derek lives just around the
    corner. When I got the tape, I could make 2 copies and hand deliver
    them. 20 people could take 4 months to distribute to. Even cutting
    it in half still stretches it out.
    
    Comments?
    
    Edd 
    

    I'm just a building away from Edd too.  perhaps that is a good idea.
    My only worry is that cassette-to-cassette copying gets extremely
    noisy at standard speed.  Does either mentor::reg or Edd or Derek have
    a high quality cassette dubber???
    
    Todd_in_Marlboro
    

    
    	Re .31	Sorry, no tape copying machine here.  I won't even be
    able to bootleg this stuff on the black market 15 years from now
    when all you guys are famous and I'll be sayin', "yeah, they were
    on a tape that got sent around years ago, I'd sell you an original
    copy for a couple of thousand if I had one.... "
    
    	Reg
    

    Got no problems with people copying my stuff "for personal use",
    and I can't imagine anybody tasteless enough to want to "steal"
    it.
    
    I'd like to hear as early a generation of the tape as possible.
    I know my stuff copies poorly because of the bass content and dynamic
    range; pushing the levels to avoid noise results in SERIOUS distortion.
    I made 2nd and 3rd generation copies (the original is "direct to
    tape") to hear what they'd sound like, and they're noticeably degraded
    even when levels are held down so not even the peaks break 0 VU.
    I suspect any other synth based stuff is going to have similar
    problems.
    
    Brad - did you go straight from the submissions to the compilation,
    or was there another tape generation in between?  I ask because
    you referred to "mixing down" the compilation, rather than just
    transferring to the "master".
    
    len.
    

    We just got a cassette dubber for our studio.  Should do the trick!!
    
    		Derek

    I feel the same as .33.
        John Sauter

    I, too would rather wait and hear as clean a copy as possible. Brad,
    is this 'second copy' that I hear rumors about gonna be a copy of
    your first master(s) or is it a redub from all the submissions?
    
    And whatthehell is a 'tape dubber'? What magic can it do that two
    Nakamichis can't?
    
    This should speed the transmission of the tapes:

    "I swear IN BLOOD to mail the tapes along to the next recipient within
    TWO DAYS of receipt. I also swear that the cassette deck I use shall
    be freshly DEMAGNETIZED and CLEANED in order to not farkle the quality
    of the abovementioned tapes for subsequent listeners." 
    
             signed, ________________________ date ____________

    km the twoth    

OK, so I didn't submit a tape and I'm PROUD!  If any of you have a problem with 
that, I'll see you in the JUDO conference!! :-)

If the truth be known, I learned about the tape too late.  Anyway, most of my 
compositions are atonal (a la Morton Subbotnik) or simply "demos" (sea + 
seagulls, pseudo vocoder, thunder, dragon roars, etc.).  To make matters worse, 
most of these effects were recorded on my old reel-to-reel Akai which has more 
flutter than an aviary.

Did you say you want MORE excuses?  How's this one:  Some of my favorite 
electronic music tapes (pre-synthesizer) are on tape so old--and I'm talking 
FeO2--that they break when I try to play them.  Really!  If I can find a 
reel-to-reel with a newel transport, maybe I can transcribe them someday.

So the question de jour is, How do I get a hold of a copy of the Commusic tape?  
 I can't wait to hear what other people are doing, no matter HOW it sounds.  I 
hope that by the time the next tape comes around, I'll have my "studio" set up 
and a new taperecorder to boot.  Then I won't have ANY excuses.


John M.

    ...the line forms in the rear.     :^)
    
    Edd

Re: .33 (how R U making the tape?)
    
    At first I was going to go directly from the "sent tape" to the master
    tape, using two 1 7/8 decks.  Didn't work.  Had to go from Yamaha
    to Teac back to Yamaha.

    Several problems were noticed with stereo cassette to stereo cassette
    recording.  As someone mentioned before, recording at that low speed
    caused a lot of noise to pop up.  In addition, there was no means of
    "cleaning up" submissions - e.g., in case someone sent me a boomer or a
    tin-can recording - no means of EQ'ng. 
    
    Second choice turned out to be very good.  I am going from a Yamaha
    K-960 stereo cassette 2 track deck to a Teac Tascam 144 4 track (which
    runs at 3 3/4 ips and has built in Dolby).  After recording down to the
    Teac, I then go back to the Yamaha. 
    
    Advantages are threefold:
    
    	1. Ability to EQ not-so-clean submissions
    	2. High tape speed (Teac), which results in ability to
	   "boost" level of the original without destroying the
	   original mix
	3. Lets me use the dbx on the K-960   :-)

    Most of the master cannot be distinguished from the originals.  A few
    are a bit hissy, but that's what Dolby's for, right?  Suggestion for
    future masters - MAKE SUBMISSIONS DBX'D, AND DON'T USE NAKAMICHI DECKS
    IF YOU CAN HELP IT!

    I wouldn't worry about the 1st generation from the master.  As for the
    2nd or 3rd - weeeellllll, that might get a bit messy.

    Heck, and you guys were worried about your submission quality. Not only
    do I have to worry about that, but my "engineering" ability as well!
    
    Donning asbestos suit ...
    
8^)

    Sounds like a heroic effort, Brad.  How will we ever repay you?
    Are you likely to volunteer to do this again?
    
    When is the master likely to start making the rounds?
    
    len.
    

    re -2...Our Master's Voice...
    
    I concur (wanna hear me?) that Brad's efforts are above and beyond.
    Now that there is a 'hispeed' intermediate master, then there can
    be multiple copies of EQUAL QUALITY circulating. Is that going to
    happen, and how is it (the distribution) gonna work?
    
    Also: Liner Notes... geez, all I VAXmailed to Brad was one paragraph
    per tune, not the history of my studio... that stuff belongs in
    'The Noters' or somewhere. Don't wanta burn Brad out editing this
    stuff, hint, hint, we might want to do another tape in the near
    future.
    
    Karl II.

    Brad...
    
    Thanks for the effort!!
    
    BTW - What's with 'no Nakamichis'? ?????
    
    Edd

    I also sis not include a great deal of info on the recording process
    for my contributions, if anyone wants to ask specific questions
    I will attempt to answer them.
    
    RE: No Nakamichi's: If I may be so bold, naks work great when the
    result is replayed on a nak, however, when replayed on another
    manufacturer's deck the recordings made on a nak, even with dolby
    b or c, are noisy....due to the patented preamp that only Nakamichi
    can use...which is why their decks are so superior to others in
    performance, it's just that they are not real compatable with other
    makes.
    
    Disclaimer: This information is based on what the local Nakamichi
    dealer told me and my personal experience with tapes made for me
    by friends who own nakamichi decks. Those tapes ae tinny and noisy
    when played on my pioneer...when played on the naks, they sound
    very good.....
    
    Did I get it right Brad?
    
    dave

    
    
    I've noticed similar things. Tapes made on my BX-125 sound great
    when played back on it or the Kenwood 626 in the car, but lousy
    on my friend's Akai.
    
    CdH
    
    

    Brad...
    
              Not to be TOO pushy, (given the fact that mother nature
              apparently not on your side), but...
    
              How's that compilation tape coming along?
    
              You're gonna tell us it's in the mail, right?
    
              OBOY!!!!
    
    Edd 

Re: .40 - .45
    
>How will we ever repay you?

    10s and 20s would be fine.
    
>Will you do this again?
    
    Depends on the above.  ;-}
    
>When will the master be out?
    
    Probably will be around the 1st of June.  I just got John's tape
    today, and am waiting on Dennis Savage's tape to get here.
    
    BTW - the master is NOT built on a high speed cassette.  It has
    been built in pieces, since I can only record 22 1/2 minutes per
    c90.  I'll try to build a copy of the master, and see if I can EQ
    out the hiss.  If not, we'll impose Moeller's Law - "Keep it more
    than 2 days and die!".

>Why knock Naks?

    .43 hit it on the head.

    
8^)

Now that I've had several month's experience with a setup that includes both
Nakamichi dolbyC and Yamaha dbx, I would have to concur with the statements
made in this note.  Which is why I ended up spending $75 to get the speed
adjusted (i.e. motor replaced) on my Yamaha instead of trading it for a
cheaper Nak.  That gives me the flexibility I need for making demos for
ANYBODY and ANY SYSTEM.  Brad's made the right decision in how to go about
making a master tape that will average out with the best sound on the most
people's systems.

Now that I'm more or less recovered from moving from an apartment into a
house, maybe I can belatedly join in on this compilation tape.


				Mark

    I'm still working on making the 2nd tape in the master.  Work has kept
    me very very very busy, so I haven't had much chance to work on this. 
    
    I have 3 more people to put on the 2nd tape (excluding me), then I'm
    done.  So hold your hats on - I'm going as fast as I can. 
    
    WHERE IN BLAZES IN DENNIS SAVAGE, AND WHERE IS HIS TAPE??????  I
    promised that I'd wait on his tape, but I still don't have it. Maybe we
    oughta just relegate him to the 2nd master. 

    In any event, I hope to be done soon.  Thanks for waiting.
    
8^)

    I'm back from Mars.
    
    I am obviously a *uck up because after I read 331.49 I said to myself
    "What does he mean where is my tape?". After I sent the first to
    the wrong address (I did get it back eventually) I packaged another
    to send and I FORGOT !!! I am so sorry you were left waiting. My
    very very humble apologies to ALL who had to wait. I really feel
    like a heel about this. Please do relegate me to the second tape
    (so there's gonna be a second tape!). I'll send the tape - or I'll
    cut my wrists - you can do it. Sorry once again for holding the
    show up.
    
    Dennis

    I meant 331.48 - sorry, sorry, sorry....
    
    Dennis

    BOY, DENNIS ! WHAT A NERD !

    No sweat - I'm STILL waiting for the TEAC to come home well.  In the
    meantime, send your tape - I'll still put you on the first master set. 

    See - I'm really a nice guy (even though I AM in software ...)
    
;-)

    Well, I see the much tauted tape is in the mail!! Aw-right!!!
    
    A big round of applause for Brad for his efforts. I hope it was
    worth sacrificing your tape machine!!!
    
    Brad, how did the final quality turn out?
    
    Len, my apologies for accusing you of owning every syntho-toy on
    the market. It appears Dave Dreher is the winner! Gad, he's the
    only one with "press return for more"!!
    
    Dave, is Ellen MIDI?  ;^)
    
    This is it folks!   
    
    Now I sweat...            Edd

    You mean, it's Men from the Boys time?
    
    uhh.. it's Monday and I had a tough weekend... 107f day after day,
    so forgive my IQ slump, but where do we attack/I mean comment on
    the pieces ? The note 395 seems set aside for 'who's got it now'..
    
    k moeller the wilted but witty

    Yeah, some of this stuff looks it might be real music.  Can I take
    my toy compositions back?  My feet feel awful cold all of a sudden.
    By the time the pit sweat gets down there it'll freeze!
    
    If Dave's got everything, how come he's coming over to my place
    next week to play with my CZ-101?  'Cause there's never enough!

    len.
    

Re: .53-.55
    
    The quality turned out to be pretty good overall.  The next series will
    be better now that I've learned the ins and outs of tape to tape
    technique, but for a first pass for a rookie, I'll stick my neck out
    and say that I think it's ok.  Make sure you use Dolby. A few of the
    submissions were a bit soft, and I had a hard time keeping the level up
    enough to prevent excessive hiss.
    
    If you have some suggestions for recording technique improvements
    (without damaging my sensitive ego), by all means post them.  I'm not
    resistant to change. 

    As for sweat, Len can lay back easy this time around.  He won't be on
    until tape 2.  BUT, he IS the first one on tape 2.  And, Karl's on
    before Edd.  And (just for kicks - no pun intended), Dave Bottom is the
    FIRST one on the tape.  Prepare to jam ...
    
8^)

    You put me on AFTER KMII and Dave!!!! Those are hard acts to follow!!!
    
    Oh, depression beseeches me!!! My eyelids are sweating!!
    
    Edd

    Maybe we should have a groveling contest?
    
    len
    

    Ok I'll grovel......grovel grovel.......I'm sweating also.....
    
    
    dave

                                L O W E R !!!!!!
    
    But seriously folks, I printed out the 'Liner Notes' note yesterday
    and I realize I made some serious omissions from my comments on
    the two pieces submitted to Vol I, Tape 1.
    
    The patch cords I used to hook the TEAC line outputs to my mixer
    are made by Switchcraft. The mic level cords used for my mic-level
    effect units (which I will detail in a subequent note) were purchased
    Nov. 16, 1982 from a Tucson Radio Shack, the one at 22nd at Wilmot.
    I forget the clerk's name, but I'll post if I can...
    
    But, REALLY seriously this time, is there gonna be a REVIEWERS note?
    And, given Dennis Savage's recent spacecaseness, who's gonna remind
    him to mail the tape along to the next recipient?
    
    But, hey, reallyreally seriously now, are we gonna be good little
    studio wimps and CLEAN AND DEMAGNETIZE OUR CASSETTE DECK BEFORE
    PLAYING THE COMPILATION TAPE? I can just see the 15th listener
    thinking, "...this sounds like SHIT !!"
    
    best. k moeller

Re: .60 (reviewer's note)
    
    I suggest that each submitter be given a seperate note in which his
    (her) material is reviewed and flamed - er, critiqued. 

    If this sounds like a good approach, I will begin, since I've had to
    listen to all you bonzos for the past 2 months.  ;-} 
    
    I do see a slight drawback in this, however.  Those of us who do not
    get much action under their topic may be offended or at least somewhat
    put out.  Let's discuss this a bit more.
    
    Dennis - are you out there?
    
8^) 

    Re: .61 -"...Reviewing Methodology?"
    
    How about a policy on the idea of "If you say anything about anybody,
    you gotta say something about everybody..." This would ensure that
    at least everyone gets recognized for their efforts. Naturally,
    not everyone will have pages upon pages written about them. But
    at least everyone will get LISTENED to, not just heard.
    
    Not all of us are musically trained (I couldn't tell my mixolodyian
    (sp?) from a mixocologist), but I'll know what I like (and don't)
    and will be ahem, glad to post my opinions and explain them as best
    I can.
    
    One note per entrant would certainly keep it organized. Go for it.
    
    Edd
    

    "one note per ENTRANT"... I emphatically disagree ! Trying to find
    Joe Blow's 'topic' after 6 or 12 weeks would be a major drag. 
    Let's do ONE REVIEW topic, and each listener can post ONE listener
    review.. with the only stipulation being that their comments are
    in the same sequence as the tape.
    
    Do this one little thing for me.
    
    km

    "ONE listener review"... I emphatically disagree!  Trying to find
    all the comments about Joe Blow's piece among all the reviews
    after 6 or 12 weeks would be a major drag.  Let's do ONE REVIEW
    topic per PIECE.
    
    Do this one little thing for me.  (And I'm not invoking any sort
    of 'moderator privilege' in this case - votes are still open).
    
    -jim

    Seems to me it would be a whole lot easier to find the review of
    Joe Blow's material if there were a note titled "Review of Joe Blow's
    Material". Then, if you didn't want to read it, you could skip to
    the next note, rather than hunt through the replies hunting for
    the review your interested in.
    
    Edd
    
    

    
    	Well, I for one don't want to see anyone else's reviews until
    I have heard the tape myself and formed my own opinions.  I didn't
    have enough self control to skip over Len's review of Still Life,
    but I later wished that I had, (Nothing against Len, or his review).
    Some of it was fear of losing an unread note forever, some of it was
    impatient curiosity. 
    
    	Anyway, I'd like us to all keep our opinions to ourselves until
    everyone has heard the tape, then enter them in "by performer" notes.
    Whether we do this by keeping our reviews on our own systems and
    not sending them in until date x, or set them hidden until date
    x, doesn't bother me.

    	Reg
    

    By performer is alright with me and holding off on the reviews makes
    sense in one context, but as a contributor, I'd like to begin to
    hear some feedback/abuse soon, just anxious i guess, perhaps the
    reviews should be posted to the individual contributor then that
    person could repost them after the tape makes it through the
    distribution along with any comments of his/her own about the piece(s)
    as well as addressing any technique questions that may arise.
                                                            
    dave

    I've also wondered about how posted reviews will affect the opinion of
    other noters that have yet to hear the tape.  It makes sense to hold
    off commenting until everyone has a copy of the master.  On the other
    hand, if we wait until everyone gets the master, we may NEVER begin
    commenting, y' know?  I'll start a new note on this topic so we
    can keep voting straight.
    
    I personally lean toward one topic per contributer.  That just makes
    more sense to me (but, then, I'm from the Midwest).
    
8^)

    The tape is HERE!!!!
    
    I start listening and commenting tonight!
    
    Did we decide where to comment/when to comment...what?
    
    One very fast comment...haven't gotten the loiner notes out yet
    but the guitar playing on the first cut is good. I like it.
    
    Dennis

    In note 402.1 & .2 Brad refers to the lyrical content of the submitted
    compositions.
    
    Is it worth out time/energy/disc-space to have a note that contains
    the lyrics to the pieces? I haven't heard the tape yet, but I'm
    willing to bet some of the vocals are hard to make out.
    
    Any takers?
    
    Edd

    A very good idea. I for one have found RMS-files a good place
    for storing lyrics (easy copy, easy update and strange fonts
    on an LN03 to impress your friends), so I suspect many of us might
    allready have them lyrics online. 
    
    Ofcourse, I understand that many songwriters don't like their lyrics
    printed, but if/when there will be Volume II and I will hopefully
    get my stuff ready before that, I'm ready to "expose" my lyrics.  
                                  
    (At least I would have something to laugh at ;-) , while waiting
    for the tape to get this far). :-) :-)
    
    Timo
    

    Last night I heard Ellen Dreher's submission to the tape....
    
                      S H E  I S  G R E A T !
    
    ... made me wanna go home and torch the whole sh-bang. I have got
    a LOOOOOOOnnnnngg way to go.
    
    Edd
    
    P.S. Oh yeah, Dave's not bad either.... ;^)

    Thanks, I'm sure Ellen (the Midi-Wife) will appreciate your comments.
    Maybe she'll get on the net and make her own comments...
    
    DD
    
    BTW: Is your Mitsubishi MIDI? 

    Commusic noters wondering about this Mitsubishi stuff will have
    to bear with us.  Last night, Dave Dreher, Todd Rhodes, Edd Cote
    and myself got together for the CZ-101 "hands on" demo.  Beforehand,
    we rendezvoused at a nearby watering hole.  We were discussing synths
    et al., and the conversation was of course littered with Japanese
    manufacturers' names.  To which our waitress chimed in, "I bought
    a Mitsubishi."  We never did found out what.
    
    A great time was had by all.  Dave brought his MC-500 (a truly
    remarkable contraption) and his COMMUSIC submission, which we got
    a preview of.  I'll echo Edd's remark, Ellen Dreher is one hell
    of a vocalist, MIDIed or not, from Mitsubishi or wherever.  An
    impromptu jam even got started up as a side effect of the Rockman
    demo.  (We ended up spending about 10 minutes on the CZ - too many
    other "distractions".)
    
    len (nominal host).
    

    

    Len, good job on the minutes of yesterday's meeting. :-)
    
    I'll also echo Edd's and Len's remarks about the MIDIWIFE (not
    available in stores).  That's one incredible expander!  Dave,
    I'll *buy* you some TX7 patches if you lend me your MIDIWIFE for
    a little while.
    
    Seriously though, It would have taken about 3 days to get a full
    demo of all the stuff in Len's studio.  It was hard enough to pry myself
    away at around 10:30 last night.  *Three* drum machines!  I love
    it!
    
    The CZ is quite impressive.  Large bang for the buck.  The most
    impressive feature - six independent 8 stage envelope generators.
    Len demonstrated the 1.5 minute attack (/decay) capability.
    Imagine that, having a voice slowly fading in and finally establishing
    itself halfway into a song.
    
    I also want to take this opportunity to thank Len for the hospitality,
    the Grolsch, and also the small rack that he graciously donated
    to Water Street Studios.  Thanks to Dave Dreher and Edd Cote for
    creating an educational and enlightening evening.
    
    Todd (nominal guest).
    
    

    Billions and billions of years ago, on a node far, far away, residents
    of the Commusic Conference compiled a tape of relevant tones and
    attempted to archive it for all of posterior.
    
    Said tape was apparently launched into the cosmos. Does anyone know
    where it went?
    
    
    Edd

    ........ seems the tape has disappeared deep into the bowels of
    DEC massachussetts...... 
    
    Come ON, noters ! While all of you who live/work near each other
    are running around with the tape, there has been no visible effort
    to revamp the recipients list... plus I notice a lot of recent,
    local - to - you signups... does that mean that, just because someone
    is nearby, they get a listen before us earlier, but more distant,
    noters ? Doesn't seem that adding newer recipients to the 'before
    it leaves Massachussetts' list does ME any goddamned favor. 
    
    Who's got it now ? Once it eventually emerges from your huge warren,
    is SOME kind soul keeping track of who will have seen it by then?
    AND, will those recipients be deleted from the recipients list,
    so that we unlucky satellites have a clue who to send it to next?
    
    If people are actually hearing the tape, how is it that there aren't
    any new: 
    
     a) 'current holder' entries 
     b) any listening reviews ?    

    So how about someone taking some responsibility and responding to
    these queries ?
    
    karl moeller

    Please see note 312.2, the note titled: CURRENT HOLDER.
    Hopefully, we're back on track....
    
    		Derek

    Ladies and gennamenses... Please delete your entry from the recipients
    list after you get the tape to avoid getting it back due to the
    scrambling.
    
    O.J.?
    
    Edd

    For those who care ... I just got my TEAC back from the shop - the tape
    transport died. 

    $ SET BANK_ACCOUNT/SUBTRACT=(DOLLARS:42,CENTS:53)
    
    I'll be starting to build tape 2 of volume 1 this week.

    Thought you'd like to know ...

8^)

    Can somebody pont me towards the liner notes note?
    
    I can't find it....
    
    Edd

    Yea, the liner's are in reply 395.2.  
    
    I've been looking into making a note that acts as an index to all the 
    commusic compilation tape info, but its confusing as all hell.  
    'Specially since there is more than one tape.
    I think we should change the name of note 395 to 'Liner Notes for
    Vol 1, tape 1' since we already have a note to track the tape (I
    think).
    
    As far as "Who gets which tape next and where and when and from whom?",
    I'm still searching for solutions.  If we delete our names/addresses,
    do we have to go through all of this over again for Vol 1 tape 2?
    
    Let's clean this mess up.
    
    Todd.
    

    Looks like Brad beat me to it.
    
    He's right with 395.1.  I'm wrong with 395.2.
    
    Todd.
    

    I already deleted myself from the number 3 slot.  Is tape 2 a new
    contest?  Can I be number 1 this time?  (Well, actually 2, after
    Brad.)
    
    len.
    

    Hey Guys I just got back from 3 weeks holiday in sunny Portugal
    and have just waided thru 450 (approx) notes trying to sort out
    when I might get to hear the tape. I am now just as unsure as I
    was 450 notes ago. Can anybody out there tell me if they think they
    are in front of me in the que. (I think that's the only way I can
    work out how to get the tape).
    
    				Paul. (Back in the U.K.)

    re: general confusion as to tape's whereabouts:::
    
    a) wait until Tape I vol 2 is released
    
    b) I told you so !
    
    kmidiot

    I've come to the conclusion that the second tape is best off following
    the first one in the EXACT SAME ORDER (Absolutely NO special cases).
    If everyone can remember who they got it from, and who they gave
    it to, there shouldn't be any problems.  The first one IS moving fast
    (Edd Cote got it on July 3, made umpteen copies (5 or 6) for various
    people, and will probably ship it off by today, July 7 [good work
    Edd!]).
    
    The other problem we still need to solve is one that is evident
    to me this very instant-as I write this reply.  Is it in the right 
    place?  Where is the "right place"?
    
    Todd.
    

    Paul:
    
    Rest assured that I still think you're after me in the tape queue.
    I just checked note 311 (List of recipients).  I'll send it you
    (air mail) as soon as I get it and have made my copy.
    
    - John -

    Thanks in advance.
    
    				Reassured (of Manchester)

    ...... with all these copies of the tape (THE TAPE) making the rounds,
    how is it that there aren't any REVIEWS of the material ? Nothing
    good to say? You normally loquacious types are curiously silent.
    
    karl moeller

    I'm working on my review....
    
    Don't wanna make any fast judgements.
    
    Edd

    now that there's an 'explain my original motivations' note, how
    a bout a 'review the reviewers' note ?
    
    "...this reviewer's ears need tuning and head needs realignment..."

    re .96 - another great idea - gauging reviewers' chops!  "boy, he
    can't play worth diddly squat, but he sure can *review*!".
    
    What's your personal name today mean, Karl - "Dondi is a blonde
    with big Cs"?  I personally prefer big Pascals or big Modulas,
    but you take what you can get...
    
    len.
     

Musician's Spanish Lesson:
    
    DONDE     where
    ESTA      is
    LOS       the
    BLONDES   car
    CON       with
    GRANDES   big
    CHI-CHI's bumpers
     ?        ?
    

    I thought it was "Where are the blondes with the big C-cups"

    This is a special Upper Sonoran Spanish dialect...

    Geez, I thought it was an upper borderian Mexican dialect...
    
    Todd.
    

    The TAPE has been out there for two weeks, and unless I can't count
    at all at least a dozen people have got copies.
    
    How is it that there are still only two listener reviews? I've got
    mine almost ready to post... it puzzles me.

    OK YOU TOO-BUSY-TO-BE-HOMECOMING-QUEENS!!!!!!!
    
    WHERE ARE THOSE REVIEWS?
    
    This whole thing was a trick, wasn't it? A trick to get KMII et
    moi to stick our keesta's on the line!!! 
    
    Brad, you heard it enough, where's your's?
    Todd, I made you a tape so I know you heard it....
    Len, Len, Len...????????
    
    Edd

    Time, time, time.  Ok Jose', itsa comin.  
    
    Seems I have trouble writing notes down whilst concurrently dodging and 
    darting through the manic trafficees, although I do get some things written
    at the stop lights.  I'll hafta get it organized very soon.
    
    The Boston radio stations are very mad at me.  I think they know
    that I havn't been listening to them since I recieved tape number
    one.
    
    Todd.
    

    I'm working on it, it'll be ready real soon now, like this software...
    
    No, really, I am...
    
    Really, it's almost ready, 90% done at least, just a few more things
    to fix...
    
    len.
    

    If it's feelings you're afraid to hurt, just speak your mind...
    I certainly called it like I saw it, and haven't gotten flamed at
    all ! 
    
    Or, (bad thought) perhaps the music therein isn't as interesting
    as we think. Personally, I feel cheated of feedback. Kinda like
    shouting in a vacuum. Is anybody out there? Did you like it? Hate
    it? In the absence of feedback, I can only surmise major indifference.
    Sure makes me wanna leap up and get my music out to fellow noters.
    
    Thanks for your interest and support.
    
    karl moeller

    Trust me, when I get the tape (if ever) you'll get a review.
    
    
    John M.-who-just-LOVES-to-be-a-music-snob

    uhhh... right.. all you waiting noters ignore -2.. please.
    
    karl moeller (really still @CANYON::)

    Mine's taking so long because I want to digest the liner notes,
    the submitter's goals, and my personal opinion notes into somthing
    understandable.
    
    So far no review has answered the questions I asked of the reviewers
    in the goals note.
    
    Todd.
    
    

    re -1 'digesting the liner notes/submitter's goals/personal notes':
    
    lack of roughage in your diet, Todd? 
    
    I agree that your 'goals note' didn't quite get answered... but
    I was reduced to just entering my scribbled impressions, with a
    bit of overview. Didn't wanna leave Edd with his rear out to dry
    any longer. 
    
    Congrats to R Sawyer for being the next flamee'. I dunno why you
    said you'd get fried, Rik.. you were congratulatory to everyone
    !
    
    k moeller (still guesting at 8:51 in MR03...)

    re. -2
    
    I did try to answer the goals question's but when it came down to
    it, the answer I gave was as close as I could get. Now I'me not trying
    to get critical or anything but how would it be, if every time we
    listened to a piece of music, from any source, we didn't comment
    on it until we understood the "goal's", aspirations, et al of the
    performer. I don't remember good old Lennon and Mac even being able
    to agree on their's. 
    
    				Paul.

    I'll try to get a review together in the next two weeks, I'm reduced
    to listening to a copy of a copy of.....so the fidelity is
    unquestionably non ideal, however, many thanks to Mr. Edd Cote, without
    whom, I would be missing out on the whole thing. So take a bow Edd.
    
    As far as answering the "goals" I guess since I'm partially unclear
    what I'm up to, except rock and roll, it is very difficult to answer
    in the clear distinct manner requested. I have little to add to
    what I posted. But if I could pull it off, I would be a waelthy
    successful muscian. End of additions.
    
    dave

    
                                 _______O
                                / \ 
                               /   \

      (What do you do with your arms?)
    
    Edd

    Hip Hip Hooray it's arrived. All this excitment and The Royal Wedding
    as well.
    
    We now have (many,many thanks to John Arnold) a copy of the commusic
    1 tape in the U.K. I will post my review soon. If any euronoters
    want a copy please let me know.
    
    				Paul.

RE: Apologies
    
    Hey ho - I'm finally back from resident land ...
    
    Seriously, sorry I haven't been better about keeping up with this
    conference.  I just haven't had time lately, and the future doesn't
    look too much brighter.  Please be patient with me regarding reviews,
    tape #2, et al.  I'm working as fast as I can ...
    
RE: Tape status

    Here's the latest tape status.  Currently, tape 2 consists of:
    
    	Fehskens	4 (or 5) pieces.  Did you get your tape back, Len?
    	Sauter		1 piece
    	Klosterman	2 pieces
    
    To be added:
    
	Marotta		2 pieces
    	Moeller		3 (or if I dare ;-) 4 pieces
    	Schmieder	(count currently unknown)
    	Davis		(to be sent)
    	Schafer		(if I ever get time)
	whoever else I missed
    
    The TEAC is back in for surgery again.  The blasted techs missed
    the boat 1st pass.  Should get it back again the end of this week.
    
    I'll post a note soon regarding free space for those who would still
    like to get their submission in for series 1.

RE: Flames

    I realize that I'll probably catch thunder for this, but I'm past the
    point of caring (bad week, eh?).  Here goes ... 
    
    A few of the submissions contain what I (and most) most would consider
    offensive lyrics.  Names are not important, but a few of the passages
    follow: 
    
    	" ... and the sh__ it brings ..."
    	" ... ok, f___ off ..."
    
    Sorry, guys, but I flat out will NOT duplicate this kind of stuff for
    any reason.  If that constitues editing, so be it.  I will gladly
    abdicate the master tape compilation and let someone else do it.  I'll
    even send the whole raft of extra tapes that I've accumulated along at
    my own expense.  But I will NOT include this stuff on the master.   I
    had a discussion off-line with one person about lyrics and the like,
    and it was very well received.  Handled very maturely and
    professionally.  Hopefully, this will be taken the same way.
    
    If your potential submission contains that kind of stuff, don't bother
    sending it to me without some revision.  Ok?

    That's it for now.
    
8^)

    re -1. 'Sure makes me want to leap up and get my music out to fellow
    noters.'... what a pleasure to trade tapes with you.
    
    Now I know where you keep the knife.
    
    My informal poll shows 22 in favor of 'Still Life' (including several
    reorders) to 1 not in favor. 
    
    Tom, I relate to your music in the same way you relate to mine,
    although I intend to refrain from slamming it in public.
   
    It's obvious we're on separate planets.

    karl moeller    
    

    Standard format review of other people's work, by Tom.
    
    1)  I used to do all the things you do, but I outgrew them, making
    	me a better composer than you.  In fact, I was writing better
   	music than you when I was 11 years old.  Let me tell you a story
    	about my childhood...
    
    2)  The reason you do all the things you do is because you're ignorant.
    	If you had been trained as well as I have been, you would see the
    	error of your ways and write good music like I do, except you
    	probably couldn't anyway.  Go to school, read all these books
    	(a list of books follows), and then give up because it's beyond
    	you.  I, however, persevered, and am currently writing more
    	unrecognized masterpieces than anybody else.  It's just not
   	fair that I haven't been recognized yet.  Actually, it's a
    	conspiracy of judges and sponsors.  The only fair judges are
   	the ones that award first prize to me.  All other competitions
    	are rigged.  You'd know that if you were good enough to compete.
    
    3)	You are simply rehashing other composers' material.  I, on the
    	other hand, have carefully studied these other composers,
    	and successfully integrate their idioms in new and imaginative
    	ways.  For all other composers but me, there is nothing new
    	under the sun.  Everything I do is new and radically different,
    	and that makes me a better composer than you are.

    4)  You are not a serious composer because you don't have stacks of
    	unperformed music written out, just waiting to be played.  I
    	*do*, therefore I *am* a serious composer.  In fact, I have
   	written at least one piece for each of yours, but mine are
   	better, and real, because they are written down.  I started
    	writing music when I was 7 years old; let me tell you a parable
    	about my youth...

    5)  The musically ignorant find your music pleasant.  It is therefore
    	trivial and worthless.  Worse, your music is simple and not
    	worthy of a doctoral dissertation on its complexity.  It is
    	therefore trivial and worthless.  Besides, I'm a better composer
    	than you are, and someday I'll be famous, if I can just find
    	some fair judges.  Your music does not have bizarre time signatures
    	that change every bar (worse, your music has barlines) and does
    	not use harmonic clusters with every note on the keyboard.
    	My music (well, at least some of my music) does, so mine is
    	better than yours, and will be recognized as such as soon as
    	I find a objective critic who can count higher than four.
    
    6)  Not only are you musically ignorant, you haven't mastered the
    	technology.  I don't have to do this, because I can't afford
    	technology.  Besides, I already know everything about it anyway,
    	and what I don't know I can make up.  Everybody else is stupid,
    	so they will all accept anything I say as gospel.  Besides,
    	my music is so good, it doesn't need expensive technology, except
    	when the whole concept of the piece is based on it.  Then, if
    	the technology is inadequate, it's not my fault.
    
    7)  I'm just telling you these things for your own good.  After
    	all, *some* knowledgeable individual had to break the bad news
    	to you.  I know more than anybody else, so it might as well
   	be me, and I'm a better composer than you are.

    8)  If I can just get my public relations act together, I will be
    	recognized for the genius I am.  This doesn't have anything
    	to do with your music, but I have to keep reminding you how
    	much better a composer than you I am.

    9)  Your music is so utterly inferior that I can't even bring myself
    	to make one substantive comment about it except to compare it
    	to things that I did long ago (when I was 5 years old) and much
    	better, and in general make fun of you and tell you and all
    	your friends how stupid you are.  However, to be fair, I will
    	pick up on one little aspect of your music and dissect it
    	mercilessly; this may require that I oversimplify and ignore
    	contradictory evidence, but it's the thought that counts.  Besides,
    	you really shouldn't be composing anyway, for whatever irrelevant
    	reasons you may have.  My music is *much* better than yours.

   10)  Titles are really important.  Your titles are extremely misleading
    	and inappropriate.  Mine are clever and singularly a propos.
     	None of your music is exactly what I expected from your title,
   	therefore your music is junk.

    I have heard representations of both Tom's and Karl's works. While
    I support both their artistic endevours, I feel I must warn Karl
    that Tom may be right, and if so...
    
    "Please refuse to fill any request I make of you to furnish tapes,
    for my friends or myself, starting on July 28th, 2002."
                                       
    Edd

    If I had said what Tom janzen said about Karl Moeller's music I
    would have been re-labeled arrogant. It's a good thing you're above
    arrogance Tom or it would happen to you. 
    
    We all think we know something about music and musicians. We all,
    I assume, think we can tell who's real good and who's ok and who's
    amazing. I listen to classical and rock and fusion and lots of things
    inbetween that include some of what I consider to be the finest
    musicians and composers on the planet. My opinion, of course. I
    have heard Karl Moeller's 2 pieces on the comp tape and , in my
    inept yet equally viable opinion, Karl is an extremely fine Pianist
    who is on a Professional level. Professional means to me that he
    could substitute for most any pianist on most any album and get
    away with it. I also believe that he has a nice touch/feel in his
    creations, pieces capable of being sold on a "professional" basis.
    
    Not everybody is the rick wakeman of music or the Jim brown of foot-
    ball.....not everyone has to be. Some people aren't jim brown but
    they are good enough to play 2'nd string for jim. THAT is a minimum
    level of good enough for me. 
    	Karl, I don't play keys except for "messing around" I know
    all the chords and can even repeat sequences without "messing up"
    noticeably. I do play guitar on a better level than that, a more
    professional level and I would consider it a pleasure to play
    with you.
    
    	Janzens attitude is despicable and arrogant. I don't care
    how good he "thinks" he is, you don't treat/talk to your con-
    temporaries that way.
    	I may not know the meaning of courtesy but I'm an expert on
    the word arrogant and I just looked up the word "respect".
    	I have no respect for tom's arrogance.
    
    	sincerely looking forward to aug-10 and the midi-jam at dave
    dreher's  with you...karl...
    	rik s.
    

     
    	Don't you understand ,tom? Sure, you're probably a fine musician.
    But you remind me of those old gunfighters. Why do you have to be
    so arrogant and mean? Why can't you be politely and constructively
    critical? With you're attitude, I'd be very surprised if you actually
    achieve any noteworthy success. Look at all the bad press that Roth
    has? He's almost as arrogant and conceited as you are and NOBODY
    likes him. Is that you're intent? to be not only the best musician
    and best composer but also to be the most vile and contemptuous?
    
    	Constructive critism, and polite encouragement will take you
    much further than contemptuous arrogance. 
    	I may hear you on the comp tapes, But , right now, I'd never
    buy one of your albums, I'd suggest to my friends not to buy
    anything of yours and, if I ever need a pianist to accompany me
    on one of my world-wide tours (please, god...just one!) I won't
    ask you.
    	I doubt that many people that follow this conference will
    be interested in having you in their band, either. 
    	Obviously, with your attitude, you couldn't care less, but,
    you'd better be carefull which bridges you burn. You may end up
    on an isolated, deserted island.
    	I haven't exactly been a barrel of laughs in these conferences,
    but I feel that Len and Karl and many others are people that I
    could at least share an enjoyable evening of music with. I may not
    agree with everything they say or understand everything they play
    or do but I at least respect them as contemporaries and wish them
    every possible success. If Len "makes it", i'll be able to say,
    with pride, "I had an argument with him, once" to the envy of
    all my friends. 
    	If you ever "make it" i'll say with less pride and no
    envy "the guys an arrogant *&^%$%^&*".
    	Is this really what you want from your less-professional
    contemporaries?

    	lastly, you may be able to name lots of musicians who karl
    doesn't quite measure up to.....by your opinion.....but there
    are definitely plenty of pro's out there that he does measure
    up to. Why can't I name any...? because I don't even know the
    names of any of the people on any of my favorite bands. I don't
    pay attention to their names....I pay attention to their music
    and their ability.
    	But that's not the point.
    	The point is....your manners, as len says, do not match
    you reputed musical abilities. Your manners are somewhere be-
    neath rasputins and above ghenkis khans. Not exactly an enviable
    place. As opposed to being so vociferously viscious in your verbal,
    vatic appraisal, your standing with regard to the noters would
    have been more solidified and appreciated if you'd spoken as a
    human being rather than a snake in the grass, barring fangs and
    approaching at optimum velocity.
    
    	have a car accident.
    	sincerely
    	rik s.
    

    Rik, you're missing the point.  Tom's not interested in jamming
    with any of the rest of us.  He's not interested in being in a band.
    He's a composer and performing artist.  He's not interested in what
    any of us thinks about his musical skills or his music.  He knows
    he's good (and despite his attitude, I think he is pretty good at
    what he does, even though I may not care for a lot of it), and he's
    ambitious.  He refused to participate in the COMMUSIC tape, and
    his explanation why is back there somewhere for you to study if you care
    to (I'm not going to open that old wound).  We've all told Tom over
    and over again that he'd be more effective in getting people to
    see his point of view if he were a little more tactful and less
    inclined to derogate other peoples' work, and Tom remains Tom.
    So while I share your sentiments, don't hold your breath.  We are
    rock musicians (anything else we might be that Tom's not aware of
    doesn't count) and Tom's not, and never the twain shall meet.

    len.
    

    RE. -10 and  on
    
    Hey Guys that was real fun to read !
    
    
    But don't forget the old saying: Subjectivity rules, if you can work
    out what the subject is.
    
    				Paul.

    Christ Tom give us a break! You refuse to do anything but blown
    your own horn or shit on other people. You are like I was a long
    time ago (only worse), the best undiscovered whatever. Grow up. 
    It all sounds like sour grapes to me......jealous perhaps?
    
    dave         
    

    Thanks Len, I'm beginning to understand. It's a good lesson for
    me, too. It's one thing to believe in yourself and try to sell
    yourself as an artist. It's another thing to an arrogant jerk
    about the whole thing.
                         
    
    I do remember seeing his reasoning for not submitting anything,
    but I thought it was just a copout and in reality he hadn't created
    anything worth listening to. 
    
    hmmmmm, maybe I was right?
    
    well, aug 10 approaches......
    see ya at dave's
    rik
              

    ...seems Tom's logic for not submitting was along the lines of...
    
    "My work doesn't belong with 3 minute Springsteen covers..." (Para-
    phrased from memory)
    
    Tom's work is best understood (I think) as a play, in which the
    music/sounds are only a part of the whole. All of his work should
    be considered as "listenable", at least once. Then, only the listener
    can decide if they should (can?) listen a second time.
    
    Edd

    Sorry, Tom, I just can't get anything right.  It is performance,
    not performing.  But I can't tell a quartet from a sextet, (it's
    that obsession with 4 beats to the bar), it must be all those years
    of playing the same boring rhythm (boom slam three slam) over and
    over and over and over and over again, and all that other stuff
    I listen to just goes in one ear and out the other...
    
    len the dolt.
    

    I just wanna say that I respect the work Len has done in his note
    on drumming (thanks I haven't even used it all yet), I respect the
    work Mr. Moeller has recorded (I gives me and a relative some very
    relaxing listening), I respect all of the contirbutors of the COMMUSIC
    tape for being brave enough to risk crap like Tom's (even if he's
    too superior to even get on the distribution). So thanks guys, you
    are where it's at. Sorry TOm, see ya round the campus......
    
    dave

    Tom... If we said nice things about you would you believe us?
    
    Edd

    I think Tom misses the major point of music.  Interpersonal
    communication.  Hear that Tom?  Music is a vehicle of interpersonal
    communication.  You are very inferior when it comes to interpersonal
    communication.  This is obvious.  Interpersonal Communication grade:
    "F".  
    Not only do you miss the major point of music, but you miss
    the major meaning of life itself - relating to other people in a positive
    manner.
    
    But who am *I* to grade *you*?  I am a nobody.  But if you are as
    godly as you believe, why can't you make me like you?  Why can't
    you make me like your music?  Why don't people listen to you?  Why
    can't you change the world?
    
    If the people in this conference are inferior, why do you continue
    to read it and "contribute" to it?  Because you want ATTENTION.
    You are begging for attention.  Savor the attention from this note, 
    Tom.  Look everyone, Tommy wants some attention.
    
    Todd.
    

    No, Tom, this time *you've* got it wrong.  We're all being honest
    with one another.  You may think we're too stupid to make judgments
    you respect, but be that as it may, don't presume we're necessarily
    insincere because we differ with you.  You could have said what
    you think about about Karl's music, or my music, without attacking
    us personally and aggrandizing yourself.  You could have provided
    helpful suggestions.  But you didn't; instead, you said we were
    stupid, ignorant, unimaginative, etc., and obviously inferior to
    you, because you had outgrown all this.  I've rarely heard you say
    anything about anybody else's work that didn't involve turning the
    discussion around to talk about yourself.  People don't reject your
    opinions, they reject they way you express them.  Respecting and
    acknowledging as legitimate other peoples' goals is not insincerity.
    Glorifying yourself at other peoples' expense is not sincerity.
    You may be being honest, but you're also being cruel.  You may be
    being honest, but you're certainly not being helpful.  Your "criticism"
    is so hostile that it's useless.  Your's is the honesty of a brat.
    
    len.
    

    re. 137....right on, Len!
    
    re. 138....tommy, are you on drugs?  maybe someone has your pass-
    word and logged in to your account when your back was turned. When
    I started reading your "review" or karl I was flabbergasted. I
    couldn't believe that anyone could say those things to another 
    human being, especially one who plays/composes far better than
    you gave him credit for. I thought it was a joke.
    	It was NOT a review, it was a viscious attack. And, if it
    was a review, why didn't you include reviews of the other people
    on the tape? Why in hell would you take one person from the tape
    and destroy him and ignore everyone else? 
    	And now you claim innocence?
    	you claim that everyone is attacking you while you did
    nothing to provoke the attacks?
    	
    	Dec has an excellent mental health program, tommy. I suggest
    you investigate it.
    
    	I'm looking at .138 right now....you said "I didn't attack
    karl personnaly, i evaluated his music objectively as one ex-
    perienced in making the same type of music."
    	you're crazy.
    
    	in your viscious attack you stated flat out that you were
    above his level, had been since conception, and insisted that
    your music and his had no similarities whatever, yours being
    so much superior.
    	how can you turn around and lie about what you said and did?
    	
    	seriously, tom, you do need help. I don't want to stoop
    to the level of being angry with someone who is in desperate
    need of psychiatric treatment. I apologize for attacking you,
    now that I recognize how sick you are. I hope you are strong
    enough to recognize just how much help you need and endeavor
    to pursue this help. It must be a hard life for you, being
    friendless and lonely due to your fits of insanity and rage.
    
    if you ever feel you need someone to talk to, to help you
    overcome this mental deficiency, give me a call.
    
    	hoping you have a speedy recovery.
    	but not betting on it.
    	rik
    

    re -1: Rik, TOm was not discussing the COMMUSIC tape. I made the
    serious error of trading a copy of 'Still Life' for 90 minutes of
    Tom's piano music. 
    
    Good review technique does NOT latch onto the first point seen,
    and ignore the rest. Good review technique does NOT involve making
    major assumptions about the musician and the intent of the music.
    Good review technique by definition means not having an axe to grind,
    not having hidden agendas.
    
    Berating me for having the temerity to name a pentatonic piece 'Japan' 
    is ludicrous. I guess Tom passed right by Impressionism on his way to 
    Post-Tonal Egotism. Yes, 'Japan' is only a black-key improv. But it's 
    a GOOD improv. It goes somewhere, and is a nice slide into the rest of 
    the tape.
    
    Regarding the music on 'Still Life': let's get technical. You ignore
    the 5 against 8 polyrhythms in 'To Err on a G String'. You completely
    missed the musical joke inherent in 'New Age Lounge', which used
    the hackneyed C,Am,F,G progession in a different way. On side two:
    a comment on a piece with '2 boring chords'... well, 'Gymnopedie'
    uses a 2chord phrase in 3/4 time alternated with another progression
    in 4/4. This slow form was first used by Erik Satie. Guess he's
    not 'modern' enough. You neglect to mention the 8 against 6 polyrhythms
    in 'Fantasy in F'. You don't mention the seven interwoven themes
    of 'Fantasy in F'. You blow off my 'Alphaville' synth overdubs 
    (I actually bothered to dub the COMMUSIC 'Alphaville' on the tape)
    as failed orchestration. Traditional orchestration was not my intent.
    I am not here to meet your expectations. 

    Well, if I was gonna do a knife job on someone's music, I'd do it
    thoroughly, not blurt out indefensible posturing as fact.

    It's said that we're rarely angry for the first reason we think 
    we're angry. Tom, are you angry at me? I *apologized* for 'breaking'
    an appointment with you. What I took as tentative you took as fact.
    
    Right now, I DON'T feel particularly 'brotherly', thanks. Honest
    opinions, constructively expressed, are always acceptable. I feel,
    to meet your internal musical criteria, I'd have to cut my hands
    off at the elbows and apologize profusely for thinking I could make
    music.   

    I kind of imagine you have a problem with relationships, Tom. Not
    a lot of friends, perhaps?     
        karl moeller    

While this note has gotten a bit off the subject, it HAS made for some
interesting reading (this conference can be so *dry*.

Personally, I just love a good, strong opinion and I agree with Tom when
he says that, so far, the reviews have been a little too positive.  I do
NOT, however, fancy his style of "reviewing."  If Tom finds Karl's music
insipid and boring, I hope he will say so.  Just keep the discussion on
the MUSIC.

If anything, all this has just made me all the more anxious to get the tape
and decide the musical merits thereof myself.

John M.

    Alright, guys, no need to respond in kind.  If Tom feels he hasn't
    said anything offensive or attacked anybody, that's his prerogative.
    Making statements about Tom's ability to make friends or his mental
    health are completely inappropriate.  We're talking about criticism
    and critical styles, not individuals.
    
    I don't see any point in continuing this discussion.  We've been
    here many times before.  As usual, the provoker turns around and
    begs for mercy from all the nasty people responding defensively
    to his taunts.  This is a waste of time and emotional energy. Nobody's
    mind is going to be changed.  I know what to expect from Tom if
    I ask him for comments on my work.  You should know now too.  If
    you find that kind of feedback helpful, continue to ask for it.
    If you don't, let's just drop the subject.
    
    len.
    

    Hey, does this note keep changing titles??
    
                  ...sick <------->...die
    
    Edd puzzled_by_it_all

    as the originator of this note, at a time when Commusic Tape 1
    contributions were quite slow in coming, it said ..'OR DIE'.
    
    Some time later, after it was clear that the clarion call was answered,
    I posted MAIL to the moderator to alter the title of the note. The
    moderator was somewhat backed up in his mail, so it took a while.
    
    perhaps it should read 'THANKS FOR YOUR CONTRIBUTIONS' or something,
    now.

    re: .116 -> .142
    
    Ha Ha Ha Ha Ha Ha Ha
    
    That was highly entertaining...
    This latest exchange reminds me of the MUSIC notes conference...
    
    Tom, shouldn't .116 belong in the reviewer's note?  Jeez, that was
    pretty brutal.  You act like adolescent.  I think the real reason
    for the scathing review was because Karl didn't manage to visit
    you when he came out here.  Again I re-state: A little humility
    never hurt anyone...
    
    Rik, what's with the fangs?  You're showing the good old Rik of old
    when you first made waves in MUSIC.  BTW:  That was a pretty sugar
    candied review of the COMMUSIC tape.  Now let's here what you *really*
    think...
    
    A Janzeneque review of Tom Janzen:
    
    I had the opportunity to hear some of your stuff at Len's one night.
    Only about ten minutes worth (roughly what people submitted to the
    COMMUSIC tape) and I don't get it.
    
    What I heard was 5 minutes of 'Slowasleep' and 'Catapillar Blues'.
    In 'Slowasleep' I heard a bunch of artificial crikets and a Mister
    Rogers voice talking some gibberish about 'super toyco robo-crickets'
    All I cam imagine is Mister Rogers saying "Can you say that, boys
    and girls? Super Toyco Robo Crickets?".  This is music?
    
    The other piece contained a monotonous boogie woogie bass line
    with the same seventh chord playing over it on different beats.
    For *five* minutes.  So what!
    
    As far as the production of these pieces goes, it sounds like it
    was recorded in 1910 on a Edison wax cylinder that is of center,
    hence the wobble...
    
    Where's all this wonderful music you keep talking about?  I hope this 
    is not representative of your music, in which case hang it up.
    
    DD 

    Okay, Tom, I think what your saying is that Slowasleep is Performance
    Art and Catapillar Blews is a throw-away.  Then this is not represen-
    tative of your music.  Whew!  Glad to hear it.  Is there someway
    I can hear your 'serious' music in order to be able to formulate
    an accurate opinion?  Are you going to submit to Volume II?  I'm
    curious to hear if your stuff is 15 years ahead of Mr. Moeller.
    
    BTW:  A Tascam 244 sound quality is alot better than what you
    recorded on.  Can you afford $700 or whatever it cost?  As a
    serious student sound engineer and producer, my ears can't take
    too much shodily produced recordings on crappy equipment. Neither
    can the public for that matter.  That's why pop music is so success
    -ful.  The engineering, production, and performance of the singer
    make it happen regardless of the simplicity of the music.
    
    DD

    re -1: how DD can hear some 'serious' music...
    
    How about it, Tom? I have a 90-minute, very slightly used tape of
    your piano music. Can I send it to DD so he can enjoy it too?
    
    karl moeller

    I don't know about you guys, but I'd give just about anything to
    hear a Moeller vs. Janzen tape.  How 'bout it, you two?
    
    And remember, I get to be first in Line!!
    
    John M.

    I can't see my music rubbing elbows with a bunch of 11-minute Morton 
    Subotnick covers

    But Karl, I LOVE Morton subotnick!
    
    OK kids, here's another idea.  How about a Commusic tape of Avant
    Garde music?
    
    Again, I get to be first in line.
    
    John M.


P.S.  Does anyone know how I can contact John Walton?

    > P.S. Does anyone know how I can contact John Walton?
    
    Yes. Go up to the mountain at sunset. He always says "Good Night"
    first.
    
    Edd

    C'mon, Tom's stuff (at least what I've heard) doesn't sound anything
    like Morton Subotnik.  Get it right!
    
    Is John Walton Izaak's brother?  ;^)
    
    len.

    Who the heck is Morton Subotnik?  Sounds like a salt company merged 
    with a russian shoe company.
    
    Todd.
    

    I'm sure Tom will correct me (I confuse 4 and 6, but he confuses
    3 and 5, and they're less than 4 and 6, so he must be smarter than
    I am), but if I recall correctly (don't have my reference library
    handy here to help me out) Subotnik is an early (at least as early
    as early '60s) electronic music composer.  He recorded a number
    of pieces for Nonesuch, which may still be in print.  The one I
    recall by name is The Silver Apples of the Moon.
    
    Take it away Tom...
    
    len.
    

    It's tough keeping up with all these deservedly obscure composers,
    ya haveta be a real masochistic bookworm. The Morton Subotnick *I*
    meant is the famous Morton Subotnick's younger first cousin.
    
    Morton Subotnick (1940-1965)
    A child prodigy, young S. startled his family and the music world
    when, at the age of three, he composed the 'Tonecluster Variations',
    (1943) for piano and open or closed hands. 
        
    It is indeed fortunate that Subotnick was a compulsive scorer, as
    there is NO discography of his works. He apparently had a fear of
    any technology which involved wires. In a stunning intellectual 
    breakthru, S. did away ENTIRELY with the conventional music staff. 
    Not content with an improvised or 'through-composed' method, young S. 
    soon devised an ingenious scoring method utilizing colored crayons 
    and butcher paper. His mother preserves these scores.
    
    Young S., termed by his family as a 'squirrel', evinced a loathing
    for breakfast. This is termed his 'Pan Post Serial' period.
    
    Here are a few works from Subotnick's 'Granular' period:
    
    'My Toy Truck' (1945) Toy Tin Truck and Percussion ensemble
    'A Series of Facile Black-Key Arpegii Which May If One is A Musically
    Uninformed Boob Dimly Suggest Something Oriental' (1955) Solo Piano
    'Hormone Bump' (1956) Solo Ecsydiast and Trap set

    And a few works from his 'Angular' period:
    
    'Smegma Variants' (1961) Solo Flute and Percussion Ensemble
    'Miasma in Bflat' (1963) Triangle, Bagpipe and Percussion Ensemble
    
    And a few works from his 'Declining' period:
    
    'Depression' (1964) Koto and Logdrum ensemble
    'Recovery' (1965) Panpipe, Bouzouki and Percussion ensemble
    'Relapse IV' (1965) SOLO Percussion and Clarinet Ensemble
    
    In an incredible lapse of taste, Subotnick composed his own Requiem.
    Morton Subotnick, cousin of Morton Subotnick, passed away in 1965.
    
    karl moeller   
        

        

    re;-1
    
    	I thought it was pretty funny.
    
    	Morton Subotnick (the Elder) has just come out with a (dreadful,
    I'm sorry to say) new electronic album called 'Return'.  It uses
    Yamaha products.  In the album notes, he said he was very happy
    because with the new technology he could now do everything he had
    ever wanted.
    
    	He also has a piece ('Amphibians'?) on a IRCAM tape I have.
    
    							- Karl
    
    p.s. WBUR music quiz is tonight

    Anyone interested in Morton Subotnick is encouraged to listen to
    either "Touch" or "The Wild Bull."  I think his worst album is
    "Sidewinder."  For some reason, "Silver Apples" is his best known
    work, but is not very interesting.
    
    So he has a new record out, eh?  I think I'll give it a listen.
    
    Anant garde is forever!
    
    John M.

    re -.161, .158

    John Walton is (was) a noter on this conference, you MIDIots!
    
    John M.

    Remember this note ??? I have two main concerns..
    
    - where is Tape 1 ? last I heard it was in Europe.. 
    
    - Tape 2: I see that Brad has evinced an unwillingness to transfer
    certain material. I assume that personal MAIL has been flying, but
    I'd like to see if there is a resolve on this, and try to get Tape
    2 moving again. Is it possible Brad is burned out on this project,
    and, if so, is there a contributor with both Dolby and DBX in their
    setup, able to create a master ??
    
    This past weekend I saw/heard the USENET tape. The USENET folks
    have taken a different approach with distribution and have apparently
    used a commercial duplicator for copies, with one central contact
    point. There is a two-color professionally printed cover. Plus,
    the cost to listeners is $4.00, NO WAITING.
    
    perhaps we might like to reconsider our distribution method. With
    as few as 25 orders/deposits, a commercial duplicator might work
    well. these are available nearly everywhere.
    
    karl moeller
    
    
    
    

    
    I have assumed rightly or wrongly? That the Tape sent to me by John
    Arnold was a copy and not the original. Consequently and due to
    a lack of a reasonable copy deck I have posted it on to Timo Lehtinen.
    If this was not the right approach then I humbly get down on my
    knees and rip of my shirt and apologise.
    
    If this was the right approach then I haven't got a clue where the
    original is. But I'me sure Timo will let you have a copy. Btw Timo
    did you receive the tape yet?
    
    				Paul.

    Is the duplicating approach that USENET used going to be cheap enough.
    Just today Greg Taylor was posting that he believed the cost of
    duplication has gone up. Karl you have some experience doing this,
    can you enlighten us?
    
    dave who thinks $4-5 is not unreasonable if the tape is a good copy.

    Let's see.  Greg also stated that over 200 have been distributed
    so far.  At $4 per tape, that makes a total cash flow of $800!
    Sounds like they could have bought a high quality tape duplicator for 
    that!
    
    Of course our distribution will probably be around 50 max.  I vote
    for the USENET idea of high quality tape duplication.  I'd be more
    than willing to pay $4.25 for a COMMUSIC tape, especially since
    a good blank cassette alone is about half of that anyways.
    
    Todd.
    
    

    well, time to expose myself as a crass capitalist.
    
    the last commercially-duplicated run of 50 copies of 'Still Life'
    cost me exactly $100.00. This includes the sticky labels for the
    cassette.
    
    I was real impressed by the audio quality (not necessarily the content)
    and the appearance of the USENET tape. A TWO_COLOR_COVER, no less.
    
    After the (cassette) master is produced, and  a duplicator contacted,
    the next step would be to get an insert/cover printed. If anyone
    has any ideas of alternatives to a graphics house laying out the
    cover, post them. Perchance someone with a PC with graphics&printer.
    That would yank down the cover creation costs to $0.00. Then going
    to a quick-print shop (you know, they're on every corner) for a
    quick 100 covers.. at probably less than $0.25 each.
    
    Then all that'd be required is to set up a central distribution
    point. Hell, we could become our own music spinoff..(down,boy!)
    
    shall we bite the big one and start a fresh note for Tape 2
    presentation and concepts? 
    
    Looks to me that $3.00/copy would be no sweat. Unless I'm really
    off base on the cover creation costs.
    
    Is Brad out there? I sense an ominous silence. Maybe vacation time.

    karl    

    Gee, Karl, since YOU already have these contacts and know how the
    process works.... 
    
    Edd

    re -1... true. You'll never be as moneygrubbing as I am.
    
    However! i ****cannot**** do the master, as I have No dbx bx bx
    
    There would also be a matter of 'minimum order' for the duplication.
    Can we seriously expect an upfront, CASH IN HAND deposit from everyone
    music unheard, of 50 copies ?????
    
    probably. there was a LOT of listener addresses for tape 1.
    
    I would be willing to ::
      (kicker upfront)... collect MONEY (per-copy $$ estimated based on 
       duplicator quote plus printer quote/dep on cover creation method 
       chosen plus per-copy shipping cost) and ADDRESSES of the PREPAID 
       listeners. THEN:
    
    a) receive the ready-to-copy cassette master from someone     
    b) receive/create the cover content
    c) get covers printed ACAP (as cheaply as possible)
    d) get cassettes duplicated... good quality ones
    e) do a mass mailing to all PREPAID listeners
    
    sounds like a bit more work for one person than mastering and sending
    it off, don't it...    
    screw it. I'm gonna start a new note.
    
	karl    

	How does one get a copy of the tape?

	David

    re .165
    
    Discussion on the current holder continues at 312.20.
    
    re .166
    
    Paul, I got the tape yesterday and copied it already.
    As note 312.18 proves John Arnold sent you a copy instead
    of the master, you don't have to rip off your shirt and
    I will send your tape back like agreed. Wait a sec ...
    
    ... ok, I came back. It's on it's way.
                                     
    re: .166 --> 
    
    The duplication idea sounds good.
    
    Timo 

     Thanks Timo 
    
    I have also dropped out on sending the tape on to ZAyed in Geneva.
    
    IF you are both listening I will (now that I have my deck back)
 
    copy the tape and send it on to Geneva.
    
    					Paul.

    Case any one is interested, I spoke to Brian Markey today and
    he said he just mailed it to ?Brian? Handspicker.
    
    "it" being the copy of teh comm music I tape in circulation.
    
    SheerLuck Holmes
    

    I knew this would happen while I was gone!  Karl: Thanks for noticing
    that the tape had gone nowhere.  I received mail from Brian Markey
    a long time ago indicating that he had received the tape from me.
    (He had just moved and it got delayed in the USPS forwarding process.)
    
    It's good to here that Brian has finally forwarded it to Brian
    Handspicker so things should be rolling again now.  I guess that
    means I don't have to chase the tape down and I can write my trip
    report on last week's AI conference.  (Oh boy!)
    
    - John -
    
    P.S.  I will write my review of Tape I this week.  I took my Walkman
    to Philadelphia last week and have now listened to the tape enough
    that I can write about my long-term impressions (rather than an
    off-the-cuff response).  Expect it this week in the Reviews note.

    Where is TAPE I?  I still have not seen nor heard it (and tape II
    is coming out soon, groan....)
    
    	- Rick
    

    Yes, where is TAPE I?  I'm also waiting...
    					... and waiting
    						   ... and waiting
    
    -jim

    Some slimesucker is sitting on it.
    
    It should be (relatively) easy to reverse engineer the culprit.
    There's a 'current holder' note #312. Check this against the Tape
    I Distribution list, and chase the NEXT person after the LAST person
    to have it. 
    
    Good luck. *** IF *** this proves impossible, I would be happy to
    copy my relatively hi-fi copy for anyone, just VAXmail me at 
    CANYON:: or SALSA::(16514:: for those of you with outofdate databases)
    
    karl moeller

    The last person to acknowledge possesion was...
    
                 J A S O N   P I T E R A K         
    
    He stated in his note that he was mailing it the following day to
    the next person on the list who was, according to 311.67...
    
    
                 J O H N   M I T C H E L L 
    
    John did not acknowledge reciept.
    There is no Jason Piterak in ELF.            :^(
    
    Edd
    
    

    Major lesson, kids : don't count on a)nonregular notes participants
    b) the mail system   to handle a MASTER tape. Has anyone VAXmailed
    this Jason Piterak at ACADYA::RUSH to see if he really sent it ?
    
    karl

    I got this suspicion that ACADYA:: is physically located real
    close to MTBLUE::, BAXTA and all those other Maine-ey sounding
    nodeses that a REAL REGULAR NOTER often converses from.
    
    I won't mention his name but I'll bet this noter could help
    us get to the BOTTOM of this.....
    
    ;^)
    Edd

    re -1... I haven't heard from him or seen any notes entries since 
    before the holidays. curious.
    
    k mmmmmmmmmmmmmmmmmmmm

Maybe Maine isn't there anymore.  Anyone looked lately?

Todd.

    I last spoke to Mrs. Piterak at their new home in NH, some time
    last year.  You might call there, and try to locate him if he
    no longer works for DEC or something.  I will mail the phone
    number to those who ask for it.  (If he left DEC, I don't like
    the idea of posting his number here without permission.)
    
    Greg W.
    

    RE: .180
    
    YOU MEAN I'M NEXT IN LINE??!!  Trust me, I was never sent a tape.
    I have been waiting for months.
    
    
    Once it gets here, I just can't WAIT to do a Karls vs. Carlos
    composition comparison. :-)
    
    What say we get this Piterak guy.
    
    ...and his little dog too!
    
    John M. 

    I assume, John DECWET::Mitchell (I thought you were terrible to
    Martha, by the way, and holing up in Seattle or whereever was prolly 
    a good move) that you are making the differentiation between
    myself, Karl MOELLER, and Mr. Karl MALIK. The fact that we're both
    from Detroit Michigan and have KX88-and-Macintosh based home studios
    and both loathe Wendy Carlos should not confuse. I, KMthe IInd, have 
    indeed contributed 2 pieces to COMMUSIC Tape I, 'Alphaville' and 
    'Toccata'. I do not believe that Karl Malik has shared any of his 
    compositions with fellow noters to date.    
        karl_the_best_composer_in_my_house_moeller

    RE: .187
    
    Moeller, Malik, what's the dif?  You both have no taste when it
    comes to understanding the music of W. Carlos.
    
    Actually, I remembered that K. Moller had submitted some stuff (which,
    in truth, I suspect will be above average) but wasn't sure of K.
    Malik....so I took the easy way out and lumped both together.
    
    Now where's the damn tape?
    
    
    John M.

    Well, Maine was still here this morning when I got up.....
    
    There is a node Acadia:: here at ASO but not the other one (ACADYA::??)
    I dinna ken where that might be located.....and I have not heard
    of this person....
                                                
    Sorry to be of so little help....
                      
    dave

    I STILL HAVEN'T HEARD IT. Sorry for the yelling, but methinks that
    somebody had better get a replacement copy of the tape to continue
    the chain.
    
    Failing that, is there somebody at ZK I can borrow a copy from to
    listen to? 
    
    Thanks for your support.
    
    	- Rick
    

    uhhh... the tape seems to have fallen from sight on its way to John
    DECWET::MITCHELL... many moons ago.
    
    An unnamed noter has a very clean dbx COPY which he will uhh.. copy
    and send to me.. I have two Nakamichi dex with Dolby 'B' only.
    
    When I have a duplicatable COMMUSIC Tape I in hand I'll post my
    address here.  
    
    Do we want to do this NOW and step on COMMUSIC Tape II's distribution?
    Or have I just been around Marketing too long?
    
    karl moeller sws tucson az usa

    Well Karl,  I would like to hear both Tape I and Tape II, especially
    since some of the Tape II compositions seem to have been done in
    light of Tape I.  I would be pleased to follow a Tape II-style
    distribution for Tape I. Where do I sign? 
    
    	- Rick
    
    P.S. I was also on the distribution list for Tape II, which I take
    it is being ignored in favor of the new distribution system?

================================================================================
Note 503.15                    Tape II Submissions                      15 of 39
JAWS::COTE "Let's change the rules and giggle!!!"    19 lines  19-JAN-1987 13:22
    My address...
    
                        Edd Cote
                        74 South Oxford Rd.
                        Millbury, MA. (USA) 01527
    
    Here's how I'd like to work it... You send me a tape and postage,
    I'll dupe and return post haste. Alternatively, I could use your
    submission tape(s) if you send me a nominal 75 cents for postage.
    Or send 5.75 and I'll furnish a high quality (SA or UDXL-II) tape
    for you.
    
    Please send mail to me at home, not JAWS::! I really wanna make
    sure no-one falls through the VAX::CRACKS! Please state what kind
    of noise reduction (B, C or dbx) you'd like or get B by default.
    
    Someone really should start a liner notes note.... I'm so tired..
    
    Edd