MMML: The Tapes:: The Tapes In the late 1980's and early 1990's, the put togther a series of five cassette tapes with compositions by members of the mailing list. Compiled the first four tapes, Bill Fox compiled the last one, and Neil Weinstock, Topher Gayle, and Greg Youngdahl made significant contributions along the way. The music, although leaning heavily to the electronic side, contains a wide variety of styles and techniques. Everyone wanted to show their 'best stuff', so the quality of the music and recordings is quite high. Click on each composition's title or the M3U link to 'stream' the MP3 file, or click on the MP3 link to download the entire MP3 file. All compositions are copyrighted, all rights reserved, by the individual artists. Mostly MIDI: Tape Number 1 (1988) Tim Thompson © Tim Thompson This used a Roland D110 (organ, brass, flutes, drums), TX81Z (melody thing), Kurzweil 1000PX (piano) and was recorded using keynote 3.0 on an AT&T PC6300/OP-4001.

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Mixed direct to a 2-track through a Roland DEP-5 reverb/chorus. Recorded in small pieces, put together with quantization and tweaking by keynote. Bob Neumann and Roz Baker © Bob Neumann and Roz Baker Instruments include an EMU-EMAX sampling keyboard (piano), an Oberheim OB-8 (bass), and an EMU SP-1200 (drums). Sequencing was done using an Atari 1040 ST running Hybrid Arts SmpteTrack. Vocals by Roz Baker. Audrey and Kyle Burson © Audrey and Kyle Burson Instruments on this one include a Fender Strat guitar, Roland D-50, Roland S-50, Yamaha TX316, Yamaha DX7, Casio CZ101, Yamaha RX5 (drums). A Memory Moog was used for the bass line.

Effects include an Alesis Midiverb 2, a Yamaha SPX-90, and a D1500. Sequencing was done using a MacIntosh running Opcode 2.6. Audrey wrote the song and Kyle produced it. Jim Collymore © Jim Collymore This was done using a Korg DW-8000, an Alesis Microverb, a Tascam Porta-Two, a Roland TR-505, and a MAC SE with Opcode's Midimac sequencer. Jim refers to this and his other piece as 'structured improvisations'. Duane Bowker © Duane Bowker Most of the parts on this one are produced by a Yamaha TX-81Z synthesizer, with the background added by a Korg DS-8.

Sequencing was done on an AT&T PC6300 running TEXTURE and the final mix was recorded through a Digitech DSP-128. All parts were played initially on a Casio DG-510 guitar controller.

Guy Story © Guy Story This piece features vocals by Guy, guitar (Fender Stratocaster, Gibson ES-335), a Roland guitar synth (G707/GR700), a Yamaha FB-01 synthesizer, and a LinnDrum. Effects added with an Alesis Microverb and an ART Proverb. Recording done on a Tascam 38 deck (no noise reduction).

Sequencing done using Mark of the Unicorn's Performer. Craig Cleaveland © Craig Cleaveland This piece uses the unusual but highly symmetric scale: B,C,D#,E,G,Ab and uses a mixture of 3/4 and 4/4 time. All parts were played on an Ensoniq ESQ-1. Stew Lindenberger © Stew Lindenberger This piece features all Oberheim equipment, including a DMX drummer, a DSX sequencer, and an OBX8a synthesizer.

The 'top' part was played 'live' while the synth was also playing the sequenced part. Arberman, Bill Fox © David W. Arberman, Bill Fox Composer: David W. Recording and Mixing Engineer: Bill Fox Dave programmed the percussion parts on a Roland TR-505.

Its MIDI out was connected to the MIDI in of a Yamaha RX-5. The TR-505 was set to broadcast the snare drum part on the same channel/note number recognized by the RX-5.

The RX-5 was set to sync on external MIDI clocks and was playing a tambourine hitting on 2 and 4 of a one measure pattern. The TR-505's stereo output was sent to two input channels of a TEAC M-5 mixing console and was recorded on channels 7 and 8 of a TASCAM 38 with slight reverb in the center. The tambourine output of the RX-5 was sent to another M-5 input and mixed into the stereo submix on tracks 7 and 8 with some reverb. The snare output was sent to the center of the submix dry to add punch. It was also sent to a digital delay and then the reverb for a slapback effect. Dave then added bass guitar, run directly into the mixer, and electric rhythm and lead guitars recorded through a Roland GP-8 guitar processor that directly fed the mixer. His vocal was recorded with an AKG C414 microphone, limited with a Furman Sound compressor/limiter.

During mixdown, reverb and a slight delay (doubling) were added. Where the music cuts out, the doubling effect level was increased, then brought back down when the music started again.

I played my guitar through the Roland GM-70 guitar to MIDI converter, controlling a Mirage sampler with a piano sound loaded and the Yamaha TX81Z set to its stock 'Voices' patch mixed in the background. The last track was still the GM-70 controlling the TX and Mirage, but now they were set to string patches.

Mixdown was to a Sharp R-DAT. Naim Mowatt © Naim Mowatt This is a recording featuring live guitar and sax parts playing along with a bass line from a Casio keyboard, a drum part from a Roland TR-505, and a rhythm part from a Yamaha TX-81Z. An SPX90 was used to add reverb.

Tom Duff © Tom Duff Arpe is a fragment of a larger work-in-progress about the extraction of order from chaos. It runs for 2 minutes, 28 seconds and is performed by a VAX 8550 running ninth-edition UNIX(trademark), a Teletype 5620 terminal, Tom Killian's homebrew MIDI interface board, and a Yamaha DX7. A pipeline of four C programs running on the VAX computes a sequence of time-tagged MIDI packets and transmits them to the 5620 where they are buffered and forwarded in real time through the interface board to the DX7, which used the calliope voice from a Yamaha ROM. The recording was made by running the DX7's headphone output directly into a Nakamichi BX-2 cassette recorder. Nat Goodspeed and Topher Gayle © Nat Goodspeed and Topher Gayle Lyrics & music: Nat Goodspeed.

Sequencing and vocals: Gayle & Goodspeed. Digital Equipment: Alesis HR-16 Drum Machine, Ensoniq SDP-1 Elec. Piano, IBM XT with Music Quest MPU401 clone, Personal Composer V2. Analog Equipment: Teac A-2340 4-track tape recorder, Barf home- customized elec. Guitar, Trashmo Amp with mechanical 2-person wah-wah, old mexican congas. Steve Schreiber © Steve Schreiber The synthesizer parts on this piece were done on a KORG DW-8000 (ambient sounds and violins) and a Yamaha TX7 (Hammond Organ). An Alesis HR16 was used for the drum track.

The synthesized parts were sequenced using Voyetra Sequencer Plus Mk.III. These were then recorded onto a Fostex X-15 Multitracker along with a live guitar part. A digital delay pedal was used on the guitar track. Steve says this piece was inspired by '.the giant soap bubbles you can make with a device called The Bubble Thing invented by David Stein.'

Duane Bowker © Duane Bowker I wanted to put something a little more experimental on the tape but my wife insisted on this one. It's pretty conventional 12-bar blues but features vocals by Sammy (age: 2 yrs., 0 mos.), Keelan (age: 0 yrs., 2 mos.), myself, and a 'mystery toy' Bass, piano, organ, horn, and drum parts were sequenced using a PC6300 running TEXTURE. Essentially all of these were 'entered' from a Casio DG-510 MIDI guitar. The sequenced parts, played through Yamaha TX81Z, KORG DS-8, and ROLAND TR-505 boxes, were recorded onto a TASCAM 234 deck. Vocal and live guitar parts were then dubbed over.

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Some effects processing was done using a DSP-128. Bob Neumann © Bob Neumann This song features vocals by Roz Baker. The instruments used include an EMU-EMAX sampling keyboard, an Oberheim OB-8 and Oberheim Xpander, a Yamaha DX7, and an EMU SP-1200 Drum Machine. Sequencing was carried out using an Atari 1040 ST running Hybrid Arts SmpteTrack Sequencer Software. Tim Thompson © Tim Thompson Tim used a Kurzweil 1000PX (piano and strings), Roland D110 (drums), and a TX81Z (flugelhorn) on this tune.

Recording was done using keynote 3.0 on an AT&T PC6300 with an OP-4001, mixed direct to a 2-track through a Roland DEP-5 reverb/chorus. Jim Collymore © Jim Collymore On this one, Jim used a Korg DW-8000, a Yamaha FB-01, a Yamaha QX-21, and a TEAC M-09 mixer. Craig Cleaveland © Craig Cleaveland This tune features an Ensoniq ESQ-1. Duane Bowker © Duane Bowker Would you believe a couple of strong cups of coffee was all I needed to create this effect?

Well, a Lexicon Varispeed II helped a little. Mostly MIDI: Take 2 (1989) Guy Story © Guy Story Written and arranged by Guy Story. Vocals by Geoff Worton, an Englishman who continues a tradition of wonderful R&B singers from across the Atlantic.

Geoff now lives in Weehawken. Sax by Milton Entzminger, native of New Jersey, who has toured Europe with Lionel Hampton.

Background vocals and guitars (Gibson ES-335) by Guy. The rest: Yamaha FB01 and DX100, and LinnDrum, sequenced by MOTU's Performer, synced via Opcode Timecode machine to a Tascam 38. Tim Thompson © Tim Thompson Done with an AT&T 6386 WGS computer running UNIX and X windows, using Keynote 4.0 software.

Most of the sounds are from a Roland D110, with help from a Yamaha TX81Z and Kurzweil 1000PX. Mixed direct to 2-track through a Roland DEP-5. Marty Askinazi © Marty Askinazi Created using Voyetra's Sequencer Plus MKIII software on an IBM AT. The synths used include a Korg M1R, Roland D110, and Yamaha FB01.

Bob Neumann © 1989 Bob Neumann The vocals are public domain samples from an EMU EMAX SE. Instruments used: EMU EMAX SE Sampling Keyboard, EMU SP-1200 Sampling Drum Machine, Oberheim OB-8, Oberheim Matrix-1000, YAMAHA DX-7; Sequencing: HYBRID ARTS SMPTETRACK running on an ATARI 1040ST. This recording was made direct to two-track master; No multi-track tape decks were used. Sammy Guthrie, Tom Michel, Steve Schreiber, Bob Kirby © Sammy Guthrie, Tom Michel, Steve Schreiber, Bob Kirby (In the words of Tom Michel.) One day I got a new voice cart for my synth. Never having used the RAM card slot before, I stood up to check out how to insert the cart. In the 10 seconds that I was standing, Sammy (My girlfriend's cat) sat down on my piano bench.

Not realizing it, I sat down with nearly full force onto poor little Sammy. Sammy provides the only 'vocals' on the tune (and will get all royalties). Tom Michel - Roland D-50, Yamaha TX7; Steve 'Bwana' Schreiber - Les Paul guitars; Bob 'Bathroom Humor' Kirby - Drum Porgramming via Yamaha DD-5 playing an Alesis HR-16. Phil Vourtsis © Phil Vourtsis Performed on a KORG M1 with Cakewalk II running on an AT&T PC6300.

Jim Collymore © Jim Collymore Equipment: Ensoniq SQ-80 for all 5 voices, a Yamaha FB-01 for doubling on the bass part, an Alesis Microverb, and a Tascam Porta-Two 4-track cassette for the mastering. I also used a MAC SE running Opcode's MIDIMAC Sequencer. Tom Duff © Tom Duff `Gam' is 5 minutes 9 seconds long, and is performed using 8 different factory bell and gong voices on a Yamaha FB01. My intent was to invoke a chaotic but resolutely tenacious Gamelan. The only pitches used are the first 16 harmonics of C below middle C (midi note number 48), so the piece has not much harmonic motion.

(Actually there are other pitches because some of the patches are tuned an octave above or below standard pitch.) The FB01 is reputed to have micro-tuning capabilities, but I have no documentation on it, so the pitches are all quantized to the equal-tempered scale. The patches used, from lowest and slowest to highest and fastest, are 3/27 Bells, 3/41 Marimba, 6/37 TubeBe1, 7/42 SpChime, 3/21 Vibes, 6/35 Vibe3, 4/47 Celeste and 3/20 Glocken.

I generated the MIDI scores on a VAX 8550 at Bell Labs, Murray Hill, NJ running tenth-edition research UNIX (rg and played them back through a Teletype 5620 terminal in my home with a homebrew midi interface board designed and built by Tom Killian connected to the DX7 or FB01. I recorded the piece by running the synthesizers' stereo outputs directly into a Nakamichi BX-2 cassette recorder. Duane Bowker © Duane Bowker The drums, sax, strings, and some of the bass parts were generated by a KORG M1r; organ and 'analog' bass were generated by a KORG DS8; an additional bass part was generated by a YAMAHA TX81Z. All synthesized parts were orchestrated by an AT&T PC6300 running the TEXTURE sequencer package (all parts, except drums and organ, were played originally on a Casio MIDI-compatible guitar. Drum and organ parts were played on the DS8 keyboard). Synthesizer parts were then mixed onto two-tracks of a TASCAM 234 Syncassette deck and the live guitar track was added later, using the same Casio guitar played through a Peavey equalizer/pre-amp and a DSP-128 effects unit.

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Mike Knudsen © Mike Knudsen This piece was MIDI sequenced with no human intervention, using a home-written graphics notation sequencer running on a Radio Shack Color Computer 3 (retails for $199) using a Unix-like operating system, OS-9. The Coco-3 uses its serial port (software timing loops) to drive a Casio MT-240 ($99) and on most songs, a not-so-cheap MT-32 (just sounds cheap, lots of white noise). MT32 and Casio are mixed in a Radio Shack mixer (designed for disk jockey parties, it appears) and recorded on a Tascam Porta One using dbx noise reduction on tracks 1 & 2. I cut in the Korg DW-8000 thru a Microverb. 'Nadia Rag' is one of my acoustic piano ragtime compositions from about 1975, moused in from sheet music.

For this I layered the Korg's honky-tonk piano in with the other two synths' same to get a slightly 'ripe' piano in a big hall. About 4 minutes. Christopher Gayle & Nat Goodspeed © Christopher Gayle & Nat Goodspeed BROKEN PROMISES (Nat Goodspeed 1989) Vocals - Nat. Drum and Bass sequencing - Nat. Piano sequencing - Nat and Topher. Guitar and Mandolin - Topher. For us, a technological breakthrough in that we loaded a sync track onto the four track deck, thus freeing up one of the two tracks we had been using for the stereo output of the MIDI controlled drum/piano/bass.

More significant was the fact that this arrangement allowed us to continue to tweak the sequenced info even after the analog tracks were recorded. Equipment: Ensoniq ESP-1 piano, Alesis HR-16 Drums, 1965 Guild Starfire IV guitar, Aria mandolin, TEAC 2340 4-track deck, IBM XT running Personal Composer. Bill Fox © 1984, Bill Fox Neil Weinstock © Neil Weinstock This piece was sequenced using the Music-X package on an Amiga. The various parts are a mix of hand-played and mouse-entered (I'll let you figure out which is which).

An M1R handles most of the load, while a Matrix 6 is used for the bass parts at the beginning and end, a mellow brass pad, and the synth solo. Outboard processing is through an SPX90II. Peter Giacomini © Peter Giacomini Instrumentation: Yamaha DX7(strgtr1a), TX216(Bass,Bells), RX11(Drums) Kurzweil K1000(Digital Piano,Synth Strings 1,Stereo Trem Vibes) Roland Alpha Juno 1(Fat Brass 1) Effects: Yamaha SPX90 (stereo echo) Alesis Microverb II (reverb 3) The FireBrand was sequenced on an Apple + using Passport Designs MasterTracks. Step and real-time recording modes were used. The mixdown was done directly to stereo using a Fostex F250 and Peavey R6M mixer through a BSR EQ3000 graphic equalizer into a Sony PCM-2500 DAT. Bill Burnette © Bill Burnette Sounds: Korg M1R (Pan Flute, Guitar 1, Fretless) Roland D-50 (Wood Harp) Yamaha DX7 (Bamboo Vib) Effects: Alesis Microverb (Large 2) Sequencer: Roland MC-500 Mk-II with S-MRC Sequencing was done using real-time, step time, and various editing. The mixdown was done directly to stereo by a Yamaha MR1642 into Pete's Sony PCM-2500 DAT.

Ag Primatic & Steve Falco © Ag Primatic & Steve Falco The title derives from Ag going off on OYOC, so we had to get the recording done quickly (about 6 hours total). First, a click track was put down with Steve's antique home-made drum synth (non-midi and definitely NOT heard on the final mixdown!) Then Ag put down the piano background, the bass, drums, and finally the lead track - all by playing an Ensoniq EPS sampler. Steve criticized and provided 'musical consultation.' Most of the recorded sounds come from the EPS. MIDI was used to link the EPS to a Yamaha TX81Z to double the lead instruments. An ART Multi-verb was used for ambience both on individual tracks as recorded and on the final mix.

Howard Moscovitz © Howard Moscovitz This composition, called RT1, was created using a real-time music composition program which I wrote called RT. RT allows one to automatically generate cannons with any desired time delay, harmonic transposition in any key or mode, time quantization, volume adjustment, melodic inversion, and mapping to any desired midi channel (voice). The piece was improvised in one pass in real-time. Therefore, I think it is probably closer to jazz than to any other kind of music. Instruments: Kurzweil Midi Board, Yamaha TX7 and TX81Z, Korg P3, Alexis HR16, AT&T PC. Eugene Beer © Eugene Beer Speech Plus text-to-speech converter sampled on Korg DSS-1. TX-81Z and DX7II sequenced on QX7.

Dan Vanevic © Dan Vanevic I have a Korg DW-8000 and a Casio CZ-101. I'm using a Yamaha KM802 Mixer that feeds directly into my regular old tape recorder (Onkyo TA-2130). I have no mixing deck, so the songs are basically recorded 'live' The final (cornerstone) piece of equipment is an AT&T PC 6300 equipped with a MIDI/RTC board of my own design. The software running on it is home-brewed (no one supports my board but myself!). I used a 'record/playback' program, so the background part is a riff I recorded and then playback, repeating it enough times to last through the song (thus the fade-out). The leads/melody lines are played live (and it shows.

I'm not a keyboard player!). Steve Michelson © Steve Michelson Equipment: Korg P3, with Rock Card (POC-01) (Piano Sound, Drum Sounds) Yamaha DX11 (Synthesizer Sounds, Bell Sounds, Electric Piano Sounds, and anything else that sounds unusual) Alesis Midiverb II Yamaha AM602 6 Channel Stereo Mixer Beltron PC-XT Clone with CMS-401 Interface Software: Cakewalk 2.0 Mark Johnson © Mark Johnson Equipment used: Roland MT32 controlled by an Atari ST running custom software.

Timeout uses pizzicato strings and guitar patches. First Try uses drum and harp patches. All patterns and notes are computer generated. I use parameterized non-linear equations to generate sequences of MIDI note-on/note-off messages. Changes in the parameter settings result in a wide variety of equation behaviors. The compositions themselves are not computer generated.

A human composer must still search for interesting or pleasing musical fragments and combine them into a cohesive whole. (That's the part I'm not very good at, unfortunately.) The non-linear equations provide the musical fragments, instead of the composer having to make them up in his or her head. The software I've written reads a score containing time-stamped parameter settings for up to six generators. As the score is played, changes in equation parameters are made at the appropriate time. I also wrote an interactive version of the program for exploring possible parameter settings to ease the search for 'pleasing or interesting' patterns. I wrote this software after reading 'Chaos' by James Gleick, which I highly recommend.

The non-linear equation I use is the same as that used by May to model ecological systems. Working with this system is a bit like having a number of recalcitrant musicians at your disposal. You can tell them how you want something to sound but you can't tell them what to play. Rick McGowan © Rick McGowan The tape was recorded on a Yamaha CMX-1 recorder. It's a 4 channel cassette recorder running at standard cassette speed. I put the music in stereo on channels 1 & 2, which correspond to the STANDARD left and right channels on side A (i.e., it's regular stereo and you can play it successfully on a standard stereo cassette player).

It is recorded with 'dbx' noise reduction 'on' (The supposed S/N ratio is 65db, but 'I seriously doubt it!' Equipment: Yamaha TX802 synthesizer, Apple MacIntosh with Passport MIDI interface, Boss 16 channel mixer and RRV-10 reverb unit, Yamaha CMX-1 cassette recorder. Scored for 2 'wind' instruments and a keyboard resembling a harpsichord, this is rather classical in orientation and intended to demonstrate some tunings. Stew Lindenberger © Stew Lindenberger produced with: AT style 286 based PC clone Roland MPU401 (midi interface) Sequencer Plus mk III (super program) Yamaha FB01 (FM synth box) Roland TR505 (drums) Peavey 701 (seven channel stereo mixer) homebrew four channel stereo mixer Technics cassette recorder w/ dbx This work started out with an attempt to reproduce the rhythm section from an unidentified jazz piece - however, after a little playing around with the rhythm tracks the flavor changed.

The improvised 'solo' drums and instrumental melody were recorded by the sequencer, and later cleaned up using its extensive editing features. The melody voices (two superimposed) were 'dirtied up' a bit with a slight amount of detuning, portamento, pitch and amplitude modulation. Mostly MIDI: Thirds (1991) John David Miller © John David Miller No notes provided. Bob Neumann © Bob Neumann This is an industrial-dance composition using the following instruments: EMU EMAX SE EMU SP-1200 Drum Machine Oberheim Matrix-1000 Oberheim OB-8 ATARI 1040-ST running Hybrid Arts Smptetrack II Sequencer software The track was composed and performed by myself. Duane Bowker © Duane Bowker First of all, let me say I've never actually called one of these silly numbers (but I do get a kick out of the advertisements). Bass, drums, sax, electric piano parts were generated by a Korg M1r (entered via Casio guitar controller), with parts sequenced using Magnetic Music's Texture program. Toby, Francine, and Toby's Fantasy were all sampled on a Casio FZ-10M and sequenced along with the other parts.

The rest of the vocals and the guitar music-on-hold were added when the piece was recorded to DAT. The simulated ringing was from a TX-81z. Victoria Parks and Bill Fox (It's Them!) © 1987 Victoria Parks, licensed by BMI, and (p) 1991, It's Them! My submission is from my duo, 'It's Them!'

It was written by Victoria Parks, my partner, and recorded in my basement studio, Fox's Den. Sound Sources: Me: Yamaha RX-5 drum machine Roland TR-505 drum machine. Roland S-550 sampler (Used standard library patches) Roland MKS-20 Digital Piano Gibson 'The Paul' electric guitar through Roland GP-8 processor (Two times: Used Eagle's Chops and Distortion+ patches - at least one if not both are my patches.) Victoria: Ovation acoustic guitar Sequencer: Director-S (runs on the S-550 sampler.) This is our performance sequencer.

Procedures: I played the sequence onto two tracks of a Tascam 38. Then added Victoria's vocal with an AKG C414 and a little compression. Her guitar went on next. The next day (Good Friday) I added two guitar tracks, one with the Eagle's Chops patch and the solo with the Distortion+ patch.

Total tracks used = 6. I mixed down to stereo on a DAT, adding a quarter note delay in varying amounts to the solo guitar and to the vocal along with some reverb from an Alesis Midiverb II set to patch 26. Guy Story © Guy Story No notes provided. Topher Gayle and Nat Goodspeed © 1977 Nathaniel R.

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