Subject: MAX Digest - 9 Nov 1998 to 10 Nov 1998 (#1998-65)
Date: Wed, 11 Nov 1998 00:00:04 -0500
From: Automatic digest processor 
Reply-To: MAX - Interactive Music/Multimedia Standard Environments
     
To: Recipients of MAX digests 

There are 9 messages totalling 273 lines in this issue.

Topics of the day:

  1. 1 sample delay
  2. GLISSANDO / RADIO-SHOW
  3. CBX-D3
  4. [off topic] algo-comp mailing list (3)
  5. Virtual memory
  6. Leonardo Music Journal Calls & Deadlines
  7. FFT and spectrograph

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Date:    Tue, 10 Nov 1998 16:08:44 +0900
From:    Atau Tanaka 
Subject: 1 sample delay

Is there any MSP object that is a simple 1 sample delay?

Atau

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Date:    Tue, 10 Nov 1998 10:01:53 +0000
From:    RobAcid 
Subject: GLISSANDO / RADIO-SHOW

Dear Maxer´s,

This something off-topic, but I hope interesting for you.
With evosonic-radio there is a broadcasting-channel for new Electronic
Music, sending 365 days a year via satellite (Astra 1A) over Europe !
With Glissando we, Robert Babicz and Yvonne Brogi, have a special weekly
programme, every wednesday from 0.00­1.00 a.m. !
The emphasis of GLISSANDO is to create a vivid, evoluting room between
all sorts of experimental electronic music playgrounds like New
(classical) Music, Avantgarde, Musique Concrète and acustic arts.
In consequence we are always looking for some interesting new music to
play. If you`re a composer or an electronic-music label we would be very
pleased if you send us your promo-material.
For further information we naturely be place to your disposal:

"GLISSANDO"
Robert Babicz und Yvonne Brogi
Grembergerstr. 253
51105 Köln
Germany

Tel.: 0049­(0)221-9833506, Fax: 0049­(0)221-9833507
email: Robert.Babicz@koeln.netsurf.de

P.S.: Thanks to all composers and labels for your great support!

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Date:    Tue, 10 Nov 1998 12:15:49 +0100
From:    Riccardo Mazza 
Subject: CBX-D3

Maxers,

Does anybody knows if there's a Max object to control Yamaha CBX-D3? If
so where could I get it?

Thank's

Riccardo Mazza

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Date:    Tue, 10 Nov 1998 11:42:22 -0000
From:    Jamie Bullock 
Subject: [off topic] algo-comp mailing list

Does have any information about the 'algo-comp' mailing list? I have heard
rumours about its existence, but no-one has ever given me a current/working
subscriptions address...

Thanks in advance,

jamie

=========================
Jamie Bullock
Music Department
Barber Institute of Fine Arts
University of Birmingham
Edgbaston
Birmingham, B17 ONY
U.K.
Tel: (+44) 0121 414 5786
=========================

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Date:    Tue, 10 Nov 1998 09:03:43 +0000
From:    Ed Hartley 
Subject: Re: [off topic] algo-comp mailing list

Try this:  http://user.hk.linkage.net/~zaneau/music.htm

I think I'll try it too.

Ed Hartley

Jamie Bullock wrote:

> Does have any information about the 'algo-comp' mailing list? I have heard
> rumours about its existence, but no-one has ever given me a
current/working
> subscriptions address...

------------------------------

Date:    Tue, 10 Nov 1998 07:10:39 -0700
From:    Kevin Walker 
Subject: Re: [off topic] algo-comp mailing list

>Does have any information about the 'algo-comp' mailing list? I have heard
>rumours about its existence, but no-one has ever given me a current/working
>subscriptions address...
>
>Thanks in advance,
>
>jamie

The algo-comp has been farily inactive lately (last post I have is from
April 98).  Here are the addresses I have for it:

  owner-algo-comp@serial.music.uiowa.edu
  algo-comp@serial.music.uiowa.edu

I found the following subscription instructions on the net:

  Send a one line message (no Subject heading) to
  majordomo@kahless.isca.uiowa.edu with message

  subscribe algo-comp

I suspect the domain is out of date -- try substituting
"serial.music.uiowa.edu" for  "kahless.isca.uiowa.edu".

There used to be archives for the list available via ftp, but my URL for
them seems to be out of date.

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Date:    Tue, 10 Nov 1998 10:03:32 -0800
From:    Peter Elsea 
Subject: Virtual memory

>Should virtual memory be kept off with Max under OS 8.5, as before?

Virtual memory is always going to be a no-no for music or any other time
critical software. It tries to use your hard drive in place of real memory.
Most audio applications are using a form of virtual memory anyway when you
select "play from hard drive" or the equivalent.

Peter Elsea
Electronic Music Studios
University of California, Santa Cruz
http://arts.ucsc.edu/EMS/Music/index.html
 elsea@cats.ucsc.edu

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Date:    Tue, 10 Nov 1998 19:04:12 +0100
From:    Guy Van Belle 
Subject: Leonardo Music Journal Calls & Deadlines

------------------------------------------------------------
This is reminder - sorry for crossposting
and I hope the Editor-in-Chief doesn't mind -
just that I thought it may be interesting for all of us ...

------------------------------------------------------------

Leonardo Music Journal
Call for Proposals

We invite proposals for the next two issues of the Leonardo Music Journal.
The guidelines below are intended to create an identifiable focus for each
issue, but should not be regarded as a limited set of assigned topics or as
specific questions to be answered.  They should serve instead as
springboards for personally relevant writing, and are open to individual
interpretation.  Please contact the Leonardo Music Journal or Nicolas
Collins, Editor-in-Chief, directly with proposals, suggestions or
questions , at: tallmancollins@compuserve.com.

LMJ 9: Power and Responsibility: Politics, Identity and Technology in Music

In our contemporary saviness, we no longer think of music as the creation
of solitary genius scribbling in a garret.   We are far more likely to see
it as a collaboration between individual ambitions and socio-economic
constraints and inspirations.  Composers themselves are likely to parse the
responsibility for musical decisions out among numerous parties: a
composer, pseudo-autonomous hardware and software, improvising musicians,
variables of architectural space, or the interaction of an audience.

These issues converge on questions of identity and power politics: is the
orchestra necessarily fascistic?  Does electronic technology have an
inherent sexual identity (is it all "boy's toys")?  What is the difference
between a Japanese composer writing for the piano and a German composer
writing for the koto?  Do composers in "young countries" (Australia)
necessarily have less cultural baggage than those in older ones (Italy)?
Are the virtues of democracy the same as those of music?   And how do we
deal with Mr. Gates?

In this issue of Leonardo, we want to examine how contemporary composers
define their role within a network of shared responsibility.  How do you
allocate power?  How do you justify its use?  How do you define your
musical and social communities, and how do you position yourself within
them?

Deadlines:
December 1, 1998: rough proposals, queries
January 15, 1999: submission of finished article
April 1: article returned with reviewer comments for revision
May 15: revised version due

LMJ 10: Southern Cones -- Music in Africa and South America

For the end of the millennium we want to shift the focus away from
technological music's traditionally Eurocentric domain and concentrate
instead on contributions to modern music coming out of Africa and South
America.   Access and attitudes towards technology shift radically with
geography, causing both predictable and unexpected effects on the arts.
We encourage writing by residents of these continents who work with
technology and music (composers of "serious" and "pop" music, recording
engineers and producers, studio musicians, concert promoters,
musicologists, etc.), as well as persons of any citizenship for whom
Southern cultures have been musically significant.

http://simsim.rug.ac.be/staff/guy
ftp://quixot.rug.ac.be
        > but all that I got in return was silence
        > is this normal???
I get this all the time. Sometimes it is from cut and paste letting
comments flow over to the next line, other times I never figure it out.

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Date:    Wed, 11 Nov 1998 01:39:30 +0200
From:    Thierry Fournier 
Subject: FFT and spectrograph

Dear Maxers,

Is it possible to find examples for the analysis of an FFT - to build a
real-time 32 or 16 - band spectrograph, or to realize sound
transformations applied to a restricted bandwidth ?

Thank you in advance...

Thierry Fournier

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End of MAX Digest - 9 Nov 1998 to 10 Nov 1998 (#1998-65)
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