Conference napalm::commusic_v1

    My tune for Tape One is " Mighty Mouse and the Cats." 
    
    It's an instrumental recorded on a two track AKAI reel to reel. 
    
    I added each instrument by bouncing.
    
    The guitar is a Strat through a Super Champ and an Effectron DDL.
    
    The synth is a Poly-Six through the DDL. 
    
    The bass is the Poly six.
    
    The drums are Roland TR-606 with Super champ reverb.
    
    No noise reduction and it shows.
    
    -------------             
                               
    Dennis Savage
                                     

    Let's try again.
    
    You saw what was in .1 and .2, right?  VAXmail that to me.  I'll
    compile the stuff and post a note with commentary following the order
    of the tape.  Anyway, don't post that stuff here anymore. 

    As for this note, I suggest that we use this to "officially" register
    tapes mailed to me.  I will post a response to a response (recursive?)
    when I receive the tape.
    
8^)

    To repeat -.1, use this topic to post that you've mailed me a tape.
    
    Even if you have already posted somewhere that you've mailed your
    tape, post it here, and give the following info:

    
    1. TYPE OF TAPE
    
    	This is to make sure that I get what you think you sent.  For
	example, TDK SA-X C90, label = "Home Brew".
    
	NOTE:	I am using a TEAC 144 (4-track cassette, 3.75 ips) to
		do mixdown chores.  If you want to send this type of
		tape and let me mix, feel free, but tell me that's what
		you're doing.  The 144 is a Dolby deck, NOT dbx.

    2. TAPE DISPOSITION
    
	What do you want me to do with the tape after I'm done with
	it?  Should be one of the following:
    
		o  keep it
		o  send it back to me (plz enclose $1.00)
		o  burn it
		o  use for next master (must be good quality C90)
    
    3. TYPE OF NOISE REDUCTION
    
	Choices are:
    
		o  none		(1.875 or 3.75 ips)
		o  Dolby B	(1.875 or 3.75 ips)
		o  dbx		(1.875 ips only)

    That oughta be enough.  Any detailed info about tape contents should be
    VAXmailed to DYO780::SCHAFER  (or use MTS - BRAD SCHAFER @DYO). 

    
8^)

    Received 1 TDK SA C90 on 21-Apr-1986.
    
    What do you want me to do with the tape, Edd?

    Brad,
    
           By all means, keep the tape for your effort.
    
           Also, any "remastering" you can do to improve the sound
           "quality" (I use the term loosely) would be appreciated.
           Use your best judgement. Thanks!
    
    Edd

    Received 1 TDK SA C90 on 23-Apr-1986, with two cassette inserts from
    previous albums describing tape; also short note describing tape
    and contents.  Thanks, Karl.

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

Total of 2 submissions received to date.

Approximately 20 minutes consumed on master tape.

    Mailed today at noon (that's in the future) my tape consisting of
    three songs. Use whatever you wish and save/discard the rest. Keep
    the tape for your trouble, perhaps it can be used for round two
    or something.
    
    dave

    My tape will go out from the Boston area the morning of the 26th.
    
    Dennis Savage

    I sent my tape last week Monday (haven't had time to document it
    yet, plus the person who sent it didn't insert any from address)
    
    So if you receive a suspicious parcel from the U.K. containing a
    MAXELL UDXL 11 it's mine. It contains two tracks one really early
    one quite recent. Will send sleeve notes ba VAXMAIL.
    
    The tape is straight cassette format (1 7/8 ips?) using DOLBY B.
    
    I suggest you keep the tape and thanks for the effort.
    
    				PK.
    

    Due to the rather underwhelming amount of tapes I've received (2 so
    far), the deadline for tape number one is now May 10, 1986.
    
    Any submissions received after this date will be put on hold pending
    the reviews on tape one.
    
    BTW - I put Edd's and Karl's submissions on the master this weekend.
    Sounds pretty good, although I'm having to fight hiss quite a bit. Good
    thing I can EQ when I remix ... 
    
    This is really a good idea.  Hats off to Dennis.

    Received 1 Maxell XLII C90 on 28-Apr-1986.

    Received one 15 minute demo tape on 28-Apr-1986.

    Received one Maxell XLII C90 on 28-Apr-1986.

    Received one TDK SA C90 on 28-Apr-1986.
    
    (Good jam, Dave.  8^)

    Hats off to Brad too - great organizational effort.
    
    Sent on 4-26-86:
    
    		1.  Maxell UDXL-IIS in box containing 2 songs (abt 7
    		    minutes total).  Please use either a) both songs, or,
    		    b) the second one only.
    		    Label = 'River of Sound' (name of my "one-man" band)
    
    		2.  I also enclosed five 22-cent stamps for return
    		    postage.  I would like the tape back as it is the
    		    only cassette compilation I have.
    
    		3.  N.R. = dolby B
    

    ...I'm all ears
       
    Todd
    

    Received Maxell XL II-S on 29-Apr-1986.
    
    Thanks for the stamps!  Will ship back soon.
    
8^)

    Sent out this morning (May 2, 1986) from picturesque Maynard, MA:
    
    1.) One Maxell XL-II C90 cassette.  Should have my name and copyright
    notices all over it (I read the earlier note about copyright paranoia).
    Contains 4 songs: "Chain Kisser", "You're a Tease", "I Met Your
    Parents", and "Fistful of Passion", all done by various incarnations
    of my band "The DLQ".  Should fit in 15 minutes of space.  If you
    need to edit it, I feel they are recorded on the tape starting with
    the best and going downhill from their.  Next contribution for volume
    two will include some solo work once our studio is finished.
    
    2.) Please keep the tape for your efforts, Brad.
    
    3.) Recorded at 1 7/8 IPS using Dolby B.
    
    I also think this is a wonderful idea and look forward to getting
    the compilation tape.
    
    		Derek

    Received your 2nd tape, Edd.  LOTS cleaner - thanks.  8^)
    
    Got it Friday, 2-May-1986.

    Mailed from Westborough MA, 8 AM, 5 May 1986,
    
    1) Maxell XL-II C60 labeled "Fehskens: 5 pieces/Dolby B NR/Master"
    
    2) Please return per instructions and incentive enclosed with tape.

    3) Dolby B NR, 1 7/8 ips, stereo format.
    
    "Liner notes" will follow via VAXMail.
    
    Any possibility of getting multiple copies of the compilation
    circulating?  The recipients list is growing and it could be months
    before it gets around completely.
    
    len.
    

	Well, since Derek opened the door for band material, I've ask my friend
Len to mail in his copy of the 4-track demo tape of my former band Jamaican
Vacation.  This was a genuine noter's collaboration engineered by Derek and Wm
J, bass and some vocals by yours truly. 

	type of tape:		Maxell XLII, 
	label:			Jamaican Vacation "Barn Reggae"
	tape disposition:	keep it
	noise reduction:	Dolby B, regular speed
	
Stevie K

    I put Steve's tape in the mail this morning.  I believe the label
    says "Jamaican Vacation 4-track Demo".  The tape is actually standard
    cassette stereo format; the "4 track" refers to the master from
    which it was mixed down.
    
    len.
     

    Received Derek's tape on 5-May-1986.  Thanks.
    
8^)

    Mailed back tape from Todd Rhodes on 6-May-1986.
    
    Thanks for the stamps, dude.  It's coming back the same way it came
    (1st class, and no problems).  Enjoyed your tunes.
    
8^)

    Tape recieved back from Brad in perfect condition.  Thanks for the
    prompt return.  Glad you enjoyed my (now obsolete thanks to my
    MIDIVERB) tunes.
    
    Todd (it_was_murder_using_an_echobox_for_a_reverb_unit) Rhodes
    

    Received 2 tapes - one from Len, and one from StevieK on 8-May-1986.
    
    Sorry I didn't reply sooner - I've been busy as thunder, and the net
    has been dog-chow.
    
    Len - you sent me about a buck too much to return the tape.  Since
    Steve wants his back too (I think), I'll send his with yours and you
    two can fight it out face to face.  Cool?
    
8^) 

Brad,
	You can keep my tape if you'd like.  I have my own copy.

Steve

Re: .26 & .27

    Steve - ok.  Will do.
    
    Len - I'll mail your extra buck back the way it came.  Grins ...
    
8^)

    I've sent a tape.  It may be too late for the first compilation;
    if so please save it for the second.  Details are in a MAIL
    message, but to summarize: it's a low-quality tape, as is appropriate
    for my music; you can keep the tape; it's Dolby B.
    
    It's scary going "public".  I feel like somebody with bizarre sexual
    tastes who is "coming out of the closet".
        John Sauter

    Re: .29
    
    I've been waiting for that entry. I thought you'd left us to flounder
    out here, John!
    
    And I'll take you on any time when it comes to 'low-quality'...:^)
    
    Edd
                                                                  
    
    

    re: .30--Agreed: we'll let the members of this conference vote
    on which of us has the lowest quality song.  (I'm sure they'll
    tell us no matter what I say; that's what's so scary.)
        John Sauter

    re .29(?) - John, I know exactly how you feel.  I've been listening
    to a copy of my tape every morning on the way to work, wondering,
    "is this going to turn out to be the biggest embarassment of my
    life?"  Well, you have to go public some time.  And, I keep telling
    myself, "it's really not that bad".
    
    len.
    

	
	re:.31 et al

	Now, Len, all this false modesty *must* stop.  As soon as Con
goes winging into the chorus of Be My Girl on the Jam Vac tape you 
get a unique sense of I've-never-heard-anything-quite-this-bad-before.
As Con would say, "Chalk it up to style".  However, Mark Schmieder 
assured me that the bass part is 'impeccable'.

    RE .29 - I know how you feel.  There is a collection of stories
    behind every studio describing its history, and mine seems to be
    that everything I have in it was bought on a shoestring budget.
    It's hard to understand, but I feel weird about going public because
    people will hear the product without hearing the story behind why
    it sounds the way it does.  When I listen to low quality sounding
    music I recorded a number of years ago, it brings back memorys that
    make the music 100 times more meaningful than the actual music
    portrays.  Ahhhhh..., those were the days when I had my old Japanese
    drum kit with trashcan cymbols and was borrowing an Arp Omni from
    a friend...
    
    Todd.
    

    Well. The time nears when we lay it all on the line ! I know what
    you mean about 'why it sounds the way it does'. But sometimes you
    can transcend crappy equipment and really sing.
    
    One recent trend in this topic puzzles me. Seems there's two, maybe
    three people fighting to be at the bottom of the heap! To me, the
    ones at the bottom of the heap are the ones that didn't bother to
    contribute.
    
    Karl Moeller SWS Tucson AZ

    It's self protection... If I (we?) put ourselves at the bottom,
    we can't fall too far if/when we get shot down.
     I'm sure we all proud of our contributions, probably for a variety
    of reasons. Be it a chance to show off our "chops", or the new
    studio toys or our creativity, the comp tape is definitely THE
    place to show everyone else what's up.
    
    I'm proud of my entry. It's the first song/tune I ever sat down
    and did all by my onesies. (And it's got some personal meaning that
    just won't come across without the lyrics. Sorry folks, proud or
    not, I CAN'T SING!) But it's been 10 years (That long? Aaaarrg!)
    since I've performed for an audience, so allow me my stage fright.
    
    I read the notes from the rest of you and I think "Gawd, the 
    compitition is TOUGH!" We got KM2 who plays a grand piano bigger
    than my studio; John Sauter who won't admit that he wrote all
    his music in Macro 11 and compiled it on a device he built; we
    gotcha basic Len F. who seems to own everypiece of MIDI gear
    ever built; ect, so forth and so on. And then I look at me,
    who 150 notes ago didn't even own a synth! I've been into this
    MIDI business for 6 months and I'm going up with people who
    appear to have done this since last no-ever! You bet I'm nervous!
    
    But what the hell, we all sent a tape in, so whoever thinks they
    ended up at the bottom of the heap, can take some consolation in
    the fact that some folks didn't/couldn't/wouldn't bother. I'll
    bet we can't get a consensus on a "looser".
    
    Edd
                  
    
    
    

    re: .34--I took care of the "collection of stories behind every
    studio" problem by writing a large "liner note".  Even if it
    has to be edited to fit the format of the distribution, it's better
    than keeping silent.
    
    I coded my stuff in 6502 assembler.  I *wish* I could have used
    MACRO-11.
        John Sauter

    I would like to hear what everyone has done for liner notes.  Mine
    is about one page and here's how it is arranged:
    
        I. My musical background
    
      	II. Studio description
    		1.  Recording gear
		2.  Musical instruments
    		3.  Effects
    
    	III. Submitted music
    		1.  Song #1
    		    short blurb on how I recorded it (which track first,...)
    		2.  Song #2 - 
                    another short blurb on how it was recorded
    
    And that's it.  WHAT DID YOU DO?????
    

    Re: .38
    
    My format for liner notes was somewhat similar to the one Todd
    described but since mine was stuff from my band and was recorded
    at three different places in three different times, I got kind of
    confused about what equipment was used where and how things were
    recorded.
    
    As far as the quality issue goes, I'm sure we all have horror stories
    to tell.  For example, the songs on my tape which should have sounded
    the best because they were originally recorded in a professional
    24 track studio probably sound the worst because they are like 4th
    or 5th generations from cassette.  The one originally recorded with
    a couple of mikes live in my basement sound better because they
    are copies of the original cassette.  C'est la vie!
    
    All I know is that I'm anxious to here everyone's contributions!
    Quality be damned!  As was mentioned in a previous note, sometimes
    the worst recordings have the most emotional impact.  I know some
    of my favorite tapes are basement recordings done when a song was
    initially written because they have so much energy compared to
    recording done after we had beaten the song to death for 6 months.
    
    I for one really want some constructive criticism as far as the
    songs and arrangements go.  My band has been stagnant now for a
    few months and we're finally getting our act together so the feedback
    is essential.  If you don't feel good about beating me up in public,
    I would welcome feedback via VAXmail as well.
    
    I think this tape idea is fantastic.  To all who contributed, thank
    you and I look forward to hearing your work!!
    
    		Derek

    My "liner notes" consisted only of part III, but I did describe
    the equipment I used as part of each note.
    
    I wish I had every piece of MIDI gear ever made (well, actually
    I don't, some of it's junk).  I hope people don't see me as the
    manic technologist - I'm a toolsmith from way back, and I like working
    with good tools, but they're only a means to a more important end,
    namely making music.  I don't expect people to say "great equipment"
    if my music sucks.  I'm fortunate enough to have the money to acquire
    good tools, but I've been fairly careful in my choices and I think
    I've gotten a lot of bang for my bucks.  But now I want to use
    it.  MIDI was the answer to a dream for me - it made it possible
    for me to make music on my own terms, at my own pace.  I've wanted
    to do this sort of things for years, having to put up with ridicule
    from my family when I dared talk about this dream - my mother
    threatened to disown when I told her I would spend my inheritance
    on musical instruments!  So I used my own money, gave up a lot of
    things to get all this stuff together, and now I'm giving up a lot
    of sleep learning what to do with it.  At least I have the comfort
    of knowing that I can't blame my tools for my lousy workmanship.
    I took the same approach with photography (over the past 15 years
    I've accumulate 6 Nikons and 18 lenses) and I've never regretted
    it.
    
    Do you people care about the trials and tribulations of the recording
    process?  Everything on my submission is a second or third take.
    I left the "false starts and blind alleys" out of my notes, but
    if this is really a "learn from each others' experiences" adventure,
    they might be helpful.  My notes are already almost three pages long,
    and the supporting documentation (available on request) for one
    of the pieces runs about 8 pages and reads like a mathematics lesson.
    Adding the "didn't work out"s would probably add another page to
    the notes.
    
    len.
    

    My submission is entirely electronic and driven by a sequencer,
    so I didn't say anthing about microphones, but I do have details
    about "instruments" and how I used the multi-track recorder and
    mixer.  Like Len I left out all the "false starts".  I do have some
    ego.
        John Sauter

Re: ALL
    
    I think your fears of being "worst on the tape" are totally unfounded.
    I have been completely impressed at the amount of talent that exists
    out there.  I think we all know that 4th and 5th generation tapes don't
    sound as good as 1st, and I HOPE that no one is expecting CD quality,
    because I'm not gonna deliver it  ;-}.  No one is worst; heck, no one
    is even bad! 
    
    Bottom line - go easy on yourselves.  You should all be proud of your
    stuff.  I've been playing classical piano since I was 7 (I'm almost 28
    now), and I consider myself a pretty accomplished player and musician.
    Nevertheless, I have not found one submission that I've listened to and
    said to myself, "Gee, this is trash." 
    
    It's ALL good, because it's ALL genuine.  Relax, and don't be so
    self-conscious that you don't enjoy the tape.
    
8^)

    I suggest leaving out the false starts, etc.  Remember that there
    are a pretty good number of entries, and that a long and tedious
    liner note might not even be read (I don't have a heck of a lot
    of free time these days).  As I said originally, mine is about a
    page and a half or two pages.  No more.  If people are interested
    in certain sounds or techniques, I'm sure the questions will be
    asked.
    
    Todd.
    

    Received John Sauter's tape thru interoffice mail 19-May-1986.
    
    Where in fooey is Dennis' tape??
    
Brad (in a remote office - NO, I'm NOT in sales 8^)

    Last week I loaned my TEAC (that I'm using to make the tape) out to a
    friend of mine for the weekend. 

    Now it doesn't work.
    
    The feed chuck is locked up.
    
    Will take a week to get it fixed (at least).
    
    ANYONE WHO WANTS TO MAIL ME A LAST MINUTE TAPE, PLEASE DO!  Since the
    TEAC is DOA, and since I have need for another circa 45 minutes of
    submissions, I'll be willing to take a few more tapes.
    
    ATTENTION: DENNIS SAVAGE!  Where is your tape?
    
    Sorry for the delay.
    
>8^(

    Want something different (and nonoriginal) like my no-guitars cover
    of Pipeline or my cover of part of the 1st movement of the 6th
    Brandenburg on 6 harpsichords...?
    
    No, I can't bear the thought of another 20 hours in the studio working
    against a deadline... But if you'll settle for a 2 second generation
    stereo mixdown from an old tape...  Or the New Reconstituted Has-Beens
    mangling old pop classics (Oh Pretty Woman, Hold Me Tight, etc.)...
    
    len.
    

    I'll let you say "no way".
    
    Bottom line is this - first come, firt served.  As soon as I get the
    Teac fixed, the first 45 minutes of tunes I get go on the master.
    Anyone/everyone else has to wait for number two, if I can get up the
    dander to do another one. 
    
    Besides, I was thinking that this tape should have a comedy section to
    it - just to lighten things up.  Everyone has taken this so seriously
    that there's nothing that we can (justifiably) laugh at.  Then, again,
    I haven't had time to put MY stuff on yet.  Maybe I oughta hold off on
    this subject ... 
    
    Tell you what, Len.  I'll dupe your paradiddle number at speed*5, and
    put that on as well.  How's about that?  ;-}
    
8^)

Much of the material on my two tapes is MEANT to be funny.  Especially the
stuff I did with my younger sister (like the backwards mask with "satanic
messages", played both forwards and backwards).  If I have time, I'll try
to play catch-up on this process so I'll know what I need to do to make a
submission.  As I remember, limit is only one tune per person (which scares
me away usually since I usually have three or four I'm torn between as my
best representative samples).  I'd probably prefer sharing my more serious
stuff, although my best stuff is uplifting and joyful even if not funny.
Also, I have a 60's parody that always cracks people up (it actually sounds
good too).


				Mark

    re .47 - that ought to be good for a giggle.  At least it will only
    last 1.6 minutes.
    
    You want funny or embarassing?  I'm sure I have a lot of the latter
    laying around on tapes that I haven't been smart enough to erase
    yet.

    len.
    

    re .48 - what's this one tune per person - I think I submitted 5!
    Go for it Mark!  If I can waste 17 minutes of this community's time,
    you ought to be allowed to too!
    
    len.
    

Re: Humor et al
    
    I was being facetious, guys!  PLEASE don't send a bunch of backward
    masked crap.  I was thinking about doing the paradiddle giggle just for
    grins, though.  Kind of an interpretation, y 'know?  Schafer on
    Fehskens ... ;-) 
    
Re: 1 tune
    
    Send as many as you want.  The suggested time limit was/is around 15
    minutes, give or take.  You can take it from there.
    
Re: The tape
    
    My deck goes under the knife this Friday.  Feel free to pray.

8^)

One tape sent to Brad Schafer on Friday 6 June 1986 via US Mail.  Contains
approximately 15 minutes worth of music, dbx-encoded on Sony FeCr tape.
Doesn't need to be returned.

				Mark

    Hold up that tape! I have been following this conference for a while
    and decided at the last minute to make an entry. I have been working
    musically with Dave Dreher for about 5 years, and own some of the
    equipment in his studio. I am currently building my own midi studio.
    Recently I have worked with Ric Sawyer on 2 of his songs. We submit
    them together for the tape being compiled. It will be in the mail
    first thing Monday morning, June 9th. 10 minutes, 2 songs. Thanks.

    Received tape from Mark Schmieder 9-Jun-1986.
    
    46 minute Sony; FeO2 w/dbx.  Thanks.
    
8^)

    Could you guys please forward me another copy of your liner notes? I
    seem to have misplaced them.
    
    Thanks.  Send to DYO780::SCHAFER.  The quicker you get 'em here,
    the quicker I mail tape 1 of Master 1.  HURRY!!!
    
    Get them to me today, and tape one will go out Monday AM.
    
8^)

    Received another tape from KMII on 12-Jun-1986.  Thanks.  I'll put it
    on tape 2 of Master 1. 
    
8^)