Conference napalm::commusic_v1

    Ok I guess I'm sorta first....so
    
    "Crusin' For you": Written by a friend of mine, I arranged it,
    programmed the drums (and played the rolls at the end), and played
    the lead track. It's only rock and roll.....
    
    Done on my Tascam 234, using my TR-707 for drums, a real bass
    player(not often encountered in my livingroom), bass direct out
    of a peavy amp of some sort, guitars miked with a PL-95, amp was
    my trusty studio lead (fender), rhythm guitar is a Washburn A-20,
    leads on my 73 strat. Vocals miked with an AKG D-320, PAIA hot springs
    reverb (very slight) and Ibanez DM-1000 digital for slapback.
    
    
    "Slow thing"
    
    One of my first experiences with multi track (portastudio) we stold
    the drums from another 4 track tape, Rhythm guitars Takamine EF360S
    run direct, strat, lead 1, double leads strat and lead 1, first
    solo strat, second solo lead 1......harmony lead experiment..all
    it needs is Stevie Nicks singing something.....
    
    "Prelude"
    
    Totally an acoustic piece used my Takimine EF360S direct with
    DM-1000 for echo. Done on my 3340s.
    
    
    abe abe abe abe that's all folks :-)
    
    dave

    Received 1 TDK-SA90 from Dave Bottom on 9-18.
    Will use tape for Dave's copy of Tape II.
    
    Dave, is that Dolby B?
    
    Edd

    Received from Brad....
    
                   1. Karl Moeller
                   2. Jamaican Vacation
                   3. Dervish
                   4. John Sauter
                   5. Garret Marotta/Rik Sawyer
                   6. Mark Schmeider
                   7. Did I leave anyone out?
    
    Also received "Black Cat Suite" direct from KMII.
    
    Edd

Re: .5 (Dervish?)

    A.K.A. Rob Davis or NIMBUS::DAVIS (who I *did* like, BTW, and would
    have kept the tape had I not agreed to pass the buck). 

Re: .4

    Edd, I think I screwed up.  Check Mark Schmieder's tape and see if it
    matches the liner notes.  If not, I think I might have sent you the
    wrong tape.  Let me know via mail or post it here.


8^)

Well, how we doin, Edd?  How is the reel-to-reel IC war going?

Todd. who's_interested_in_hearing_tape_II.

    Well, the fuse-blowing problem was solved. (bad diode)
    
    Unfortunately, I neglected to leave a tape with the person
    who so graciously is repairing it for free. When I got it home,
    I discovered it doesn't blow fuses, but has developed a nasty
    hmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
    
    I'm not too concerned (about the deck), and while I'm not gonna
    bust the person's cubes over MTTR, I did threaten to post his/her
    NODE::NAME here and let him/her deal with you folks.
    
    Should be apart again this weekend and repaired by end of week.
    
    Sorry folks.
    
    Edd
    

    
    
                Tape II Submission
                       ^
               clubs another deck into
    

 
    ... deck is back. No hum.
    
    We're in production mode, folks.....
    
    Edd

Yea, right Edd.  Maybe the noters want to buy some cheap land down in Florida?

Todd.

    I'm still waiting for tape I!
    
    John M.

    
                             Side I
    
    "Woo-Woo Love"              Karl Moeller
    "The Kiss"                   "     "
    "Satan Never Sleeps"        Mark Schmieder
    "Across The Ocean"           "     "
    "Vocal Ease"                 "     "
    "I Just Wanna Be On MTV"    Rik Sawyer
    "Still Loaded"               "     "
    "Cruise Control"            Jamaican Vacation (Stevie K)
    "Be My Girl"                    "       "         "   
    "Top Of The World"          John Sauter
    
                       Side II
    
    "Cannes"                    Edd Cote
    "Rio"                        "   "
    "Pastorale"                 Dervish   (Rob Davis)
    "Sveinung Hovensjo"           "           "
    3 Untitled                  Dave Bottom
    3 Untitled                  Paul Kent 

    Can it be? Eight (well, seven) months in the making ! Tape TWO !
    
    can you spell address for me please? thanking you. (actually I have
    it, but, hard to imagine, others might not)
    
    And where might the contributors be sendin' their 'how i did it'
    electronic mail ?

    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

    re: 3 untitled by Dave B. see 503.1 for titles and a description
    of how I recorded them.....
    
    dave

    Well, looks like this is the place for this.
    
    "Woo-Woo Love".. done on a Tascam 38. My continually perverse humor
    led to the thunderstorm and crowd beginning. Don't nail me for it.
    Original tracks were piano accompanying a click track from MXR 
    digital drums. A friend, Bob the Bod Crump, also of Tucson AZ, 
    added acoustic guitar mixed opposite the piano and a VERY hot lead. 
    Unfortunately he didn't phrase the lead lines, just kept blasting, 
    so I was forced to phrase for him during the hasty mixdown session. 

    3 synth lines, bass, lead and colors, all done on a Roland Juno-106. 
    Vocal dubbed last. Yes, fire away, I actually sing.. aging hippies 
    meet and fall in love. As I don't have the master tape (or a 38)
    I can't remix it; I'd rethink the synth lead/guitar lead balance.
    There is a fast ascending synth line that I apparently was in love
    with. But the guitar stands out during the obligatory solo section
    and during the fade. All-in-all, I like it musically as well as for 
    its stream of consciousness lyrics.
    
    "The Kiss".. the grand piano track was recorded direct to 15ips
    half-track during a KXCI "Monday Night Live" recording session, 
    later aired in stereo on KXCI FM. I have the tapes, and recently a 
    violinist friend named Damaris overdubbed two parts. She did a nice 
    job. I like this one.. aficionados will notice the differences between 
    this version and the MKS-20/Kawai electronic version on my recent 
    free-to-noters 'double album'. 

    karl moeller    

    
    What's happened to tape II ? Is it happening ? Has it happened and
    we missed it. Should I be posting my liner notes here? Should I
    have got Peter Collins to produce my entry ? Did you hear what he
    did to Clapton in/on August ?
    
    				Confused of Manchester (U.K.)

    Yep, it's done and you're on it. 
    
    You can post your liner notes someplace. I forget where.
    
    Edd

    
    More Important than whose on it. When do we get our copy over here
    in Europe. Do you want me to send money to cover the mail. By the
    way folks, I now have a cold and I'me trying to redo all the vocals
    I did in the last year since I had my last cold.
    
    Why should we le Knopfler have the copywrite on that sound ?
    
    					Paul          
       								
    

    Ooops, sorry Paul. Send me your address via VAXmail and I'll have
    your copy out on the tape you sent me by the end of the week.
    
    Edd

    I was gonna put a note in here along the lines of the revered
    "Contribute or Die/Get Real Sick" reply but I'm gonna pass. I
    really thought that after months of planning Tape II had died
    and noboby wanted a copy. Well, it seems to be untrue. I've already
    shipped 2 copies on <12 hour turnaround, there are 2 copies
    (Dave Bottom and Paul Kent) in the queue, and I've got requests
    for 3-4 other copies from well respected noters.
    
    A couple of comments on tape II....
    
    Some of the tapes I received were incredibly noisey or unbalanced.
    For the most part I held back from eq'ing out anything, as I'm not
    gonna judge on what sounds right. In one case however, my tweeters
    would have flown south had I not cut 10K by a full 8db. I paid
    more attention to the level and let the individual submissions
    engineering speak for themselves. Is dbx really all that rare?
    
    Some people submitted much more than could be reasonably placed
    in a collection of greatest hits. Unless I heard from the submittor,
    I picked the entries I thought were representative.
    
    Edd

    re. well-respected noters.                        
    
    
    odd, i thought the two were mutually exclusive :-)
            
    	can you bring a copy for me tonight at the
    
    	BIRTHDAY PARTY
                                 
    
    	for karen which starts at 6 at T.F.'s and proceeds to some
    meheecano place down the road?
    
    	it's probably a little late to request this.....
    	

    Er, being too lazy to search for it (sorry), to which queue do I
    submit my copy request (read: blank tape)?
    
    Richard

    check w/ Edd JAWS::COTE
    
    didja ever wonder why he's called that?

Hey Paul, how 'bout some liner notes?  I really like your submissions!

Same goes for Dervish.  How 'bout some liner notes explaining the 
instruments used, etc.??

Come to think of it, Mark, Rik, and Steve havn't published any, have they?


...Smokin' chops in woo-woo, KMII!  

Where's Len's/KM#1's stuff - Tape III?

Todd.

    After being publically bashed by certain individuals for the
    primitiveness of my compositions I suppressed them from the tape.
    I guess I'm not ready to go public yet.
    
    len.
    

>    After being publically bashed by certain individuals for the
>    primitiveness of my compositions I suppressed them from the tape.
    
I'm glad these folks didn't hear my compositions for tape 1 before I submitted
them...

Todd.

I sent liner notes to Brad, which I only recently erased from my own account.  
Since the three submissions that were selected for the tape had shorter liner 
notes than the rejected (improper word, since I sent too much material) 
submissions, I should be able to bring my prinout from home and re-enter them 
here (the appropriate place?).


				Mark

	It may not belong here, but here's the liner notes for my submission.
My motivation for doing it was to have a good time and record some of my
favorite tunes.  This is extremely unrepresentative of what I usually do
musically, but a lot of fun to play.



	Demo tape of the band Jamaican Vacation.  Rock/reggae original music.


	Contents:

		Don't Stop Lovin' Me	
		Cruize Control 		
 		Be My Girl		
		Roughed Up		
		Girls
		Go To Town		
		Last Scream		
	
	Musicians:

		Con Murphy	Lead vocals, rhythm guitar, lyricist
				Ibanez Artist Guitar
				Musicman RD50 amp
				Aria stereo chorus
				Crybaby Wah

		Dan Fanger	Lead guitar, backup vocals
				Gibson E335 Guitar
				Dean Markley 80RD amp

		Stevie K	Bass, backup vocals
				Fender Precision bass, fretless
				Peavey Combo 300 amp

		Marcus Edmunds	Drums
				Some sudsy Slingerland set

	Engineers:

		Bill Buckley, Derek Speed


	Recorded:	11/21/85 in a barn in Northboro, Mass
			Tascam 244 cassette recorder, 4-track w/ DBX, 
			8x4 Soundcraft Mixing Panel,
			Stereo 12-band graphic EQ,
			Effectron 1024 delay unit,
			Drums - Seinhauzer 442 mikes,
			Amps  - Electrovoice mikes,
			Vocals- Shure SM58 mikes,
			Bass  - direct to board

	Mixdown:	RCA VT550 VHS HI-FI VCR
			Copied to MAXELL XLII, Dolby B onto Tascam 225.

Edd,

If I want to get a copy of Tape II (remember I'm in Switzerland) how do
you want I go about it ?

zayed

See note 503.15
See note 503.15
See note 503.15
See note 503.15
See note 503.15
See note 503.15
See note 503.15
See note 503.15
    

    Thanks Karl....
    
    With all due respect to the noters...
    
             PLEASE READ 503.15!!!!!
    
    I've been deluged with personal requests (by mail) that could easily
    be answered by reading the file.
    
    Edd

Of course, all of this material is ancient by now, but then I haven't done 
anything new (except in my head) since September 1986 anyway.  I am assuming 
that the long version of "Satan Never Sleeps" was included here.  I should 
comment that this particular cut is my reaction to COMMUSIC Volume I and my 
embarassment over having nothing "mainstream" to offer.

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

1.  Across the Ocean  (Mark Schmieder)  2:00

	Recorded:
		October 1985

	Instruments:
		clarinet w. Digitech PDS1000 digital delay
		G&L L1000 bass guitar
		Yamaha RX-11
		Gibson ES-125 jazz guitar

	Comments:
		Needs a lead line on top of current arrangement.
		Needs a longer arrangement.

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

2.  Vocal Ease  (Mark Schmieder)  3:20

	Recorded:
		February 1986

	Original Version:
		October 1985

	Instruments:
		Yamaha RX-11
		G&L L1000 bass guitar
		Gibson ES-125 jazz guitar w. Polytone reverb

	Comments:
		The original version was an a capella improvisation.
		Mixing problems due to unbalanced punch-ins.

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

3.  Satan Never Sleeps (long version)  (Mark Schmieder/Cecelia Schmieder)  2:58

	Recorded:
		April 1986

	Original Version:
		June 1985

	Instruments:
		vocals w. Korg SDD-2000 sampling digital delay
		Gibson ES-125 jazz guitar
		Yamaha RX-11
		G&L L1000 bass guitar
		Casio CZ-101 synthesiser
		Digitech PDS2000 digital sampler

	Comments:
		this track would definitely benefit from an 8-track recorder
		track separation would benefit from female vocals

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

The sources were recorded on a Tascam 234 4-track recorder.
I made the transfers on my Nakamichi BX-300 using dolbyB.


				Mark

    
    re .26
    
    Does this mean you have a copy of the said tape ? If so when's the
    review note starting ?
    
    As to liner notes the following will have to do.
    
    As I had to produce this tape whilst in the throws of re-organsing
    my studio around a new mixer the ventual quality was not up to the
    standard I would have liked. The monitoring had to be done on my
    old Sennheiser headphone and consequently the evntual mix was very
    "toppy" and not to well seperated. Can't wait for tape III so I
    can show off the capabilities of the TASCAM M216.
    
    The songs were recorded as follows.
    
    1 You're The Best Thing.
    
    This was back from the old days "about 6 months ago" and was an
    attempt at producing a big brassy sound in a rock context. The only
    equipment I had at the time was:
    
    
    			CX5 BASS, BRASS, ORGAN.
    			CZ1000 More Brass.
    			RX21 Drums.
    			Ibanez DDL on drums and  vocals.
    			
    All sequenced by the good old CX5.
    
    JUST LIKE YOU
    
    By Now we've come on a bit and added one or 2 extra bits and pieces
    to the set up.
    
    As I remember it All percussion is the Korg DDD 1
    
    			Bass and piano  is the FB01  
    
    			Guitars is my new (old) Strat.
    
    			I haven't managed to get an upgrade module for
    			my voice. I'me just waiting for a cold before
    			I do my vocals.
    
    			Organ is CX5 (I think)
    
    			Plus there must be some CZ in their somewhere.
    
                        The  midiverb is also apparent in here.
    			
                	Sequencing was QX5
    
    INSTRUMENTAL
    
    This, I am afraid to say, was just an experiment with the tuning
    capabilities of the DDD cowbell. For those of you who don't know
    the DDD allows you to record a pattern and then play about with
    the tuning of the instruments with a data slider. I was quite pleased
    with the overall sound of this piece although I wouldn't say it
    was very representative of my stuff.
    
    			Bass was Fb01
    
    			Synths Cz
    
    			Solo strings more FB
    		         
    			Sequenced on the CX5
    
    All recordings were on the trusty old 144 portastudio which I still
    don't own. I just wish the guy who owns  it would ask for it back
    so I could justify getting something better.                     
                                     
    
                        	Paul.

    ...'spose I should tell you what I contributed.
    
    1. "Cannes". I got into 'easy listening' mode one night and started
                 playing with the Mirage string sample. My effort was
                 to do a real lush string thing. A week later I wasn't
                 at all satisfied. Just for giggles, I cranked the tempo
                 up. Voila! Visions of Rock Hudson and Doris Day flying
                 over the coast of southern France dance in my head!
    
                 This was the last tune I did before I bought my 12
                 chanell board, so everything is hard left or right
                 except the drums. This version is a bit faster than
                 I like, but it was the cleanest copy I had,
    
                 Strings         - Mirage
                 Bass            - JX3-P
                 Piano           - DX21
                 George Benson   - DX21
                 Drums           - RX21
                 Sequencer       - QX21
    
    
    2. "Rio"    This was the result of a marathon studio session I
                collaborated on with one of my FS cronies. A MIDI
                jam session, nothing more.
    
                The drum track on this is boring as all hell. Wasn't
                supposed to be that way. Lots of time was spent programming
                the drum track. Just before this take, I made a small
                hi-hat accent tweak to the pattern you hear. It was
                only supposed to play for 16 bars. However, given my
                state of 'consciousness' at the time, I forgot to put
                the RX back in 'song' mode. (Never noticed a thing til
                the next day!). The 16th note high hat pattern makes
                the reverb seem too heavy during the intro. 
    
                Patch changes abounded, so it's hard to identify many
                of the sounds, but some I remember are...
    
                BASS           - DX21
                Electic Piano  - DX21
                Trumpet        - Mirage
                Drums          - QX21
                Latin Perc.    - SCI TOM
                Other          - Roland JX3-P and Alpha Juno 2
                Sequencers     - QX21 (2)
                Other          - Midi-verb, various flangers and stuff.
    
    Both tunes were recorded direct to cassette, no overdubs.
    
    Edd

	my intent:
	to get my stuff (some of it, at least) recorded in a
presentable manner so's i can present it to some one with enough
money/power/influence in the "business" to present me with large
sums of money and awards to hang on the wall of my own recording
studio that i bought with all the recording residuals thanks very
much.

	equipment: see dave dreher
	some rack mounted metal boxes with buttons and knobs and dials
	this tape machine with lights and levers
	this long box with percussion stuff in it. owned by some
guy named lynn or lin.
	keyboards....2 or 3 or 4 of them
	all different.
	dave's guitar
	my guitar
	this mixing board with lots of buttons and levers and things.
	a sequencer...msq100?...

	still loaded
	------------

	was mainly recorded/engineered by garret marrotta. It was his
first attempt at using dave drehers studio solo. I just stood around
and did the rolling. Occasionally I'd get the beers.

	the basic premise and all the words were thrown together
after a certain night i had in about 4 hours.
	did i say that right?
	no, i didn't..
	i'll try again...
	i had this night, see...
	and then i woke up the next morning...
	and then i wrote 95% of this and taped it on a boom box.
	took 'bout 4 hours

	the extraneaous but well designed key segments were created
engineered produced by garret.
	arrangment was done by both of us.

	though i like his intent and REALLY like the key/guitar
interplay i felt the song didn't really come off the way i intended.
mayhaps, too 80's ish...?
	i'm happy with this piece but feel that if he/we had
a second chance to record it i'd make it punchier.
	also, the final mix was a little tooooo quick....trying
to get the tape to...whoever...which eventually became a moot
point cuz here it is 6 or 7 years later and it's just started
making the rounds.

	i'm currently re-recording this at Ray Grimards 16 track
studio....

	MTV
	---
	cute tune.
	i'm tired of it, now, though.
	maybe mtv will buy it from me.
	have no recollection as to when/why/how i wrote this but
	i did write it.
	i believe.


	Dave Dreher and Garret worked in conjunction on this.
	not bad....again, got that 80's ish style about it...
	GREAT SOLO by DAVE DREHER thank you dave very much!!!!!
	nice arrangement....though i'm currently doing it a
little differently.

	this was recorded when garret knew very little about
recording and dave was in his infacy. I know that both could
do a better job now. Which isn't to say that i don't like the
result. I do like it.

	but again, what i hear in my head and how it comes out
when i play it with a band is really different from these tapes.

	both pieces had the infamous midi-wife, ellen dreher, on
vocals with some seriously lacking help from the rest of us.
not everyone can sing, ya know....
	thanks ellen.
	though i really think these two are male oriented vocal tunes.
	which is what i'm attempting at ray grimards.
	(I'm not singing...someone else is...)
	(i do backup.....ok rik, keep backin up until we can no
longer pick up your voice....)

	observation:
	take a song
	record it all today
	set it aside
	call it version 1

	come back in 2 days or a month
	re-record the same song
	call it version 2
	set it aside

	come back in 2 days or a month or a year
	re-record the same tune
	call it version 3
	set it aside


	listen to all 3 versions
	isn't it amazing how totally different they are?
	and you say these are all the same song?

	

I have reason to suspect that the wrong tapes were used for my submission to 
Volume II.  If so, I take full blame for the mistake.  As soon as I receive my 
copy I can verify this, and if it is the case I will ask that people only 
review the material by MAIL to me since the wrong tape is considerably older 
and less polished than the newer tape and it would be a great embarassment to 
me.  It wouldn't be an embarassment to me if people don't like the new tape, 
since that's the music as I want it to be heard (minus any qualifications in 
the liner notes).


				Mark

    
    To all you euro noters. I.E. Svein, Zayed, Mr Duce of Reading et
    al. I have taken on the role of Euro distributor as with tape 1.
    The European "master" should be arriving at my place sometime next
    week. Please mail me direct for your copy. I suggest that the best
    approach is to mail me a tape and I will copy onto it and return
    it to you. The inter europe mail costs are on me provided this doesn't
    become to big a problem. In the case of Peter and Zayed it is probably
    safe enough to use internal mail.
                                                      
    					Paul.
    

    My apologies for being so remiss in my noter duties, but it's really
    been crunch time at work the last month or so. Anyways, here's my
    lineer notes, better late than never. 
    
    Dervish has been an ongoing project for better than 5 years now,
    starting as a duet with myself on guitar and Jon Coe on Farfisa
    organ, both going thru the same Echoplex, doing improvisations in
    the style of Terry Riley or Fripp/Eno. About three years ago we
    added a second keyboard player/synthesist, Jeff Block ('cause he
    had a nice electric piano and a synthesizer), and have been steadily
    adding equipment and evolving a more compositional style. The two
    pieces that are on the tape, Sveinung Hovensjo and Pastorale, are
    actually very old ( > 2 yrs) and were not really what I had intended
    to submit (my own fault for not following up), but are representative
    of what we were doing then. Both were recorded on my Dokorder 4 track
    and then mixed/mastered at a little 8 track studio in Boston.    
                                                             
    Instrumentation for both pieces is: 
    
    Rob Davis  - guitar, ARP 2600
    Jon Coe    - Farfisa organ
    Jeff Block - ARP elctric piano, Korg Monopoly
    (effects were assorted stomp boxes and an Echoplex)
    
    Sveinung Hovensjo - 
    The name belongs to a bass player who played with Terje Rypdal,
    we thought the bass riff sounded sort of like something he would
    do. The drum parts were done by Jeff on the Monopoly with the
    arpegiator, a great machine that has since been retired. 
    
    Pastorale - 
    This was a jam that didn't really come together ... until we listened
    to it at double speed. Then we added some normal speed overdubs,
    on the Korg I think, just to confuse people.
    
    I'm sorry to say that there's actually very little to do with
    "computer" music on these pieces, but hopefully I can submit something
    a bit more recent for the next compilation. Since these were done
    we've added a C-64 as controller for the group, a Mirage and an
    ESQ-1, and various digital effects units (most recently a Microverb,
    but that's a different topic).