Home : The USENET Tapes 
  In the lates 1980's and early 1990's, members of the usenet community put out a series of cassette tapes (and finally a CD in 1992) with original compositions. These tapes were put together primarily by people frequenting the rec.music.synth and rec.music.makers newsgroups. Some of the other newsgroups (e.g. rec.music.jazz) put together their own tapes. Everyone wanted to show their 'best stuff', presumably, so the quality of the music and recordings is quite high, and there are a wide variety of styles and techniques. Here's what you'll find below:

 1986 A Little Net.Music - The USENET cassette! 1 tape, 2 sides
 1988 NETwork - the 2nd USENET cassette 1 tape, 2 sides
 1990 Netnews Compilation 2 tapes, 4 sides
 1991 Usenet '91 2 tapes, 4 sides
 1992 MUSENET 1992 2 CDs

I am grateful to Steven Parker and Craig Latta for providing the final missing pieces of this collection.

  All compositions are copyrighted, all rights reserved, by the artists.

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. To show a more concise listing (without the liner notes), click here.

1986 - A LITTLE NET.MUSIC - The USENET cassette!

This was the first compilation tape from the usenet community. The tape had an insert with the following description:
  This cassette contains around 90 minutes of music/performance created and produced by USENET people from all over. For further information, contact ARTlevel Recordings 907 Jenifer St. #2, Madison, WI 53703 or astroatc@gtaylor via E-mail. (Greg Taylor's current email address is gtaylor@rtqe.net) All material is copyright (c) 1986 by the individual artists.

Side 1
Intro, Vegetableland   M3U MP3    ?vax!tjjw © 1986 ?vax!tjjw
Got A Bad Heart   M3U MP3    guidos@brl-lfd.arpa © 1986 guidos@brl-lfd.arpa
The Fall of the Shah   M3U MP3    bentley!egw © 1986 bentley!egw
The YoYoDyne Mix   M3U MP3    pur-ee@hsut © 1986 pur-ee@hsut
Baby Do Your Thing for Me   M3U MP3    rwneumann@lucent.com © 1986 rwneumann@lucent.com
Gosharaku Kyu   M3U MP3    esc-bb!brad © 1986 esc-bb!brad
Crossover   M3U MP3    tellab1!etan © 1986 tellab1!etan
I Have A Dream   M3U MP3    g.cs.cmu.edu!ckk © 1986 g.cs.cmu.edu!ckk
Sno-Cones in Hell   M3U MP3    vaporvax!bornak © 1986 vaporvax!bornak
Scrapple From the Apple   M3U MP3    dadla!jrb © 1986 dadla!jrb
Electronix   M3U MP3    ihuxx!phedge © 1986 ihuxx!phedge
Side 2
Electroglide   M3U MP3    nrl-css!wicinski © 1986 nrl-css!wicinski
Caterpillar Blews   M3U MP3    dec-pldvax!janzen © 1986 dec-pldvax!janzen
Suburban Voodoo   M3U MP3    hofmann@amsaa.arpa © 1986 hofmann@amsaa.arpa
Fair Exchange   M3U MP3    pyuxd!rlr © 1986 pyuxd!rlr
What is Wrong with My Dog   M3U MP3    potomac!jsl © 1986 potomac!jsl
Ink Now Blood   M3U MP3    stolaf!robertsl © 1986 stolaf!robertsl
Just for Kicks   M3U MP3    dec-baxta!bottom_david © 1986 dec-baxta!bottom_david
Shakuhachi I   M3U MP3    hao!pete © 1986 hao!pete
Chopin Polonaise No. 2 Op. 40   M3U MP3    amdcad!linda © 1986 amdcad!linda
Sergury   M3U MP3    cubsvax!dss © 1986 cubsvax!dss
Psychadelic Nightmare   M3U MP3    rossi@nusc.arpa © 1986 rossi@nusc.arpa
Answering the Cloud   M3U MP3    astroatc!gtaylor © 1986 astroatc!gtaylor

1988 - NETwork - the 2nd USENET cassette

This was the second compilation tape from the usenet community. The tape had an insert with the following description:
  Ninety-odd minutes of recent work by members of the USENET community. All Copyrights and Performance rights for these recordings revert to the original artists. Contact ARTlevel Recordings, 602 Russell St. Madison, WI 53704.

Side 1
Hunger Artist   M3U MP3    Waara.wbst@Xerox.com © 1988 Waara.wbst@Xerox.com
Ekokobunki   M3U MP3    esquire!roger © 1988 esquire!roger
Wonderland   M3U MP3    Wessling.pa@Xerox.com © 1988 Wessling.pa@Xerox.com
The Moving Window Sings-Part 2   M3U MP3    well!warren © 1988 well!warren
Old Man   M3U MP3    boutin@mit.athena.edu © 1988 boutin@mit.athena.edu
Chinese New Year   M3U MP3    well!curtin © 1988 well!curtin
Night in Wichita   M3U MP3    dadla!jrb © 1988 dadla!jrb
Only Yesterday   M3U MP3    net1.ucsd.edu!valerie © 1988 net1.ucsd.edu!valerie
Old Songs #2   M3U MP3    janzen@ant.dec.com © 1988 janzen@ant.dec.com
Wire Rap   M3U MP3    ihlpa!rwn © 1988 ihlpa!rwn
Second Half, Second Piece   M3U MP3    ddz%ccrma-f4@sail.stanford.edu © 1988 ddz%ccrma-f4@sail.stanford.edu
Imbal Ska   M3U MP3    ucbarpa.berkeley.edu!rosen © 1988 ucbarpa.berkeley.edu!rosen
Lassie at War   M3U MP3    garth!kissell © 1988 garth!kissell
Side 2
Spare the Rod   M3U MP3    mips!dce © 1988 mips!dce
the Contour of Return   M3U MP3    astroatc!gtaylor © 1988 astroatc!gtaylor
That Boy   M3U MP3    hofmann@nrl-css.arpa © 1988 hofmann@nrl-css.arpa
Sparkle Tree   M3U MP3    hpcid!ranjit © 1988 hpcid!ranjit
Calico Scallop   M3U MP3    stolaf!robertsl © 1988 stolaf!robertsl
Frank was a Physicist   M3U MP3    potomac!jsl © 1988 potomac!jsl
The Hazards of Crystal Growing   M3U MP3    dkalin@cc5.bbn.com.arpa © 1988 dkalin@cc5.bbn.com.arpa
Deaf Tracks   M3U MP3    esc-bb!brad © 1988 esc-bb!brad
Black & White & Gold   M3U MP3    orchid!sahayman © 1988 orchid!sahayman
Morphic Resonance #3   M3U MP3    andrew.cmu.edu!ckk © 1988 andrew.cmu.edu!ckk
It's 6:00 AM and Gary's Fridge Plays a Raga   M3U MP3    randy@mit.athena.edu © 1988 randy@mit.athena.edu
The Cliff   M3U MP3    ulowell.cs.ulowell.edu!page © 1988 ulowell.cs.ulowell.edu!page
Temptation   M3U MP3    sdcc19!ewa © 1988 sdcc19!ewa

1990 - Netnews Compilation

This was the third cassette effort. This time it was two cassettes, a full four sides.

Side 1
Before the End   M3U MP3    R. Geiger © 1990 R. Geiger
So Long   M3U MP3    M. Gaines © 1990 M. Gaines
Men and Machines Pt 1   M3U MP3    K. Field © 1990 K. Field
Atmosphere   M3U MP3    J. Linn © 1990 J. Linn
Antigravity   M3U MP3    D. Bartley © 1990 D. Bartley
My current email address is marydave@halcyon.com.
Disciples   M3U MP3    J. Bartholomew © 1990 J. Bartholomew
Artificial Intelligence   M3U MP3    C. Wolff © 1990 C. Wolff
Lawn Boys (excerpts)   M3U MP3    N. Herzinger © 1990 N. Herzinger
You Mean That's It   M3U MP3    B. Neumann © 1990 B. Neumann
Lost Dreams   M3U MP3    J. Kung © 1990 J. Kung
Somebody New   M3U MP3    The Kliek © 1990 The Kliek
Side 2
Tell Me A Story   M3U MP3    The Exist © 1990 The Exist
Magnetize Your Food   M3U MP3    M. Gunderson © 1990 M. Gunderson
The Drive   M3U MP3    E. Olsen © 1990 E. Olsen
Picture Perfect   M3U MP3    D. Vesel © 1990 D. Vesel
Solstice   M3U MP3    R. Reid © 1990 R. Reid
Celestial Antiquities   M3U MP3    G. F. Cook © 1990 G. F. Cook
Summertime   M3U MP3    D. Elliot © 1990 D. Elliot
Air on G's String   M3U MP3    G. Nelan © 1990 G. Nelan
War Story, Soldier's Lament   M3U MP3    D. Hodgson © 1990 D. Hodgson
Scrap Lumber   M3U MP3    D. Delany © 1990 D. Delany
Loremarie   M3U MP3    N. Rothwell (web site) © 1990 N. Rothwell
Side 3
Trump   M3U MP3    P. Boutin © 1990 P. Boutin
Sisyphus Dreams (excerpt)   M3U MP3    J. Mccrae © 1990 J. Mccrae
Through the Night   M3U MP3    M. Strong © 1990 M. Strong
The Road   M3U MP3    P. Waara © 1990 P. Waara
A'Painting in the Street   M3U MP3    P. J. Cianci © 1990 P. J. Cianci
Judye's Bike   M3U MP3    M. Branch © 1990 M. Branch
Loving Somebody   M3U MP3    G. Ridley © 1990 G. Ridley
Crystal Waters   M3U MP3    N. Dewhurst © 1990 N. Dewhurst
Maggie   M3U MP3    T. Roby and J. Bandy © 1990 T. Roby and J. Bandy
Any Day Now   M3U MP3    D. Schmidt © 1990 D. Schmidt
Side 4
Hunter's Lament   M3U MP3    J. Smith © 1990 J. Smith
Closed Doors   M3U MP3    J. Deutsch (web site) © 1990 J. Deutsch
Trip #1   M3U MP3    K. Goldsmith © 1990 K. Goldsmith
Whether   M3U MP3    T. Parker © 1990 T. Parker
Costa Rica From Exile   M3U MP3    W. J. Sequeira © 1990 W. J. Sequeira
Outside   M3U MP3    D. Cottel © 1990 D. Cottel
Frontier Mail   M3U MP3    R. Padmanabhan © 1990 R. Padmanabhan
Grove Hill   M3U MP3    E. Garett © 1990 E. Garett
Four Equations in a Landscape   M3U MP3    G. Taylor © 1990 G. Taylor
The Royal March   M3U MP3    I. Salzman © 1990 I. Salzman

1991 - Usenet '91

This was the fourth cassette effort. This time it was again two cassettes, a full four sides.

Side I
Eagle Plaza   M3U MP3    Nick Rothwell (web site) © 1991 Nick Rothwell
This is an excerpt from the live set I played a few months ago at Edinburgh's Traverse Theatre (probably Scotland's foremost theatre for new writing and performance, he explains modestly). The Traverse ran a two-week contemporary dance festival and I was given the opportunity to play some short support performances. The live set was constructed from four separately-written pieces of music which I ran together with bridging sequences; Eagle Plaza is section three, and I've left some of the bridging material at the end of this excerpt. Not much more to say about it, really. The whole set was composed using MOTU Performer and mixed directly to tape, without any intermediate multitrack recording. (Standard sound quality disclaimer: I had to submit a second-generation cassette copy, since the Ensoniq VFX went back to the shop with its tail between its legs straight after the gigs.) I'm reasonably happy with Eagle Plaza (although it's a wee bit cluttered), and the live set seems to have succeeded in its primary objective, which was to enable me to meet some nice dancers. If I submit something for a 1992 USEnet tape, it'll probably be the dance set I'm working on for another Traverse performance at the end of the year (this time with a dancer).
Aliens Indeed   M3U MP3    Steve Verity © 1991 Steve Verity
When I went to school it the 70's in Santa Barbara, I used to listen to Space Pirate Radio. It would be on late Sunday night on the local Rock station, and feature German space music. I have no idea who those artists were, or what happened to that whole genre of music, but I have always wanted to do something similar. This is my first attempt.

This piece uses a D50, Proteus/1, and a Kurzweil PX1000. The first lead line is my Proteus patch: reverse guitar, and after a delay another reverse guitar. The first voice crossfades into a choir, and the second a pad. The amplitude envelopes of both voices are inverted. The other lead line is a D50 patch: Raindrop Flute by the famous Dr. Nick Rothwell. This patch is actually what inspired the piece in the first place. Its key features are the cool filtering and the pitch drop on the release. All the sound effects are done on the Proteus, and they are all my patches except for one factory preset. (Sorry, I could not resist using it). The Kurz is doing Choir, Kalimba,and Bells of Doom(Handbells, actually) all factory presets. All the string stuff is the D50. The arpeggios are done by a program I wrote in Microsoft C. For sequencers I used Master Tracks Pro (both for the Mac and the PC), also Cakewalk Pro 4.0.

Crunch Rythm   M3U MP3    Isaac Salzman © 1991 Isaac Salzman
A '78 strat an EMG 89 (and 2 SA's not used :-), cranked through a Mesa/Boogie Mk-III - in Crunch Rhythm Mode (the only way to fly)! Played in to an SM-57, recorded on a Yamaha MT2X. A Korg A3 and Alesis QV+ are used for guitar signal processing. It was mostly 1 track of guitar, except for the Metallica-esq part of the intro and the solo. The MIDI stuff was played by Opcode Vision on a Mac SE, synced to tape with a Studio-3. The sounds come from an Alesis HR-16, Korg M1, Yamaha SY-22 and Oberheim Matrix-6R.

I wasn't going to submit this year, but Boutin heard the tune and insisted that I send it in! It's work in progress. It was intended to have vocals (and be made in to a Christine Amber tune - being that I was in her band at the time), or re-arranged to be a more interesting instrumental. The mix didn't work well on the tape. The kick is way to low, the snare is way to hot, and the rhythm guitar needed a little more emphasis (though it was just right on the master). But you get the point!

High Technology High   M3U MP3    Kim Berry © 1991 Kim Berry
Carnival   M3U MP3    Paul Defrain © 1991 Paul Defrain
Carnival: VFXsd II, DX-7, VZ-10M
Solitude: VFXsd II

I was fortunate to have two songs made it onto the tape. Both, however, were recorded before I really knew what I was doing and thus the mixing and recording quality was at best somewhat well below average. Nonetheless, the themes were well preserved -- somewhere in the noise.

Carnival is one of my earliest musical attempts. The song was meant to convey the sights and sounds of the carnival through music. Like most of my work, it was improvised. One section would be performed, stop the sequencer, set new patches, then on to the next. This "stop-n-go" improvisational style makes for some rough transitions and, in more recent recordings, more care has been taken here. Solitude was recorded the same day as Carnival. This song is about the feeling of being alone, to oneself, and being complacent all the while.

Las Lenas   M3U MP3    Kent S. Harris © 1991 Kent S. Harris
USENET '91   M3U MP3    John Rossi © 1991 John Rossi
What I Used: Unfortunately, little of what I used in the piece actually made it on to the distribution tape. Basically, ther was a driving repeating sequence on the MicroWave. The 'power' chords in the opening and closing were done with the K5. There is a bouncy piano part in the background which was done with my 'signature' 1000 Px + MKS-20 which is all but inaudible running in the background of the whole piece. The 'B-part' lead line is a layered composite of Xpander, Matrix-6r and the M1. The bass lines are Kurzweil 1000 Gx, and the drum parts ar layers of SR-16 and EPS-16+ drum sounds. In addition there is a phasic wave sequence of tiny, metalic waves which is absolutely not present on the distribution tape which was done on the Wavestation.

Comments: My only comment is that this piece sounds horrible in its present condition. The master which I sent dog bears little resemblance to the final product. The listener is urged to imagine that there is information above 500 Hz on the tape.

Japanese Impression   M3U MP3    Maurizio De Cecco © 1991 Maurizio De Cecco
Synths: TX802, Matrix 1000, TX16W
Effects: FX500, LPX-5
Atari ST with Pro-24; mastered using a Tascam M-216 mixer plus a Kaway 8 channel keyboard mixer, and recorded to a Tascam 22-2 reel to reel recorder.

The piece is titled Japanese Impression, and was done after i saw Dreams, bu Kurosawa, where some traditional Japanese music is played. A part from this weak relationship, i don't know japanese music and i have never been in Japan.

Spring Chicken   M3U MP3    Laird Nelson © 1991 Laird Nelson
Streamside   M3U MP3    David Covell © 1991 David Covell
I haven't yet heard the tape so I'm not sure which of my songs were included. I suspect it was "Streamside" a mellow "new age" (hate that term!) tune with stream and bird sounds overlaid with acoustic guitar and sampled flute. It's an original composition, and the acoustic (nylon-string) guitar is the only "real" instrument. All other instruments are played from my sampler. Everything's live (no sequencing). Actually I'm not at all happy with the mix, as it was done before I got my monitors and DAT. I'll be remixing it with the stream/birds put way in the background, and will rerecord the cello parts. I wish Dog had chosen something else from my tape, but.... I'm really not a "new ager"
Side II
Love Game   M3U MP3    Hollywood Zoo (Brian Reitz) © 1991 Hollywood Zoo (Brian Reitz)
Just the basic's; Gibson Les Paul through a Mesa Boogie .22+, '65 Fender Jazz direct, Alesis HR16, and a Roland S-50. I used my Amiga running Music-X for sequencing the S-50 and HR16. The sequencer is synced to tape via SMPTE. The tape deck is just an old 1/2" TASCAM 38. I used a AKG 414 on the vocals. I miked the guitar amp in a fairly bright room (all hardwood walls) with a SM57 up close and a 414 to capture the room sound. There are no effects on the guitar other than a BBE sonic maxie at final mixdown. Other effects that were tossed in include: Lexicon LXP-1, Ibanez SDR1000+ stereo reverb, Alesis Quadraverb, Symetrix Compressor's, Valley People's compressor's, a junky Boss 1/2 rack compressor.
Ignorance   M3U MP3    Blackman © 1991 Blackman
Yamaha CS-40M, Roland JX-3P, DX7IID, Super Jupiter, Mirage, R-5, AMS sampler. MOTU Performer on a Mac synced w/ a J.L. Cooper PPS-1

Ignorance - Lyrics by T. Hutch. He's making a serious statement about his welfare-assed brother and mother. It's actually a sad situation.

Solace - Lyrics Jim Black. This guy is sick as this song demonstrates.
Genocide - Lyrics Jim Black. Self explanatory.

Take me to Heaven   M3U MP3    Kat Carter © 1991 Kat Carter
Pisquette   M3U MP3    Michael L. Schaeffer © 1991 Michael L. Schaeffer
ESQm for leads,FX VZ10m (one voice as a pad, was brand new to me). Korg Symphony for samples! Atari ST upped to 1 Meg using Sonus SST, no effects (delay, etc, on my list) bad recorder (pre TEAC days). The piano bit was pre-concieved, although it changed as I recorded it, most of my pre-conceived ideas seem to evolve during recording or sequencing. Actually, all of it was sequenced, nothing was recorded on the fly. Everything else was spontaneously arrived at during the process. Is this common for most USENETers on the tape, i.e. improvised composition technique? The FX section was totally off the wall, to differentiate. Note the piece has three intros.
Moment by Moment   M3U MP3    Steven R. Seidman © 1991 Steven R. Seidman
Used Oberheim Matrix 6, Casio FZ-1, Yamaha TX-802, Ensoniq Mirage, Yamaha SPX-90 (3), Lexicon PCM-70 (2), and an Alesis MIDIverb.

All music written and performed by Steven Seidman, except for female vocal by Robynn D. Ragland. Thanks Robynn!

This piece was written for a sampler CD. Sort of a project to understand the whole album to CD process. Written and fine-tuned January-March 1990.

Atmosphere I   M3U MP3    Geir Stensrud © 1991 Geir Stensrud
(Title Unknown)   M3U MP3    Reid Judd © 1991 Reid Judd
The Squig   M3U MP3    Paul Boutin © 1991 Paul Boutin
Quantec room simulator and an Espresso Gaggia. Drums by David Elliott, guitar by Isaac Salzman. My mother said she was very impressed. I think she just misses me way up there in Maine. I should visit her.
Mother   M3U MP3    Marc LoCascio © 1991 Marc LoCascio
The band is Celestial Spirits in Bondage. Ibanez guitars and basses, Roland JC120 amp, ADA MP-1 preamp, DrumKAT, Roland R8m, Korg Wavestation, Casio FZ1, Roland Octapad II, Yamaha SPX900 (vocals), Alesis QuadraVerb+ (guitar), Yamaha SPX50D (bass), Alesis MIDIVerbII, Roland SRV2000, Lexicon LXP1 (drums), dbx & UREI compressors, BBE 422

Amy DiSciullo -- bass
Steve Gray -- drums and synth
Marc LoCascio -- guitars and synth (and engineering)
Shelley McGraw -- voice

drums and synths recorded and edited in Performer on a Mac SE30. all else recorded on a Tascam 38 (with dbx I), mixed through a Ramsa 820B console onto Panasonic SV3700 DAT. everything synced and coordinated by the MIDI Time Piece.

"Mother" was Celestial Spirits' first release. it was the #1 local song for two months on WZBC (Boston College radio) and got significant airplay on other Boston stations as well. it ended up as the #7 song of 1991 (overall) on WZBC. written, produced, copyrighted, etc by Celestial Spirits in Bondage.

Solitude   M3U MP3    P. D. Defrain © 1991 P. D. Defrain
See notes above.
What you see is what you get   M3U MP3    David Vessel © 1991 David Vessel
"WYSIWYG" uses Kawai K1, Casio CZ101, Boss DR550 drum machine, Alesis Microverb "Empezar" - Korg M1
All instruments and vocals by me
Sequencer by Alesis (MMT-8). Microphone by Zeron/Crate. 4-track by Yamaha (MT-100-II). Mastering deck by Teac.
Considering my reputation on the net, this should be a rude awakening for anyone who thought my stuff would be industrial. "WYSIWYG" is a straight-forward synth-pop piece in the grand tradition of Erasure and O.M.D. "Empezar" as represented on this tape, documents my first hideous attempts at Spanish. Anyone who understands any Spanish at all will probably get a good laugh out of it. The song is sincere, even if I *did* butcher such a beautiful language. Both songs, by the way, have been rerecorded (and in the case of "Empezar" repaired) for my newest full-length release, _Chivalry_ (60 minutes, for a copy, send $2.00 to 725A E. Archer Ave., Peoria, IL 61603).
Dance of Love   M3U MP3    Christine Amber © 1991 Christine Amber
On the tape, I worked with Robert Berry (Three = Keith Emerson, Carl Palmer, and Robert Berry). I went to Robert with chord charts and ideas. I tell him the theme I`m after, sometimes it may be a rhythm I want, or a particular voicing etc. We do a rough vocal, piano, drum machine mix, and then he adds all the real instruments to that, and I go back in and do the vocals! It`s great to work with him. He is really amazing! If there is something different I hear all I have to do is communicate it to him. I call him Mr. Music!

Dance of Love is the first song I did with Robert. I really credit him with the production and arrangement on it. I had several version of the song, and it just wasn`t sounding how I wanted it. He proposed a radical change, go in the minor key, I loved it. It is ironic, though, I mucked so long with that song that I have never really liked it alot in my creative heart.

Hatelist - humourously The idea was to be a bunch of punk cheerleaders. It is an idea that I`ve brought to fruition on stage. We (myself and my back-ups -three other gals) wore tattered tee shirts with dayglo paint. I used black light at tht bottom of the mic stands. It was funny. We sprayed the audience with silly string and shook mylar pompoms painted with black spray paint. Always when I do perform, I don`t tell the band what naughty tricks I will so. You should have seen the look on one of the guitar players face when we hit him in the chest with an oozing we glob of silly string.

On the serious side - hatelist is about not analyzing away your anger or pain with someone hurts you. Like saying ooooh i understand, you hit me cuz you had uuuuuh a bad day. Like it really doesn`t matter why......, Thats just a relevat as He did it because... The point is when you have been hurt You have and you have every right to be angry or sad. Too much we try to control how we feel, and others try to control us... Not good!!

Side III
Saturns Ring   M3U MP3    Richard Griffanth © 1991 Richard Griffanth
Parking Structure   M3U MP3    Paul Martz © 1991 Paul Martz
I'm responsible in part for "Parking Structure" by The Mortals, song 2 side 3 of the usenet tape. The Mortals are/were: Tim Crandle, guitar/vocals; Paul Martz, drums/backing vocals; and Dan Stannard, bass. The Mortals, as a band, no longer exist.

The basics: guitar, bass, drums. Drums and cymbals are Ludwig and Zildjian, respectively. I think the guitar was a strat. Don't recall the bass. I also used a Tama Techstar for the electronic drum sounds. Tim used an array of footpedals for the guitar.

Ann Arbor, Michigan, holds the little-known title of being the parking structure capital of Michigan -- the ratio of parking structure spaces to population is the highest in the state. Tim had the comical idea of two people falling in love in a parking structure. We thought it'd be a great commentary on society and Ann Arbor in particular. We added some 60s-esque backup vocals to give it that 60s romantic feel. This was recorded in Southfield, Michigan, in 1986, so it's a little outdated. Maybe for the '92 tape I'll contribute some of my recent solo work.

Dervish   M3U MP3    Thorn Roby & Jessica Bondy © 1991 Thorn Roby & Jessica Bondy
The Butterfly   M3U MP3    Dave Bartley © 1991 Dave Bartley
I've recently been doing mutated versions of music from various European traditions, using a combination of acoustic and MIDI instruments. This is a traditional Irish slip jig (which I took from the first Swallowtail album) played initially in the original 9/8, then followed more raucously in 12/8. The harp, recorder, and guitars are "genuine" the rest is not.

My current email address is marydave@halcyon.com.

I'm not a fish   M3U MP3    Joanna Bryson © 1991 Joanna Bryson
Through the Lens   M3U MP3    Gregory Taylor © 1991 Gregory Taylor
Uses the NeXT [running Cmix]. The Cmix software was used to simulate spatial motion.

The piece is composed of a digitized recording of me attempting my best run at "Hoomi" or "throat singing" - a technique whereby one holds a fundamental pitch and sweeps the harmonic components of said pitch by altering the shape of the soft palate and the throat. The source material was digitized and retuned to a set of intervals whose scale corresponds to a Just Intonational variant of the Javanese slendro [5-tone] scale I use for my compositional purposes. The resulting 6 versions of the original then move slowly around a very large, reverberant virtual space, in which each pitch traverses the same spatial distance [since transpositions are whole-number ratios, so are the lengths of the original material] around a large hexagonal space. The resultant effects concern the relationship between the harmonics of the fundamental and those of the other tuned ratios, and the acoustic effects produced by a moving source. The piece proceeds from a recording of me doing about the best version of "throat singing" I can manage. The NeXT then has placed six versions of this recording, arrayed and pitched according to Daniel Schmidt's Just Intonational variant of the Javanese 5-tone slendro scale, and proceeded to have the "singers" circling slowly around a single virtual "listener"

She Don't Care   M3U MP3    Shadow Society © 1991 Shadow Society
Original Alternative Rock.
Players :
Sean Keohane (vocals, guitar)
Myles Wakeham (electric guitar, vocals)
Tracey Davenport (bass, vocals)
Steve Roth (drums, vocals)
Comments : We want a record deal & management HELP!!!!
Afro2.sng   M3U MP3    Greg O'Sullivan © 1991 Greg O'Sullivan
I used the following intruments:
Yamaha SY-22 synth.
Casio CZ-1000 synth.
Casio VZ-10M synth. module
I used an Atari 1040STFM computer with Hybrid Arts Edit Track II software.
I don't take this music stuff seriously, no training, no talent. I just experiment because I like Synth sounds and computers. The so called "AFRO2.SNG" is based on a Voodo (or was it Techno African?) drum pattern which I just messed around with.
Toys In Bed   M3U MP3    Forrest Chang © 1991 Forrest Chang
Guitar: Incarnation 2 of my incredibly customized bastard guitar as discussed on rec.music.makers spring '89
Bass: Evil nasty Fender jazz bass copy made fretless that a friend and I found in a store room in my MIT dorm.

WHO PLAYED THEM: me, but my friend Cheryl sang.

OTHER EQUIPT: Yamaha RX17 drum machine, evil noisy almost useless 'cept the two sounds I used it for on song, the phasing, pitch changing delay on the guitar and the "make the drum machine sound even more drum machine like" Delta Lab Effectron III, alesis midiverb II, tascam porta one deck, Rockman X100.

ABOUT THE PIECE: I wrote this and layed down the tracks either in one or two nites twixt the hours of midnite and 4 a.m. or so as a senior my final semester at MIT (spring '89). I was futzing with the borrowed Effectron and came up with that cool patch for guitar and then came up with the lick. It's a simple guitar, bass, drum and vocal arrangement with no bouncing, with just about everything going thru the rockman. Unfortunately, I had dbx on for some tracks and not others, which left me with either distorted and uneven vocals or anemic instrumental background, I can't remember how I tried to even it out for mixdown. I thought the lyrics were really funny when I wrote them, but in hindsight they seem a bit scathing -- there's no bitterness involved, I was just poking fun at that sort of girl. Cheryl sang the vocals from me showing her the melody to tape in about a half hour between two laundry loads -- she was going home the next morning for the summer.

To Surf With Love   M3U MP3    Chris Quint © 1991 Chris Quint
Used my Yamaha SE series (cheap strat knockoff) guitar and Fender JAM home amp for rythm and lead guitar parts. Programmed the drums on my Yamaha PSR 47 keyboard. Recorded it on three tracks with my Tascam PortaStudio.

Nobody played on this but me, but I'm trying to talk my band, Boy Genius into doing this song. In the meantime, the fabulous 3-piece SF surf band The Ultras may be playing it. (I took lessons from their guitarist, Eric Lenchner, and he liked it and wants to add it to their repertoire. He's a great guitar player, so his version will no doubt be awesome.)

We Can Make A Difference   M3U MP3    Jimmy Jones © 1991 Jimmy Jones
I used an Ensoniq VFXsd ver 1. and a Korg M1ex on 'We can make a Difference'. I sequenced and played, Donna Lou Schickle wrote the song and sang it too. We used the VFX's sequencer and recorded to tape via SMPTE at Alive Studios in Harrisonburg, Va.

The song was written as a demo for United Way of the Shenandoah Valley, and we hope it will be arranged and performed by a well known artist for United Way (if United Way chooses to use this song, they will choose the artist and back the recording contract). Donna Lou is very active with both United Way and Habitat For Humanity. We have prepared a couple songs each for both groups.

Tag   M3U MP3    Dennis Cottel © 1991 Dennis Cottel
I play hobby-quality trumpet in a volunteer city-sponsored band, and play the VFX, piano, banjo, and Casio DH-200 (but not all at once) for my own amusement. The song "Tag" was done in real time on my VFX -- no computers or sequencers interfered. ;-)
Second Verse--Same as the First   M3U MP3    Eric Garett © 1991 Eric Garett
Side IV
Welfare Queen   M3U MP3    Kim Berry © 1991 Kim Berry
H.A.T.E.L.I.S.T.   M3U MP3    Christine Amber © 1991 Christine Amber
See notes above.
Solace (or possible Genocide)   M3U MP3    Blackman (Jim Black) © 1991 Blackman (Jim Black)
See notes above.
The Wild Side of Albert   M3U MP3    John Bartholomew © 1991 John Bartholomew
Kronik Indecision   M3U MP3    Mark Ireland Kirkendahl Void © 1991 Mark Ireland Kirkendahl Void
Lotsa sampled drums, sampled bass, sythesizers, and guitar. All by myself. Used an Emax sampler, a Korg Poly 800 synth, an Alesis HR16 drum box, a Guild electric guitar, a Carvin 24 x 8 board, a Tascam model 38 8-track deck mixed to a Fostex 2 cha RTR, and various effects processors.
Magdalena   M3U MP3    Guy Ridley © 1991 Guy Ridley
Think for Yourself   M3U MP3    Puffy, Kevin Goldsmith © 1991 Puffy, Kevin Goldsmith
I played bass. On the Unit Circle song:Christening I played Yamaha SY-22. Other Musicians in Puffy
Voice: Chris Rapier
Lead Guitar: Myke Holling (mh2o@andrew.cmu.edu)
Rhythm guitar: Mark Yek (my10@andrew.cmu.edu)
Yamaha RX-8 Drum Machine
No computers or software (other than a hardware sequencer) were used.

Christening was written as a composition honoring the media lab at the Information Technology Center at Carnegie Mellon where I work.

Think for yourself is a song written about how the government wouldn't let people with AIDS come into the country for the international AIDS conference. It is told from the perspective of an arch conservating and is sarchastic.

Christening   M3U MP3    The Unit Circle © 1991 The Unit Circle
See notes above.
Johnny Censorship   M3U MP3    Kevin Eldridge © 1991 Kevin Eldridge
Edgar C. Lecuyer (elecuyer@cs.ulowell.edu)
Kevin Eldridge (no internet access)
We call ourselves "The Sponge Awareness Foundation"
Ensoniq: VFXsd, VFX I play the synths and program the sequencer. Kevin sings and wrote the lyrics. We both wrote the music. Laura Varney said the line about the dead plant. We recorded the tune on my tascam 688 8-track. We syncronized the 688 with the VFXsd's sequencer. Other misc items we used include a Peavey Univerb and a dbx compressor. The Sponge Awareness Foundation generally attemps to write music that is ment to be humorous, but intelligent at the same time. "Johnny Censorship" is the most serious song we've written to date. "J.C." also appears on our demo-album 'Looks Like Rain... Tastes Like Chicken' that we released about a year ago. We remastered the song for inclusion on the USNET compilation.
Green Eggs & Ham   M3U MP3    David Elliott © 1991 David Elliott
Electra Westone bass, Fender Stratocaster guitar, Yamaha TX81Z (with Casio CZ-101 for keyboard), Roland TR-707, Audio-Technica Mic, Yamaha SPX-90II reverb. It's all me. The doctor is out. RIP.
Level   M3U MP3    Phillip J Cianci © 1991 Phillip J Cianci
Empezar   M3U MP3    David Vessel © 1991 David Vessel
Notes for this piece are included with David's other piece, above.

1992 - MUSENET 1992

By 1992, it was practical to produce CDs. Craig Latta organized the creation of a 2-CD set. The notes on the CD were:
The music on this two-disc set was made by artists from the Internet, a worldwide electronic network of networks. Material of all kinds was welcomed, and the results were arranged for maximum contrast. We hope you like it.

Edited and mastered by Tim Walters and Craig Latta at the Center for Contemporary Music, Mills College, Oakland, USA, 2 October to 6 December 1992.

This compilation (c) and (p) 1993 by Craig Latta.
All works herein retain previous copyrights
Produced by Craig Latta.


CD 1
Trivial Blues   M3U MP3    Marc Sabatella © 1992 Marc Sabatella
There is nothing "trivial" about the blues performed on this track. The title comes from the fact that we considered the actual tune on which we would improvise to be irrelevant, so we did not establish one beforehand. We simply started playing, listening, and reacting, within the context of the twelve-bar blues form. Each member of the trio - Marc Sabatella on piano, Erik Turkman on bass, and Scott Gordon on drums - was free to contribute according to his own musical aesthetic. The performance was recorded live. The result is joyous, at times thunderously so, and always insatiably swinging.
(My Baby Don't) Bang My Wang   M3U MP3    Kirkendahl Voyd © 1992 Kirkendahl Voyd
Tracers   M3U MP3    John Duesenberry © 1988 John Duesenberry
TRACERS is conceived as electronic chamber music for a small ensemble consisting of a "soloist" and a "ripenio group" The soloist is given monophonic material - by turns lyrical or virtuosic - on an "instrument" whose mutable identity derives from sampled and synthetic woodwind and brass sounds. The ripenio group is made up of synthetic plucked, percussive, and sustaining instruments, and usually has the role of supporting and underlining the soloist's statements. The formal plan of TRACERS is straightforward. In the opening passage, the soloist exposes material (derived from the augmented triad and its complement) upon which much of the rest of the piece is based. A more pointillistic episode follows, during which the soloist recedes into the ensemble texture. Eventually the soloist re-emerges with material which both recalls the opening and develops into a group of rather raucous, cadenza-like outbursts. The climactic outburst is followed by a short coda which refers back to the second section and concludes with a near-literal recapitulation of a phrase from the opening. A pseudo-reverberation technique is used frequently in TRACERS (most prominently in the second section): a short note is prolonged by a much softer, slowly decaying sound with less harmonic spectrum. Such a sustaining sound is a "trace" left behind by a previous event. The title of the work suggests an analogy between this sonic effect and the light trails left behind by tracer bullets. Other visual analogies came to mind during the composition of the piece - TRACERS is very much an attempt to create an interesting sense of "line" and to produce a nocturnal affect by dwelling upon what are traditionally termed the "dark" registers and timbres of the instrumental families employed. The coloristic intent behind the piece is perhaps best summed up by a remark of Van Gogh, who wrote that in a certain work he had wished "to paint darkness which yet has light in it" . For those with technical interests: TRACERS was produced using an Emax SE sampler, a Yamaha TX616, and a Roland DEP-5 effects processor. The score was edited and performed with Composer and Performer on a Macintosh. The timbres used in the piece were edited using software by Opcode and Digidesign. TRACERS was composed in summer/fall 1988 and premiered in Toronto in February 1989. JOHN DUESENBERRY studied composition at Boston University with Joyce Mekeel, Allan Schindler, and John Goodman. He also studied electronic music at the BEEP Workshop and at the affectionately-remembered Boston School of Electronic Music. He continued composition studies with Robert Stern of the University of Massachusetts at Amherst, earning his his M.M. After working for a time as instructor and later Director at BSEM, he left to pursue studies in computer music at MIT and to produce a recording of his work. At present, Duesenberry is employed as a software engineer, and composes and teaches electronic music in his private studio. Duesenberry's music has been widely performed in North America, as well as in Europe and Australia. He has been an Artists Foundation Fellow, a winner of the League/ISCM New England Composers Competition and a Millay Colony resident. He has authored technical articles in publications such as Computer Music Journal and Electronic Musician. His music has been recorded on the Neuma and Opus One labels and on a CD released at the 1989 International Computer Music Conference.
I Saw Elvis   M3U MP3    Paul Brownlow © 1992 Paul Brownlow
They say Elvis lives in Milwaukee
Or maybe somewhere down in Tennessee
The King's been seen in Detroit and L.A.
The King's been found around the USA

I saw Elvis just the other day
Driving a caddy down the Kings highway
In a red plaid coat, his hair was all gray
I saw Elvis just the other day

Now some people say that Elvis is dead
They say he went down with trouble in his head
The King's not dead, he's alive and well
He's in good health as far as I can tell

'Cause I saw Elvis just the other day
Driving a caddy down the Kings highway
In a red plaid coat, his hair was all gray
I saw Elvis just the other day

Elvis at the supermarket, Elvis at the shopping mall
Elvis on a postage stamp, Elvis, man, he's got it all
The King has left the building, he's nowhere to be found
If you look real hard, you'll see him around

I saw Elvis just the other day
Driving a caddy down the Kings highway
In a red plaid coat, his hair was all gray
I saw Elvis just the other day

I saw Elvis just the other day...

Vocals - Paul Brownlow
Guitars - Paul Brownlow, Rick Dean
Bass - Mark Bushbeck
Drums - Mark Guenther
Percussion - Mark Guenther
Additional Vocals - Paul Brownlow, Deirdre Brownlow, Rick Dean, Nicole
Night, Mark Bushbeck, Roxanne Bushbeck, Michael Radovich, Caryn

Recorded and Mixed at Egg Studios, Seattle, Washington by Mark Guenther. Thanks to Conrad Uno and PopLlama Records. Post-production at Steve Lawson Productions / Bad Animals Studios, Seattle, Washington by Mark Guenther. Produced by Paul Brownlow.

I got the idea for this song last year on August 16th, the 14th anniversary of Elvis Presley's death, while I was playing a show. I had been reading about all of these Elvis sightings, and each account had the King looking like he did in his nearly final days, neglecting the fact that over a decade had elapsed and that Elvis certainly had aged since he had been allegedly found dead at Graceland. I pictured Elvis driving a Cadillac (what else?) getting ready to go fishing, and this song is what I ended up with. Two weeks later Dire Straits released "Calling Elvis" and I knew I wasn't the only one who had seen the King. The postage stamp reference is an update I made after it became a major news issue. I can be contacted at paul@data-io.com.

Autograph   M3U MP3    Tim Thompson (web site) © 1992 Tim Thompson
One Yamaha TX81Z recorded direct to DAT through a Roland DEP5. Recorded and played back with Keynote software under UNIX SVR4. Solo at the end was algorithmically generated with Keynote. Standard MIDI File (including patches) available on request.
Mind Captive   M3U MP3    Milton Armstrong © copyright 1991 Milton Clemens Armstrong,Jr.

Everything by: M.C. Armstrong, Jr.
Recorded at: Psycho Hillbilly Studio (at home) in mid 1992
Equipment used: HR16, Kawai Q80 and K1, Mackie 1202, SM58, Red Box, Peavey MDII, BC Rich Warlock guitar, Sansui MR6, Sharp RX-P1GY DAT, JVC cassette player, ADA MP1 and MC1, Alesis Micro Limiter, Micro EQ, MidiVerbII, and MicroVerbIII, Digitech IPS33B, BBE422A, ART MDC 2001, crybaby wah, 3 patchbays, Koss Pro4+ headphones, Alesis RA100 and JBL 4208 monitors, and other miscellaneous things. (actually this was mixed before the amp and monitors were acquired......yeah, no kidding :) ).
New York Girl   M3U MP3    Phil Scopes © 1992 Phil Scopes
Just Fecit   M3U MP3    Dave Nedwek © 1992 Dave Nedwek
"Just Fecit" now that it's done, feels like a tune that wants to grow up to be a movie theme. It was realized using Coda Finale running on a Macintosh, a Proteus 1XR sample player, and an ART Multiverb III digital reverb.
Just One More Hack   M3U MP3    Mark Wheadon (web site) © 1992 Mark Wheadon
``Just One More Hack [and then I'll put it on the net]'' - Mark Wheadon This song was originally written to shame Mark Russell, the author of the ``ups'' debugger, into releasing ups to the world. For a couple of years he had been adding extra features, and ups was constantly in a state of needing ``just one more hack'' before it could be released. When I asked him recently if the song made any difference he replied ``Difference? The whole reason for sending the bloody thing out was to stop you humming that tune!''
Et tu Brute   M3U MP3    Bob Hays © 1992 Bob Hays
"Et Tu, Brute" is a combination of a poem I wrote a long time ago (while studying ancient history) and music written over the last year. Instrumentation includes a Casio CZ-101, a Yamaha RX-21 drum box and FB-01 synthesizer, a Roland TR-727 drum box, a Kawai K5 synthesizer, a Kawai line mixer and Fostex X15 4 track cassette deck. Vocals are by Aleph Naught. Aleph Naught is the number, or CARDINAL, of the integer numbers. This concept is used in "higher" mathematics to represent the size of the set of integers, which of course is infinite; more interesting is that the cardinal of integer numbers may well be smaller than the cardinal of real numbers, though both are infinite. The Null Set is empty. Copyright (c) Bob Hays, 1992.
Cannot Make Me What I'm Not   M3U MP3    Standard Deviation © 1992 Standard Deviation
EXPECT: The Music   M3U MP3    Fokke de Boer © 1992 Fokke de Boer
This musical project was started as an integration between my work (development of environmental decision support systems) and my hobby, music. The acronym EXPECT stands for EXPloring Environmental Consequences for Tomorrow. The EXPECT project was started in 1990, and is planned to be finished in 1994. In the early stages of the project I had the idea to make some music to be heard at the first demo of the EXPECT prototype in November 1991. I used Pekka Tolonen's Symbolic Composer package for the creation of the music. This package allows you to transform symbols (such as letters) to music. The MIDI files generated by Symbolic Composer were read into the sequencer, and polished (some transpositions only). In this raw form the piece was premiered in November 1991. When the Musenet project was announced, I took it again and added some extra's, polished some more, and put it on tape. To quote Pekka Tolonen: "This is not music, it is data in audible form" Software used: Symbolic Composer CuBase Hardware: Atari ST, 4 Meg Roland D-110 Roland U-110 Emu Proteus/2 Korg Concert 7100 (used only for reverb in this piece) PSK line mixer Sony DAT recorder
Bad Attitude   M3U MP3    Jim Campobello © 1992 Jim Campobello
Words and music by James S. Campobello (c) 1992, James S. Campobello Permission granted to reproduce for the MUSENET '92 project; otherwise all rights reserved. The song was performed on a Roland Alpha Juno-2 and U-20, G&L electric guitar, and a violin electric bass. Some instruments and vocals were processed through a Boss SE-50. The keyboard parts were sequenced to Vision, and the song was recorded on a Fostex 160 four-track mixer/deck. The artist is an amateur composer, keyboard and guitar player. He is a professional VAX system manager in Buffalo, New York.
Here and Now   M3U MP3    Dave Blevins © 1992 Dave Blevins
Performance Notes:
synth: Roland Sound Canvas SC-55
sequencer: Cakewalk Pro 4.0
gtr: Ibanez w/ EMG-S pickups
amp: Zoom 9030 direct
recorder: Tascam DA30 DAT
Please Zhong Zi!   M3U MP3    Morphic Resonance © 1992 Morphic Resonance
Rise Up   M3U MP3    Jason Goldman © 1992 Jason Goldman
Exec-U-Grip   M3U MP3    Erik Knutzen and Christopher Penrose © Copylefted
The Silkie   M3U MP3    Tim Walters © 1992 Tim Walters
CD 2
Dawn & Brigid   M3U MP3    Nick Rothwell (web site) © 1992 Nick Rothwell
Depending on what Craig decided to use, this will either be a 6 minute piece with an obvious ending, or a 5 minute piece with a not-too-subtle fade-out. CASSIEL is the name of what started out as a music performance duo in 1990, and was, for a few short but extremely frantic and fraught months recently, basically a contemporary dance company. But I'm sure you've read the report I posted. This is one of the pieces of music. The basic idea (i.e. the first couple of minutes of music) was knocked up one weekend and offered to a dancer named Helen. She wanted to use it, but couldn't perform for various reasons, so it got lengthened and developed and offered to Dawn and Brigid, who form two-thirds of Edinburgh's professional contemporary dance troupe (X-Factor). I played it live and they performed to it, making one of my dreams come true. In fact, Dawn had quite an influence on the development of the last half of the piece, in terms of the tempo, energy, timbral quality and so on that she wanted to perform to; her input as a dancer was very interesting. The piece doesn't have a real name: I rarely name pieces until they're finished, since the images and thoughts and feelings behind them remain fluid throughout the composition and production process. The only property of a piece of music which seems to remain fairly constant throughout is its colour. By a funny coincidence, this piece is exactly the same colour as Dawn's hair.
Lucid Sky Dreaming   M3U MP3    Rollercoaster © 1992 Rollercoaster
Harold Richardson - guitar, distortion, sampler, delays
John D'Agostini - bass guitar, more distortion, more delays, vocal stylings, more samples
Eric Cook - drums, still more samples
We would like to thank Jeff Burton and Harold LaRue for their recording assistance, and Shawn, Angie, and Jenna for their support.

The track featured on this compilation is taken from our 6 song debut tape,

available for $6.00 ppd from : Eric Cook, P.O. Box # 6261, East Lansing, MI 48826

Tell the Difference, New Age Blues   M3U MP3    Bob Crispen © 1992 Bob Crispen
Treadmill   M3U MP3    Six Sigma, Kim A. Berry (web site) © 1992 Six Sigma, Kim A. Berry
"Treadmill" is techno-rap by Six Sigma. Six Sigma is written and performed by Kim Berry, who played keyboards in a local Sacramento band in 1982-84 and holds a BS in computer science. His intent is songwriting for airplay and for other recording artists and publishers. Primary equipment: Kawai K4, Quadraverb, Yamaha MT-100 4-track, Shure SM-849, dbx compressor, Cakewalk. o In 1990 Kim wrote and recorded "Don't want to) Be Like LA," a parody of "Ice Ice Baby" which aired on KSFM-FM 102's Morning Zoo. o In 1991 his song "Killer Bees" was selected for inclusion on a CD compilation which is distributed to 500 college radio stations. "Killer Bees" aired on KWOD-106's "Sound of Sacramento" o Two of his songs, "High-technology High" and "Welfare Queen" appeared on "USENET-1991." E-mail: kberry@sactoh0.SAC.CA.US (Kim Berry)
Reasonable Doubts   M3U MP3    John McGill and Greg Ramos © 1992 John McGill and Greg Ramos
Two Movements from the ACID BACH Suite   M3U MP3    Jeffrey Harrington © 1992 Jeffrey Harrington
There's Love Here Today   M3U MP3    Pat Ortman © 1992 Pat Ortman
The song There's Love Here Today was copyright 1992 by Winglet Music ASCAP. Winglet's address and phone number 1405 Greenbriar Drive Champaign, IL 61820 (217) 398-1775. (C) Winglet Music ASCAP Written and Performed by Pat Ortman
Cathedral 54   M3U MP3    Steve Verity © 1992 Steve Verity
Synths : D50, Proteus/1+
Effects: Boss SE50
This piece is part of a much longer one. I spliced the beginning and end together in order to meet the MUSENET 5 minute format.

All patches are my own ...The really weird ones are all done on the Proteus. The only effect I used was reverb, all animation/echoes are either part of the patches, or the output of my arpeggiator. The arpeggiator is a C program I have been working on for a while now... So far I haven't put a user interface on it, so I have to edit the source and recompile it any time I want to change any parameters. The piece was sequenced in Cakewalk for windows and mixed through a Mark of the Unicorn Mixer 7 to an analog cassette tape.

Spy Theme   M3U MP3    Jon Deutsch (web site) © 1992 Jon Deutsch
Earthbound   M3U MP3    Eyes Turn Skyward © 1992 Eyes Turn Skyward
Initialization   M3U MP3    Phillip Cianci © 1992 Phillip Cianci
Don't Talk to Strangers   M3U MP3    Greg Ramos © 1992 Greg Ramos
L.A. Riot Weekend Day II   M3U MP3    Mother Savage © 1992 Mother Savage
Mother Savage is the noise/experimental name for the current electronic musick being produced by - Joseph Roemer and Rodger Stella - who have records and tapes available worldwide through RRR and other "difficult sound" distributors. Their next LP is "Blast Furnace" (a split album with grae.com) and at the moment Mother Savage Noise Production Co. functions as the group - Macronympha for harsh noise, assault power electronic terrorism ...and as the group One Dark Eye for material which is textured more toward ambient noise and sound collage.
Camino Real   M3U MP3    Richard Griffiths © 1992 Richard Griffiths
Yamaha SY77, I played all the parts. I used the SY77's built in sequencer. Saturn's Rings was my first attempt at compositon on the SY77 after owning it about 3 weeks. I'm a guitarist with no keyboard training, (the SY77 is the first keyboard synth I've used), so I made sure I kept it simple. I was trying for something electronic/spacey ala Tangerine Dream or Jean Michael Jarre. I played each part realtime, then went back in and cleaned up the fax pauxs. I didn't use any quantization as that would have destroyed the feel of the piece. The title is named for the Saturn Ring patch from the WaveStation collection.
Sketches of Place   M3U MP3    Steven Pontecorvo © 1992 Steven Pontecorvo
Full Sail, Mindscape   M3U MP3    Peter Uchytil © 1992 Peter Uchytil
My first two original songs. Yeah, they're simple, but that's where I'm at musically right now. The initial ideas were actually fairly easy, but then building a song around the idea proved to be a bit challenging. Part of it is that my technique just can't keep up with what my head can produce, and sometimes what my head comes up with one night sounds like trash the next day!

Equipment? Almost all Ensoniq SQ2. In "Full Sail" there's some drums towards the end that are off a Mirage disk that a friend loaned me. The rest of the drums in both songs are all from an Alesis SR-16. Both songs profitted from the Boss SE-50. I only wish I had more of them. It's amazing what chorused distortion will do to a crash cymbal. The drums on "Mindscape" were unimpressive until I ran them through a gated reverb with the high EQed down (Dark Gate preset). A lot of the sounds I actually did do programming on, but there is the occasional preset. I found that my Sansui WS-X1 mix down tape (it has a 6 track and a mix down deck in it) doesn't put out all that high of quality, so I mastered to a HiFi VCR. Much much much better! I have to thank Michael Brines for helping me out at the last minute and for giving "Mind scape" a melody! Hope you enjoy the music.

alone, Never Needs Ironing   M3U MP3    Craig Latta © 1992 Craig Latta

To show a more concise listing (without the liner notes), click here.