From mailserv@gaia.ucs.orst.edu Tue Dec  6 14:50:17 1994
Precedence: Bulk
Date: Tue Dec  6 12:42:47 PST 1994
From: gus-music-request@gaia.ucs.orst.edu (GUS Musician's Server)
Reply-To: gus-music@gaia.ucs.orst.edu (GUS Musician's Digest)
Subject: GUS Musician's Digest V11 #6

GUS Musician's Digest       Tue, 6 Dec 94 12:42 PST      Volume 11: Issue   6 

Today's Topics:
                    A cool tip for GUS recordists:
                            Band In A Box
                          Cubase Score V1.10
                        Digest Problems Fixed!
                                drums
                   FREE POWER CHORDS DEBUT UPGRADE!
                      Noise, the final frontier
                       Noiseless GUS /w Digital
            Noise On the GUS with 16bit Daughterboard....
                             Power Chords
                     Sequencers for GUS (2 msgs)
                     Sucking sequencers and noise
                      Ultra-Tracker 1.7 or 1.8 ?
                             unsubscribe
               Upper limit on GUS' usability for music

Standard Info:
	- Meta-info about the GUS can be found at the end of the Digest.
	- Before you ask a question, please READ THE FAQ.

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

Date: Mon, 5 Dec 1994 15:49:35 -0500 (EST)
From: "Matthew M. Nordan @ 137" <mnordan@minerva.cis.yale.edu>
Subject: A cool tip for GUS recordists:

Running low on tracks on that 4-track?  Need to put reverb on both your 
GUS output and the sound module you're controlling via the GUS MIDI out, 
but only have one effects processor?  Check this:

	When you record, run the output of the sound module into the line in
	on the GUS.  Set the mix of the two in the mixer.  Run the GUS output
	into your effects module; it's now sending a mix of your sound module
	output and your GUS output.  Voila, reverb on both devices . . . 

I've even gone so far as to have a sound module running into the line in 
and a mic running into the mic in, for an additional backing vocal.  This 
increases the noise floor quite a bit, but if you preamp the mic before 
hitting the GUS' mic input it's minimal, and if you gate the whole thing 
you can kill that annoying hiss in silent passages.

      ]\/[atthew ]\/[. ]\[ordan  []. .[]  Support underground music!  Email
                                 [][|][]  for information about 137 Records.
   mnordan@minerva.cis.yale.edu  [] V []
        matthew.nordan@yale.edu  []   []  Yawheh, Yeshua, Elohim, forever

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

Date: Tue, 6 Dec 1994 00:10:49 -0330
From: Aaron Cameron <acameron@europa.cs.mun.ca>
Subject: Band In A Box

I've seen some references to a program called Band IN a Box.  Sounds 
intriguing.  Where can this package be had.  Share/freeware? or 
commercial?  Excuse my ignorance, but up 'till i got my gus ('bout a 
month and a half ago) i really didn't give a rats posterior about midi 
and the like, so i'm not up to date on the programs available (so sue me :+)

On a simmilar note, anybody got any suggestions of a good midi player 
that supoports the GUS (MAX) natively?  I like playmidi, that came with 
the box, but it offers no features like song tagging and playlisting and the 
like.  I've tried Jaleo (came highly recommended) and didn't like it a 
bit (sorry, Jaleo advocates!).  I found it to be as user friendly as a 
kick in the crotch, and hunting down error code deffinitions was a pain 
in the sphinctor.  Perhaps I'm using an older version?  What's current?

Thanks, all...
AC

Long live the GUS!
/---------------------------------------------------------------------------\
|        ***              *****               WELCOME TO MY WORLD!          |
|       *****          ***********            ~~~~~~~~~~~~~~~~~~~~          |
|      **   **       *****      ***         It's really not that bad...     |
|     ***   ***      ****                   once you get used to it!        |
|    ***********     ****                                                   |
|   *************    *****      ***    ---------> Aaron Cameron <---------  |
|  ****       ****     ***********     Memorial University of Newfoundland  |
| *****       *****       *****        ---> acameron@europa.cs.mun.ca <---  |
\---------------------------------------------------------------------------/

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

Date: Tue, 06 Dec 1994 13:27:32 +0500
From: iclnl!pvh@relay.NL.net (Pieter van Horssen)
Subject: Cubase Score V1.10

Hi,
I am using Cubase Score, with a Microline 193 matrix printer to print my mu=
sic.
This looks all nice, but there are times that notes on the righthand margin=
,
although they are visible on the screen, disappear. This including the rh m=
arker=20
of the staff.
I have tried changing the RH margin of the printer on the setup page, but w=
hatever
I change, it moves back to the original value.

What am I doing wrong? Any offers?
I am really desperate to print this music, you see.

TIA, Pieter van Horssen

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

Date: Mon, 5 Dec 94 14:02:24 GMT
From: csfb1!csfp.co.uk!pcunnell@uunet.uu.net (Paul Cunnell)
Subject: Re: Digest Problems Fixed!

On Dec 4, 11:32, GUS Musician's Server wrote:

> Date: Sat, 3 Dec 1994 18:56:23 -0800 (PST)
> From: Vince - IE - Experimental Mail Server Admin Acct <mailserv@ucs.orst.edu>
> Subject: Digest Problems Fixed!
> 
> Hi everyone,
> 
> 	Hopefully the Digest problem is fixed once and for all 
[...]
>                               Cheers,
>           		       Vince

Might it not be a good idea to fix the digestifier to filter out any 
submissions containing the Digest header text?
i.e.

"GUS Musician's Digest       Sun, 4 Dec 94 11:32 PST      Volume 11: Issue   4 
"
"Today's Topics:

If any such 'suspect' entries were forwarded to the digest admin, then
that would identify any 'rogue' subscriptions quickly, without bothering
everyone on the list.

Paul.

--
Paul Cunnell CSFB FOS (csfp.co.uk!pcunnell@fir.fbc.com) +44 71 516 2946

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

Date: Tue, 6 Dec 94 08:45:24 PST
From: toby@waltz.ccmrc.ucsb.edu (Toby Shepard)
Subject: drums

>Maybe some of you more experienced musicians can help me. How do I bring
>up the drum bank when I'm in MidiSoft? Whenever I click on a particular
>track to change the instrument, all I get is the melodic bank. I've combed
>the instructions to no avail. I've composed the rhythm tracks but I can't
>get the drums up. Please help. Thanks.

Set your driver to ENHANCED (1-10) under the menu item config MIDI
then use MIDI channel 10 to get drums.

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

Date: 06 Dec 94 10:21:14 EST
From: "Eric Bell, Howling Dog Systems" <71333.2166@compuserve.com>
Subject: FREE POWER CHORDS DEBUT UPGRADE!
Message-ID: <941206152114_71333.2166_DHQ45-5@CompuServe.COM>

Greetings from Howling Dog Systems, makers of the Power Chords MIDI
composition and sequencing program bundled with the UltraSound and UltraSound
MAX.

How's it going, everybody? I've been off the list for some time. We've been
working hard on our UltraSound patch CD-ROM and it is now shipping! Details
follow...

FREE POWER CHORDS DEBUT UPGRADE AVAILABLE TO ULTRASOUND OWNERS!

There will be a new version of Power Chords bundled with the UltraSound in the
(near) future. This product is called Power Chords Debut, and you guys on the
digest are the first to hear about it. It is finished and ready to ship.

Any UltraSound or UltraSound MAX owner can upgrade to Power Chords Debut for
FREE - just send $5.00 US to cover shipping and handling.

Power Chords Debut is a hot product, with many more features and conveniences
than the Power Chords for UltraSound product has including:

Button-bar access to the windows (no more icons).
Bank support - select banks by text name instead of numbers
Graphic cut/move/copy/paste in Rhythm Editor.
Lock feature to combine parts, or switch parts from one type to another.
Import parts on the fly (with pre-audition) from Power Chords files.
Reads/writes/plays Power Chords Pro song files.
Song Window editing - cut/move/copy/paste/insert bars.
New look graphics, featuring 'compressed mode' song window display.
More more more!

Of course, Power Chords Debut supports patch caching.

Power Chords Debut has many of the features that its big brother, Power Chords
Pro has. Pro received 4.5 out of 5 rating for Overall Value in a recent
Electronic Musician article (June '94).

Send requests (and your 5 bucks) to:

Howling Dog Systems
Kanata NPO Box 72071
Kanata, ON, Canada
K2K 2P4

Here's the latest press release from Howling Dog Systems, the first, and
foremost support of UltraSound music:

Howling Dog Systems Ships Digital Sound Products
 -----------------------------------------------

KANATA, ON, CANADA 1994 DEC 1 -- Howling Dog Systems has announced two new
digital sound products, the Howling Dog Systems UltraSound Power Patch CD-ROM
priced at $99.95 and the 8 Alien Sounds that Ate Manhattan, priced at $10.00.
Both products are compatible with the Advanced Gravis UltraSound and
UltraSound MAX sound cards.

The Power Patch CD-ROM is a treasure trove of over 750 sampled instrument,
drum and sound effect patches for the UltraSound card. Since the UltraSound
card stores its samples in RAM, users can replace or add instrument and drum
sounds at will from the collection. Included on the CD are many drum kits,
ethnic and unusual instrument sounds, variations of the stock General MIDI
sounds, popular analog synthesizers, sound effects and much more.

"The UltraSound ships with 5 megabytes of sampled instruments. Users are very
excited at the prospect of have another 40 megabytes of sounds at their
disposal." said Eric Bell, Top Dog at Howling Dog Systems.

There are a total of 10 sets of sounds on the Power Patch CD-ROM. Individual
sets are available on diskette for $29.95 US.

The 8 Alien Sounds That Ate Manhattan package is a collection of 8 50's
B-Movie sound effect patches, and a fully orchestrated multimedia soundtrack
employing those sounds. "We wanted to show people how much fun they can have
by exploiting their UltraSound card's sample based design. They get some cool
samples, an entertaining demo, and the opportunity to play producer by using
the sounds as they see fit.", said Eric Bell.

The plot line of the 8 Alien Sounds That Ate Manhattan revolves around an
invasion of the city by a race of alien dogs. A special playback-only version
of Howling Dog Systems' Power Chords Pro MIDI composition package is used to
play back the multimedia soundtrack and is included.

Both products are shipping now. 

Contact: Eric Bell, Howling Dog Systems, tel 613-599-7927, fax 613-599-7926
71333.2166@compuserve.com

That's it! Post inquiries here, or e-mail me!

Eric Bell

Howling Dog Systems

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

Date: Mon, 5 Dec 1994 13:35:00 -0800 (PST)
From: Francois Dion <francois@hyperreal.com>
Subject: Noise, the final frontier

Dans la Matrice, Matthew M. Nordan a dit:
> 
> At Christmas i'll be pretty much abandoning my GUS for a "real" sampler.  
> Of course the primary reason is the 1MB memory limit, which just is not 
> enough room to put together a really phat mix

You should instead use it paired with the GUS. Even old noisy Mirage
samplers with dismal memory and 8 bit sampling (they do have filters
however) cost more than a GUS... Also, depending on your sampler (would
recommend a peavey without the sampling kit if you want quality and
expendability at a small price), it may cost anywhere from 50$/meg (1MB
simms) to several hundreds/meg (static dram expander cards).

> even when bolstered by a 
> sound module or two.  But that's not all:

You should check out Dan Nicholson's stuff. I'd say it's phat, and he only
uses the GUS. With a pair of GUS and an fx unit like a DP/4 this would be
CD ready (noise you say? just read the next thing).
In fact, i think it could be put directly on CD, adding just a bit of
spacialisation during mastering. In my case, i use the GUS as one part of
my tools. Sometimes i can use just a GUS, sometimes i dont even use it,
sometimes i use more than one GUS, along with the rest of my equipment or
not depending on what i want to achieve.

> Another real problem is the GUS' big ol' noise floor.  Does anyone have 
> an _accurate_ S/N for a GUS with 16-bit daughterboard?

Ah. daughterboard... I' d suggest not using the db when doing a final mix,
as you may loose a few dB in S/N. I'd even suggest bypassing the internal
mixer altogether with the modification i posted last year (can be found on
gus archives in info directory), making the signal go thru the amplified out
jack (requires some soldering, but the result is there).

> All i know is 
> that even with the WAV output all the way down, with the inputs down and 
> muted, with the card as isolated as possible from other components in my 
> system, there's still a substantial noise floor that can be heard even 

If your mixer has both -10 and +4 inputs, use the +4 inputs, raising the
midi volume. Else if you have -10 dBV inputs, put the midi volume at 0dB.
I would also suggest using the record from one source possibility of the gus
mixer, as this also affects playback if you keep the daughterboard on.
Other not so obvious items: you may have a ground loop problem. If you do,
try to find the problem. It may be your midi cables, it might be your
power bar etc... If you suspect you have such a problem and cant resolve it
(at the source), you can probably use a ground loop isolator between your
GUS output and the input to which you connect it. Note that consumer grade
isolators will work fairly well, but may alter the frequency response.
There are audiophile units available. For studio grade ones, i'll have
to check if there are any with unbalanced inputs, but i would really doubt it.

In the best conditions, you can be in over 90dB territory. In average one,
around 85dB and in bad conditions, 75dB, or worse depending if you have
grounding problems (things like midi clock buzzes, 60 hertz etc... are
indications).

> when recording to 4-track cassette.  I can't _imagine_ using the GUS in 
> digital recording--i think the noise floor would be too severe, 
> especially if vocals/other instruments/etc. were clean and clear.

At the mastering facility, if you have noise at around -88dB or worse,
it can be removed. Most digital studios offer this service too. You can also
buy the software, but you'd also need a DAT and a digital i/o card.
As for vocals, unless you put some serious money on a microphone and preamp,
i doubt they will be cleaner...

> Yes, i am gating the GUS.  (Heck, i gate everything.)  But putting the 

I think your recordings may be part of your noise problem. Use record
from one source, no gain and have a strong signal at the input. If it's
from something like a sampling CD, i' d suggest you get a CD-ROM to
grab the samples directly in digital. If your samples are noisy, gating
wont really help. If they are not and the result is noisy, then check all
the other options i enumerated.

Ciao,
-- 
Francois Dion (IdMEDIA)                   [> Email: francois@hyperreal.com <]
    '                         [> C.P. 278, St-Lambert, QC, Canada, J4P 2N8 <]
        [> Raving Up North Ezine: run-request@hyperreal.com, subject: help <]

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

Date: Mon, 5 Dec 94 17:53:04 CST
From: Jim English <jenglish@hpserv.keh.utulsa.edu>
Subject: Noiseless GUS /w Digital

hey, 2 whoever said that they got noise from GUS _output_ I made a recording
using my old GUS (around when they first came out), w 1Mb memory, and the
General MIDI patch set, in Cakewalk Pro 2.0 for Windows, with the quality
of the patches set to high, onto a DAT recorder and it was noiseless.  Now
if you were talking about recording _to_ the gus then that is another story.
I do my stuff using a direct copy from a cd-rom drive rather than going 
D->A->D.  And the song I recorded had a pretty wide range too.
-jim

PS I'm looking for good software for making drum loops, etc on the gus.
preferably one that handles 16-bit stereo and bigger than 256k .WAV's.
(those r the limits of patchmaker lite)
--
______________________________________________________________________________
Jim English - jenglish@hpserv.keh.utulsa.edu / EJP51823@vax1.utulsa.edu
______________________________________________________________________________

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

Date: Tue, 6 Dec 1994 13:14:15 -0500 (EST)
From: Christopher McKillop <cdmckill@sail.uwaterloo.ca>
Subject: Noise On the GUS with 16bit Daughterboard....

I understand that there is quite a noise factor on the GUSw/daughterboard,
so I would just like to say that as an owner and USER of a GUS MAX, it is
not the same with the MAX.  I have done several "patches" just for myself
(mostly guitar stuff) and the ONLY noise I had was the *SLIGHT* hiss from the
microphone.   As I undersatnd it, Gravis did a major improvment on the
shielding of the MAX to cut out unwanted noise.  Also, as I understand it,
ther is a revision of the GUS that has REALLY BAD shielding.  I am not too
sure WAHT revison it is, but I know that there is one.


		Chris


*********>>>>>>> Chris McKillop - Aspiring Computer Engineer <<<<<<<**********
cdmckill@sail.uwaterloo.ca (school)     "Digging a hole in the ocean,
University of Waterloo              Trying to make a Dove Tail joint."      
cmckillo@fox.nstn.ns.ca (home)			-The Beatles (glass onion)

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

Date: 06 Dec 94 12:21:55 EST
From: "Eric Bell, Howling Dog Systems" <71333.2166@compuserve.com>
Subject: Power Chords
Message-ID: <941206172154_71333.2166_DHQ42-1@CompuServe.COM>

>>What exactly is Band in a Box?  MIDI sequencing?
>>
>>Dave

>Not really.  Think of it is Power Chords with AI.

Band in a box generates drum, bass, and chord parts on its own, given a set of
chord changes as its input.

Power Chords requires you to create all the basic components of your music -
chords, chord rhythms, drum parts, etc. but then helps you by automatically
repeating phrases, making it easy to audition, swap parts in and out of your
song, etc. 

Hi Burns!

Eric Bell, Howling Dog Systems

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

Date: Mon, 5 Dec 1994 15:46:16 -0500 (EST)
From: "Matthew M. Nordan @ 137" <mnordan@minerva.cis.yale.edu>
Subject: Re: Sequencers for GUS

Well, i'm using Cakewalk 2.01 for Windows (haven't gotten around to 
getting the 3.0 upgrade yet), and it rules the world.  Great editing of 
notes and (important for me) continuous controllers, WAV playback with 
your tune that one can use for pseudo-digital recording to "gain a track" 
on one's recording device.  Kinda pricey but i think it's worth it.  Back 
in the days in used Winjammer, which pretty much sucked, but you couldn't 
beat the price (i admit it, i never registered the thing).

I'm not using the GUS "professionally" as such, but it is my primary tool 
for creating the industrial music i put out on my ittybitty record label, 
137 Records (see tagline).  I'm running it through a dbx 266 stereo 
comp/gate and into an Alesis Quadraverb for effects, recording to a 
Tascam 424 4-track.

      ]\/[atthew ]\/[. ]\[ordan  []. .[]  Support underground music!  Email
                                 [][|][]  for information about 137 Records.
   mnordan@minerva.cis.yale.edu  [] V []
        matthew.nordan@yale.edu  []   []  Yawheh, Yeshua, Elohim, forever

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

Date: Mon, 5 Dec 1994 20:53:23 -0500 (EST)
From: efinkler@sun1.iusb.indiana.edu (Big Daddy Ed)
Subject: Sequencers for GUS

> Are there any sequencers out there that don't suck? By that I mean you
> actually use the program on a day to day basis for music production.
Hmm... I use WinJammer for all of my sequencing, but that's because I'm poor.  
If I had my way, I'd definitely go the route of Cubase or Cakewalk Pro for 
Windows.  But WinJammer does the job.

> Second question is: Does anybody use their GUS professionally? If so, in
> what setup? e.g., alone, with a drum module, that sort of thing.
I've used the GUS quite a bit for composition.  One track that I did _totally_ 
on GUS appears on a CD comp (see my sig), and I've composed about 2 hours 
worth of good material with my gravis and a DR-660 drum machine.  For $120, my 
GUS was a great deal.
-Ed
                         A R T S  I N D U S T R I A
                           _The Art Of Brutality_
CD featuring Xorcist, :wumpscut:, Thine Eyes, Sphere Lazza, Remyl, Pounce Intl.,
din-fiv, Diode, Music For Isolation Tanks, Morning Gold Fix, Terminal, Bubblegum 
   Crisis, Manhole Vortex, Erzulie ze Rouge, Tekachi, and Altruistic Suicide.
                    Available 2nd week of December '94.
                     Free catalog availible on request 
 artsindust@aol.com -- Arts Industria, P.O. Box 4142, South Bend, IN 46634-4142
     I N D U S T R Y   W I T H O U T   A R T   I S   B R U T A L I T Y

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

Date: Tue, 6 Dec 1994 01:59:17 -0700 (MST)
From: "Shawn T. Rutledge" <rutledge@enuxsa.eas.asu.edu>
Subject: Sucking sequencers and noise

>   I own a GUS and a Yamaha tg100 general midi sound module. I find
> that for certain instruments there is a large difference in volume.
> If I compose some midi file using the tg100, and play it on the GUS,
> the strings will sound much too loud. The nylon guitar patch of the
> GUS on the other hand is significantly softer. Is there some

You could tweak it with Patchmaker.  I think... if not, then get the wav
out of the patch, change its volume with your favorite wav editor, then
make a new patch from it.  I've noticed that too.  Bass and drums aren't
as loud as they should be relative to the other instruments, and some are
just plain shrill.  My own patches, with what I considered moderate
volume levels in the wav file, came out rather quiet too.  So, I guess
most of the instruments must be using every last bit, ie, the peaks are
right at the maximum 16-bit value.

>   A slightly related question: does anyone know whether volume
> control of midi voices on the GUS is done digitally so that you
> are "losing bits"? Is there a difference between "channel" volume

Of course; the whole mixing process is done by the GF1 dsp chip.  
That would be one heck of an analog mixer if it weren't, to support
all those voices with separate volume controls!  :-)

> control and "key velocity" volume control in this respect?

I doubt it, since the GUS is actually kind of simple-minded in its
processing.  More advanced synths might use different wav's for different
velocity ranges, or at least if they don't yet, they probably will.
Since a GUS patch can only have one wav file per range of keys, 
doing that would be impossible, thus the only other thing they can
control with velocity would be volume.  Another compromise that would
be nice is if you could program an ADSR function that depends on
velocity, ie, maybe the harpsichord has a more abrupt attack when
struck harder but isn't very much louder.  But I don't think the
GUS does that either, else we would have the ability to change the
parameters in Patchmaker.

> Are there any sequencers out there that don't suck? By that I mean you
> actually use the program on a day to day basis for music production.

Well, there are an awful lot of Cakewalk fans.  Have you tried it?  
I only have version 1, which is fairly usable and has both sequencer
and staff notation, but the learning curve is steeper than it ought
to be.  I'm sure the newer ones are much better.
> 
> Another real problem is the GUS' big ol' noise floor.  Does anyone have 
> an _accurate_ S/N for a GUS with 16-bit daughterboard?  All i know is 
> that even with the WAV output all the way down, with the inputs down and 
> muted, with the card as isolated as possible from other components in my 
> system, there's still a substantial noise floor that can be heard even 
 ..
> has any ideas on alleviating this, post them, but i think it's just a 
> deal-with-it characteristic of the card.

You can supposedly get an S/N on the order of 90db by using the raw outputs,
available on the board as header pins.  The analog portion of the card is 
the noisy part, but those header pins come right out of the A/D converter
and are line-level.  You lose your volume control by doing that though.
You would of course want to build a custom cable for that purpose using
heavily shielded mic cable.  Also, did you try the tinfoil shielding
trick?  Put the foil flat inside a plastic bag, and wrap the bag around 
the card, making sure none of the foil touches anything.  It would probably
be a good idea to have a thin strip hanging out and screw it to the computer
case along with the GUS itself.


-- 
  _______                KB7PWD - now on packet!      shawn.rutledge@asu.edu
 (_  | |_)               html: http://enuxsa.eas.asu.edu/~rutledge/home.html
 __) | | \__________________________________________________________________
* electronics * fusion * IEEE * techno * ARS * capitalism * cyberspace * 

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

Date: Mon, 5 Dec 1994 10:28:40
From: <tarmo@astd.tartu.ee>
Subject: Ultra-Tracker 1.7 or 1.8 ?

Hello !!!

Does anybody knows smth. about new version of Ultra Tracker ?
I'd very pleased to get some information about it !!!


*tarmo*

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

Date: Tue, 6 Dec 1994 12:19:57 -0500
From: Shepherd B Kendall <sbkendal@uncc.edu>
Subject: unsubscribe



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

Date: Mon, 5 Dec 1994 21:03:05 -0500 (EST)
From: efinkler@sun1.iusb.indiana.edu (Big Daddy Ed)
Subject: Upper limit on GUS' usability for music

> At Christmas i'll be pretty much abandoning my GUS for a "real" sampler.  
> Of course the primary reason is the 1MB memory limit, which just is not 
> enough room to put together a really phat mix--even when bolstered by a 
> sound module or two.  But that's not all:
It certainly is a big drawback, however.  If Gravis really wanted to kick some 
buttinski they could add at least an 8MB expandability in the sample ram and 
mebbe some effects.

> Another real problem is the GUS' big ol' noise floor.  Does anyone have 
> an _accurate_ S/N for a GUS with 16-bit daughterboard?  All i know is 
> that even with the WAV output all the way down, with the inputs down and 
> muted, with the card as isolated as possible from other components in my 
> system, there's still a substantial noise floor that can be heard even 
> when recording to 4-track cassette.  I can't _imagine_ using the GUS in 
> digital recording--i think the noise floor would be too severe, 
> especially if vocals/other instruments/etc. were clean and clear.
I've used the Gravis for digital stuff... all of my demos are recorded 
directly to DAT.  Actually, using it in conjunction with cleaner and sharper 
instruments really helps cover up the noise problems, at least to my ears.  
Having something sharper in the mix lets you tone down the GUS' treble a bit, 
dulling the hiss (not the best solution, of course, but you work with whatcha 
got.

> Yes, i am gating the GUS.  (Heck, i gate everything.)  But putting the 
> GUS through a noise gate/downward expander before effects only helps a 
> little--there's just no way to get around the noise floor, even if it is 
> diminished when a huge mix is pumping through the speakers.  If anybody 
> has any ideas on alleviating this, post them, but i think it's just a 
> deal-with-it characteristic of the card.
> 
>       ]\/[atthew ]\/[. ]\[ordan  []. .[]  Support underground music!  Email
>                                  [][|][]  for information about 137 Records.
>    mnordan@minerva.cis.yale.edu  [] V []
>         matthew.nordan@yale.edu  []   []  Yawheh, Yeshua, Elohim, forever

I would be very willing to pay an additional $100-$150 dollars to get a 
version of the GUS -- or any other good wavetable card that uses custom 
samples, like the AWE-32 -- which was external and had the required 
insulation.  It's too bad that the companies haven't realized the potential 
audience for this kind of product.
-Ed
                         A R T S  I N D U S T R I A
                           _The Art Of Brutality_
CD featuring Xorcist, :wumpscut:, Thine Eyes, Sphere Lazza, Remyl, Pounce Intl.,
din-fiv, Diode, Music For Isolation Tanks, Morning Gold Fix, Terminal, Bubblegum 
   Crisis, Manhole Vortex, Erzulie ze Rouge, Tekachi, and Altruistic Suicide.
                    Available 2nd week of December '94.
                     Free catalog availible on request 
 artsindust@aol.com -- Arts Industria, P.O. Box 4142, South Bend, IN 46634-4142
     I N D U S T R Y   W I T H O U T   A R T   I S   B R U T A L I T Y

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

End of GUS Musician's Digest V11 #6
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