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From: nessus@mit-eddie.UUCP (Doug Alan)
Newsgroups: net.music
Subject: Sequencer Usage
Message-ID: <4861@mit-eddie.UUCP>
Date: Sun, 4-Aug-85 19:19:15 EDT
Article-I.D.: mit-eddi.4861
Posted: Sun Aug  4 19:19:15 1985
Date-Received: Tue, 6-Aug-85 08:59:30 EDT
References: <4751@mit-eddie.UUCP> <1411@peora.UUCP>
Distribution: net.music
Organization: MIT, Cambridge, MA
Lines: 27

> From: jer@peora.UUCP (J. Eric Roskos)

>> [Me:] I'm sure I'd be able to hear the difference between music
>> generated by a sequencer given notation and that played by a good
>> human player on a velocity-sensitive keyboard.

> I don't think this is true....  For example, if you listen to Yes's
> (oft-maligned) _Drama_ album, at the start of the song "White Car"
> there is a four-measure theme repeated four times.  The last 2 times,
> Steve Howe plays an accoustic guitar (weakly) in accompaniment, but
> the first two times, everything in it is played by the CMI's
> `sequencer'.  I observed Geoff Downes do this, firsthand, at their
> concert in Nashville.  But unless you know this, it is unlikely you
> would suspect it from listening to the music.

Yeah, but who says that the music was entered into the sequencer as
notation?  It was probably entered by playing it on the keyboard and
telling the sequencer to remember it.  If the sequencer was fed the four
measure theme only once, and then told to repeat it, it seems to me that
you'd be able to tell that it sounds exactly the same each time around.
If, on the other hand, the whole thing was played into the sequencer,
then the sequencer is just being used as a more convenient,
higher-fidelity tape deck, and doesn't really count as creative
sequencer usage.

		 	-Doug Alan
			  nessus@mit-eddie.UUCP (or ARPA)