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EM LaFosse Article Posted Here
Hi Stan and my other Bay area loop buddies--
I will not be attending this year's get together as I find it "puts me off
my game" *^) I have too many unfinished projects and it takes most of a
week for me and mine to make the trek to Santa Cruz and back--can't spare
As far as the article--I scanned it for Bernard and it features Andre
LaFosse, master of the Echoplex. I OCRed it and you will find it at the end
of this message. As I mentioned a couple of days ago, the issue also has a
roundup of 13 software drum machines. I don't subscribe to EM; I find that
EM feeds my GAS waay too much. I am currently fighting off the urge to
acquire the AdrenaLinnII. Any users willing to push me to the brink?
From: email@example.com [mailto:firstname.lastname@example.org]
awwwh thats too bad-i wuz lookin forward to some singalongg loopeeness:-(
also, what article was in EM ?
> Plus, I'm not going to Santa Cruz this year.
> -----Original Message-----
> From: Gary Lehmann [mailto:email@example.com]
> Hey, it's Harvey Starr's and I haven't asked him yet! I did, however,
> pmail Bernhard the article in question.
> -----Original Message-----
> From: Bernhard Wagner [mailto:firstname.lastname@example.org]
> Yep, thanks a lot Tom and everyone who offered. I'll buy Gary Lehmann's.
>> -----Original Message-----
>> From: Tom Rex [mailto:email@example.com]
>> Did you find someone, Bernhard? I'll gladly send it to you if not.
>> -----Original Message-----From: Bernhard Wagner
Could anyone buy this issue for me (please respond off list): Electronic
Musician September 2004 Issue, Vol. 20, No. 11
This publication is not available in Switzerland. I'll buy the issue off
kind person at Y2K4.
Andre LaFosse began creating improvisational, loop-based music as a student
at the California Institute of the Arts, pairing a guitar with a Gibson
Echoplex Digital Pro looping delay processor to embark upon daring sonic
explorations. His 1999 debut album, Disruption Theory, documented his
intensive work with the Echoplex and earned critical acclaim.
Normalized (Altruist Music, 2003) is LaFosse's second album. LaFosse
recorded, mixed, and mastered the entire album in his apartment. It
showcases 14 live, improvised Echoplex solos. 'The concept was to capture
all of the frequencies that the guitar emanates," LaFosse says. "Most of
album is solo guitar, so I wanted to see how full a sonic picture I could
get. A guitar amp produces a very midrange-heavy sound, which speakers or
amp simulators strive to emulate. For the most part, that's the sound I
wanted to avoid on Normalized".
LaFosse played his Steinberger GM4T electric guitar through a Mesa/Boogie
DC-3 tube amp. "All Echoplex solos were recorded through this amp using a
direct output that had no speaker simulator," LaFosse says. He recorded his
guitar directly into a Mac G4/400 as a full-frequency signal for all but
title track. "I recorded everything through an M-Audio Omni Studio sound
card into [Emagic] Logic Audio Platinum 4.7," LaFosse says.
"For each track of solo guitar loops, I applied about a dozen plug-ins,
including PSPaudioware's Vintage Warmer, MixPack, and StereoPack," LaFosse
says. "I used StereoPack to synthesize a stereo image for the original mono
tracks. I also used [Cycling '741 Pluggo plug-ins and some freeware
from MDA-VST and Dragan Petrovic. I used Logic's standard EQ plug-ins,
including Fat EQ. It took quite a while to figure out which frequencies to
cut and which ones to boost-and at which stage of the signal path.
"I dial-in extra midrange when I play in order to accentuate the artificial
harmonics that are a big part of my style," LaFosse says. "1 used
PSPaudioware's Mixlreble and MixBass plug-ins to synthesize a bit of high-
and low-end frequency content to fill in the gaps in those frequency
Three tracks-"The Proposition,"' Interference," and "Rockhouse"-involve
additional production techniques. "I recorded some guitar overdubs using
amp's speaker simulator so that the melodic parts would sound like regular
guitars," LaFosse says. 'Other times I'd run a cable out of the guitar
directly into the M-Audio sound card, record it completely dry, and then
distortion, speaker simulators, and other effects after the fact".
LaFosse's guitar also produced the bass sounds on these three tracks. "On
'The Proposition' and Interference,' I fed the signal through heavy
compression and an MDA-VST subharmonic synthesizer plug-in to produce a
basslike tone," he says. "The bass on 'Rockhouse' came from using Logic's
pitch-shifting plug-in to drop the guitar down an octave. I scattered some
Cycling '74 Pluggo effects throughout-the stringlike texture during the
chorus of 'The Proposition' and the high-pitched, synthlike sound on
'Interference.' Some of the fuzz-toned guitars on interference' are also
derived from Pluggo distortion patches.
"1 used the flashier plug-ins very sparingly," LaFosse adds. "They're used
as light seasonings, ratherthan as main ingredients. The foundation of the
album is the live Echoplex guitar style, and I didn'twantthe flashier
plug-in sound to detract from that".
For more information, contact Altruist Music; email