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Date: Mon, 31 May 1999 20:31:24 -0700
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From: Kim Flint <kflint@annihilist.com>
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At 7:39 PM -0700 5/31/99, James Pokorny wrote:

>So I use a tactic similar to your looping the changes or bassline for a jazz
>tune -- I loop the entire "composition" then practice improvisations over
>it.  This makes it much easier to hear where each beat is, and to be able to
>work out how much time is needed to weave the improvisations seamlessly back
>into the composition.  I wish I'd had this great tool years ago!

In that practicing vein, I also found that loops helped me improve my
background/rhythm playing a lot. If your tempo drifts while recording a
long loop, it's really obvious at the loop startpoint! Other screw ups too.
The loop puts it right back in your face, and you can't ignore it, so you
try again to get it right. Somehow, when I'm playing, I'm often able to
delude myself into thinking it sounds great. The loop shows no such mercy.

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


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I thought I'd pass this along, it seems that the hardware is ready!


New from Ego Systems... 
The Wami Box:  DSP Based 20 Bit 4 Channel Integrated PCMCIA Digital Audio
System
with 16 Channel Internal Hardware Mixing & FX, 64 Voice Sampler / Synth

The Wami box turns notebook computer into a digital recording studio -
literally. Packaged in a palm-sized (rack mountable) case, it contains
everything you need to produce music. Equipped with optical and coaxial
S/PDIF, 2 in 4 out AD/DA, a MIDI interface, 64 voice programmable
sampler/multi-timbral synth, mic preamp, and a 16 channel internal
mixer, about the only thing that isn't self contained is the recording
medium, which your notebook supplies. It even includes professional
quality digital signal processors, which you can use on all audio
channels and MIDI sounds. As amazing as all this may sound, its sound
quality is equally, if not more, amazing.

WaMi Box contains RISC based 50 MIPS DSP engine, which you'll only find
on top quality professional devices. With 16 MB of internal RAM, you can
sample, edit and playback big sound files with ease. It's fully
programmable and through software upgrades. All this for slightly over
$400.

Features:

*20 Bit A/D  D/A convertors, 98dB Dynamic Range
*20 Bit Output resolution and Internal computations on 28 Bits
*2 In / 4 Out unbalanced Analog In / Out, +4dBu unbalanced RCA jack
*S/PDIF Electrical (Coaxial & Optical) Digital In & Out; up to 20 Bit
*Mic Preamp with effects, Headphone Amp, 1/4" Mic Input  socket and
1/4" stereo jack
*socket for headphone monitoring
*full LED Display; 9 large Activity Indicators
*Microsoft DirectX support
*Multiple sample rates - 32kHz, 44.1kHz, 48kHz
*Full Duplex - 2 Channel Record/ 4 Channel Playback simultaneously
*Uses standard PCMCIA socket - DMA Channel not required
*High perfomance  Audio DSP based 16 channel Internal Mixer Hardware
& professional Multi-effects Processor
*Simultaneous 16 Mono Track Play plus Stereo Record
*Multi-band Parametric equalizer
*13 Delay lines for resonance free stereo reverb (reverb, delay,
chorus, echo, etc.)
*Up to 64 voice 16 multi-timbral professional sampler &
  user-upgradeable GS, XG, GM
*16 Mb onboard RAM for Synth & Sampler
*32 Channel MIDI Operation ; 16ch internal & 16ch External
*MPU-401(UART)1 In/1 Out MIDI Interface
*Interactive 3D positioning - 4 Channel surround
*Fully programmable; Firmware downloaded to memory at power-up
*Easy software upgrade
*Signal to Noise Ratio (D/A) : 108dB
*Frequency Response: 20Hz - 20kHz
*Chip programming available to third party software companies
*Compatible with all major software ...Cubase, Cakewalk, Logic,
Saw Pro, Wave Lab, Sound Forge, Rebirth RB-338, etc.


                                        *  *  *


. 
...........................................................................
Be the change you want to see in the world. -Mahatma Gandhi (1869-1948)
 

From Loopers-Delight-request@annihilist.com  Tue Jun  1 01:20:38 1999
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To: Loopers-Delight@annihilist.com
Subject: Re: Korg (shitty interface)ToneWorks AX1-G Vs. Akai Headrush
References: <v03102802b378cbbf6d9e@[63.192.37.242]>
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Hey,

I've got a Korg AX30g and let me tell you, it's interface SUCKS.  Hear
that Korg?  Not to be blowing my own horn, but I've paid my dues in the
retail music business, worked for Laurie Anderson, and I can usually
find my way around most gear.

Korg stuff, while I love the sounds I get out of my AX30 (It's pressure
pedal should become the next big deal!) I wonder why it's interface is
so clumsy.  I used to work in a music store where we sold the Trinity
line of Korg keyboards, and let me tell you, I once was fooling around
with it's sequencer and (with a manual) I could not for the life of me
figure out how to change the time signature.

Mark Sottilaro

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From: Chuck Zwicky <chuck.zwicky@wavefront.com>
Subject: Re: It just goes...
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Specifically, Eno said: " I think it's possible that our grandchildren will
look at us in wonder and say: "You mean you used to listen to exactly the
same thing over and over again?" 

Eno has typically used several simultaneous, asynchronus loops in his
compositions. The random overlap at any point in time is a unique event.
This capability exists  when using several looping boxes, and I
particularly think that the boomerang, with it's somewhat cloudy sound is
really nice in conjunction with a Jam-Man or EDP.



At 09:19 AM 5/28/99 -0400, you wrote:
>Brian Eno has suggested that in the future, kids will be amazed that people
>used to listen to the same piece of music twice.
>
>Kevin
>
>
>
>

. 
...........................................................................
Be the change you want to see in the world. -Mahatma Gandhi (1869-1948)
 

From Loopers-Delight-request@annihilist.com  Tue Jun  1 02:00:32 1999
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Date: Tue, 01 Jun 1999 06:42:59 +0100
From: Gareth Whittock <whiteoak@dial.pipex.com>
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Just though I'd wade in with my own personal reccommendation.

Try the Zoom 8080. I've been using one for years.
Here's the spec, in brief:
18bit a/d
20 bit d/a
compressor, phaser, flanger, distortion, (including nice acoustic guitar
mode), nice octave divider like the old stomp boxes, (1+2 octaves)
reverb,2 pitch shifters, (including intelligent pitch shifting), ring
modulator etc etc.
aux send, programmable amp channel switcher,
Loopwise it has up to 4 sec delay with hold function for infinite
looping plus the ability to build up another independant 4 sec loop on
another patch running at the same time. You can choose ping pong delay,
(up to 2s) in addition to this as a reverb option. In fact you can add
yet another delay in pitchshift delay mode.
In addition to this there are 5 footswitches and 2 foot pedals all of
which output midi information and/or control loop volumes pitch shift
etc.
Of course it's programmable too.
I'm not making this up by the way.

In the American colloquial IT ROCKS!

Just my ha'pence worth,

Gareth

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Date: Tue, 1 Jun 1999 02:51:41 -0300
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From: Matthias Grob <matthias@grob.org>
Subject: Re: Korg ToneWorks AX1-G
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>I use the Akai Headrush everyday and I get NO AUDIBLE CLICK unless I miss the
>loop point badly.  Any sampler will click when the end of the loop and the
>beginning of the loop are out of phase.  And they will not click when the end
>of loop and beginning of loop are in phase.  "Somedays timing is everything."
>
>Bill

I do not agree. We make an effort to crossfade the end of the recording to
the beginning and you get no click, whenever you hit the key. You may get a
bump when you cut a note.

Shure, if there is no sound at the moment of switching, you get no click
even if you do not have the crossfade feature. So this may be the case for
Headrush (which I have not seen yet).




*    Lots of music (samples), inventions (drawings), philosophy:
*         ---> http://Matthias.Grob.org
*    Archive and mailinglist about looping:
*         ---> http://www.annihilist.com/loop/loop.html


From Loopers-Delight-request@annihilist.com  Tue Jun  1 02:23:45 1999
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Date: Mon, 31 May 1999 23:08:07 -0700
To: Loopers-Delight@annihilist.com
From: Kim Flint <kflint@annihilist.com>
Subject: Re: Laptop looper?
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At 9:40 PM -0700 5/31/99, Chuck Zwicky wrote:
>I thought I'd pass this along, it seems that the hardware is ready!
>
>
>New from Ego Systems...
>The Wami Box:  DSP Based 20 Bit 4 Channel Integrated PCMCIA Digital Audio
>System
>with 16 Channel Internal Hardware Mixing & FX, 64 Voice Sampler / Synth

here's the web site:
http://www.egosys.net/eng/wamibox.html

they've got so much in that external box, I think they could have added a
disk drive and LCD and you wouldn't need the laptop anymore....

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


From Loopers-Delight-request@annihilist.com  Tue Jun  1 02:30:25 1999
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Subject: Re: It just goes...
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>Specifically, Eno said: " I think it's possible that our grandchildren will
>look at us in wonder and say: "You mean you used to listen to exactly the
>same thing over and over again?"

Personally, I don't have that much faith in our grandchildren, and expect
they'll be just a bunch of dolts like we are and our grandparents before
us. There's a Backdoor Boys for every generation.

kim
oops, meant "street" ;-)

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


From Loopers-Delight-request@annihilist.com  Tue Jun  1 02:20:31 1999
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From: Matthias Grob <matthias@grob.org>
Subject: Re: Loop length query
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>Patrick wrote:
>
>>   Lately I've been making longer loops of events with silence in between.
>
>interesting, i have also lately been playing with a lot of silence layered in
>between loops; for me, this moves away a bit from the *wall of sound* that the
>luxury of so many layers can easily lead to...
>
>of course walls can be good, but i'm more interested lately in creating
>spaces...
>
>lance g.

oh, nice, that would be the extreme case of the dynamic loops I was
describing. So far I did not have the courage to leave me all alone ;-)




*    Lots of music (samples), inventions (drawings), philosophy:
*         ---> http://Matthias.Grob.org
*    Archive and mailinglist about looping:
*         ---> http://www.annihilist.com/loop/loop.html


From Loopers-Delight-request@annihilist.com  Tue Jun  1 03:23:26 1999
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From: "roberto briozzo" <briozzo@atene.it>
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Date: Tue, 1 Jun 1999 08:46:12 +0200
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Subject: Petition for Scotty Moore
Priority: normal
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Please, forward this mail:

To:  Governor of Oklaoma City governor@oklaosf.state.ok.us 

31 May, Genoa (Italy)

I support the petition  to spare Scotty Moore. I believe in the 
Universal
Declaration of Human Rights for all people, everywhere. I have trust 
in the
Governor of Oklaoma City.

canemacchina
briozzo@atene.it
icq 25922888

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Subject: Re: Petition for Scotty Moore
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At 11:46 PM -0700 5/31/99, roberto briozzo wrote:
>Please, forward this mail:
>
>To:  Governor of Oklaoma City governor@oklaosf.state.ok.us

I think you can have a "Governor of Oklahoma" and a "Mayor of Oklahoma
City", but not a "Governor of Oklahoma City."

>31 May, Genoa (Italy)
>
>I support the petition  to spare Scotty Moore. I believe in the

Is this the same guy who played guitar for Elvis?

speaking of Oklahoma, are there any Okie loopers out there? (I don't think
we've ever discussed looping in Oklahoma before, this seems like a fine
time...)

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


From Loopers-Delight-request@annihilist.com  Tue Jun  1 07:23:09 1999
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what a sensibility, kim.... 

leo

At 02.28 01/06/99 -0700, you wrote:
>At 11:46 PM -0700 5/31/99, roberto briozzo wrote:
>>Please, forward this mail:
>>
>>To:  Governor of Oklaoma City governor@oklaosf.state.ok.us
>
>I think you can have a "Governor of Oklahoma" and a "Mayor of Oklahoma
>City", but not a "Governor of Oklahoma City."
>
>>31 May, Genoa (Italy)
>>
>>I support the petition  to spare Scotty Moore. I believe in the
>
>Is this the same guy who played guitar for Elvis?
>
>speaking of Oklahoma, are there any Okie loopers out there? (I don't think
>we've ever discussed looping in Oklahoma before, this seems like a fine
>time...)
>
>kim
>
>______________________________________________________________________
>Kim Flint                   | Looper's Delight
>kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
>http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com
>
>
>
>

From Loopers-Delight-request@annihilist.com  Tue Jun  1 09:50:40 1999
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Message-ID: <3753E2AE.F8859372@hotjobs.com>
Date: Tue, 01 Jun 1999 09:39:58 -0400
From: Jim Opfinger <jopfing@hotjobs.com>
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Please take me off your list.
Thanks.
The Loopinator.

--
HOTJOBS.COM: "Stronger, Faster, Hire!"
---------------------------------------------------------------------------------------------------------------------------

COME SEE US AT:

IHRIM in Salt Lake City, Utah
June 13-16, 1999
Booth 219 & 221

SHRM in Atlanta, Georgia
June 27-30, 1999
Booths 1537 & 1539
---------------------------------------------------------------------------------------------------------------------------

Jim Opfinger
jopfinger@hotjobs.com
Account Executive
tel: 212.302.0060
fax: 212.944.8962
Hotjobs.com, Ltd.
www.hotjobs.com
---------------------------------------------------------------------------------------------------------------------------

Today has never happened......
---------------------------------------------------------------------------------------------------------------------------



From Loopers-Delight-request@annihilist.com  Tue Jun  1 09:51:29 1999
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From: "Sean Witters" <seanwitters@hotmail.com>
To: Loopers-Delight@annihilist.com
Subject: Short Loops 
Date: Tue, 01 Jun 1999 06:39:46 PDT
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If anyone is using a Boss Se-50 here's a seriously demented short loop idea. 
I suspect this will also work on the Boss Se-70, Roland Gp-8, and Gp-16 
since they are all related, try this on the GT-5 and see if it works.  I 
always swore I'd keep this secret but, I discovered you can make it glitch 
in a beautiful way.  Set the delay feedback at 100% then play into the loop. 
  Enter the menu mode and turn the delay time all the way down.  The pitch 
won't change but your sound will start to fragment into digital shards 
resolving into a chugging locamotive sound, this is fun in itself but keep 
going all the way down to about 20ms or less and suddenly a tone will 
appear.  It sounds a bit like the soundtrack from Atari's Pole Position.  
The pitch of this tone, which exists between 1ms and 20ms (+/-), can be 
tuned by expanding or shortening the ms allowance.  If it starts to fade 
just play another note into it.  You can get here by simply starting with an 
infinite loop of say 20ms or you can scroll down from 1.5 secs.  I like the 
effect of the later because of the way the note appears out of digital 
chaos.  I like to use the results in the loops on my Jam Man because you can 
twiddle about with the up/down value buttons and play these wacky little 
chromatic melodies which sound really unique.  If anyone else is abusing an 
Se-50 and wants to share carefully guarded secrets I'd love to hear more 
ideas.


_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

From Loopers-Delight-request@annihilist.com  Tue Jun  1 12:18:37 1999
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Date: Tue, 01 Jun 1999 11:12:12 -0500
To: Loopers-Delight@annihilist.com
From: Chuck Zwicky <chuck.zwicky@wavefront.com>
Subject: Re: Laptop looper?
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One more item about it....

WaMi Box contains RISC based 50 MIPS DSP engine, 16 MB of internal RAM.
 All this for slightly over $400.




At 11:08 PM 5/31/99 -0700, you wrote:
>At 9:40 PM -0700 5/31/99, Chuck Zwicky wrote:
>>I thought I'd pass this along, it seems that the hardware is ready!
>>
>>
>>New from Ego Systems...
>>The Wami Box:  DSP Based 20 Bit 4 Channel Integrated PCMCIA Digital Audio
>>System
>>with 16 Channel Internal Hardware Mixing & FX, 64 Voice Sampler / Synth
>
>here's the web site:
>http://www.egosys.net/eng/wamibox.html
>
>they've got so much in that external box, I think they could have added a
>disk drive and LCD and you wouldn't need the laptop anymore....
>
>kim
>
>______________________________________________________________________
>Kim Flint                   | Looper's Delight
>kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
>http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com
>
>
>
>

. 
...........................................................................
Be the change you want to see in the world. -Mahatma Gandhi (1869-1948)
 

From Loopers-Delight-request@annihilist.com  Tue Jun  1 13:57:49 1999
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From: "Liebig, Steuart A." <LiebigSA@Maritz.com>
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Subject: RE: Short Loops 
Date: Tue, 1 Jun 1999 13:45:02 -0400 
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> If anyone is using a Boss Se-50 here's a seriously demented short loop
> idea. 
> I suspect this will also work on the Boss Se-70, Roland Gp-8, and Gp-16 
> since they are all related, try this on the GT-5 and see if it works. 
> 
	** you can also do a thing where you have a stereo delay and set one
side to 400ms and the other to 600. you get a nice two against three thing
happening.

	stig

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Jim Opfinger wrote:

> Please take me off your list...
>
>
> Today has never happened......

does this mean we can ignore your request?

lance g.



From Loopers-Delight-request@annihilist.com  Tue Jun  1 14:26:38 1999
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Chuck wrote:

> Eno has typically used several simultaneous, asynchronus loops in his
> compositions. The random overlap at any point in time is a unique event.
> This capability exists  when using several looping boxes, and I
> particularly think that the boomerang, with it's somewhat cloudy sound is
> really nice in conjunction with a Jam-Man or EDP.

thanks...i've been looking to justify the purchase of a 'rang, and this will do
just fine!


lance g.

From Loopers-Delight-request@annihilist.com  Tue Jun  1 14:28:01 1999
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Date: Tue, 1 Jun 1999 14:08:49 -0400 (EDT)
From: billfox@lucent.com (William_B_Fox)
Message-Id: <199906011808.OAA06530@badboy.micro.lucent.com>
To: Loopers-Delight@annihilist.com
Subject: Re: EMUSIC Playlist
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Jeff mentioned:
> Is any of this availiable online? I searched the links but to no avail.
>
> >                         Playlist for "EMUSIC"

I assume that you mean that you want to hear my show over the internet?
If so, it would be my dream to be able to oblige your wish.  Sadly, this
is not a reality.  However, I forward every such message to the station
to keep them informed of the level of interest in netcasting space music
programs.

I know that Chuck van Zyl has netcasted a small number of his programs,
but I'd LOVE to be the first to do so on a regular basis.  That would
increase the visibility of me, my show, the artists played, WDIY, and
the Lehigh Valley (Allentown and vicinity, located in eastern
Pennsylvania, USA).  When fund raising rolls around, the internet
audience would represent an additional source of new members for our
community public radio station.  I'm sure that the expense of netcasting
would be carefully weighed against the revenue you space music fans
represent out there in cyberspace.  We may be non-profit, but it still
takes funding to anything.

Bill	home: billfox@fast.net	work: billfox@lucent.com
==============================================================================
Host of Emusic, an electronic, ambient, and space music show.  Thursdays at
11pm on WDIY 88.1 FM, Allentown and Bethlehem and 93.9 FM in Easton and
Phillipsburg.  Email me if you wish to submit music for airplay consideration.
==============================================================================
My radio show:	http://www.wdiyfm.org
My band's site:	http://www.crosswinds.net/~shadowplay

From Loopers-Delight-request@annihilist.com  Tue Jun  1 14:36:13 1999
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From: "Michal Kopczak" <mkopczak@kki.net.pl>
To: <Loopers-Delight@annihilist.com>
Subject: Looking for OE
Date: Mon, 31 May 1999 07:31:14 +0200
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This is a multi-part message in MIME format.

------=_NextPart_000_00F4_01BEAB37.9062D620
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	charset="iso-8859-2"
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Hi there!
Does anybody have Oberheim or
Jamman for selling in Europe?
(I'm from Poland)
Best Wishes: Michal Kopczak
mkopczak@kki.net.pl


                                                      =20

------=_NextPart_000_00F4_01BEAB37.9062D620
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-2 =
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<META content=3D'"MSHTML 4.71.2016.0"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#d8d0c8>
<DIV>&nbsp;</DIV>
<DIV><FONT color=3D#000000 face=3DArial size=3D2>Hi =
there!</FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Does anybody have Oberheim =
or</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Jamman for selling in =
Europe?</FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>(I'm from Poland)</FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Best Wishes: Michal =
Kopczak</FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"mailto:mkopczak@kki.net.pl">mkopczak@kki.net.pl</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 face=3DArial=20
size=3D2><BR>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n=
bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb=
sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=20
</FONT>&nbsp;</DIV></BODY></HTML>

------=_NextPart_000_00F4_01BEAB37.9062D620--



-- 
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From Loopers-Delight-request@annihilist.com  Tue Jun  1 14:53:21 1999
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From: "K. Douglas Baldwin" <dbaldwin@suffolk.lib.ny.us>
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-----Original Message-----
From: Todd Madson <crash@waste.org>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Friday, May 28, 1999 8:43 AM
Subject: It just goes...


>Anyone get the urge to just put a loop on and let it go throughout the
>afternoon?  Sometimes letting a loop cycle for hours is a fun thing.

Yes, I have left loops on for hours, even days. The Electro Harmonix
16-second delay was the most degenerative, sounding like slowed-down robots
gargling with industrial solvents in a matter of hours. Using a DigiTech
RP-7 with two delays, one at about 20ms and one at 3,5 seconds, I discovered
the "tunability" of short, resonant delays - no matter what you play, if you
let them regenerate long enough, they become one big note. Which means that
all regularly repeating cycles are big notes, but we all know that already,
don't we? Farnk Zappa often commented on this phenomenon too.
    If I keep any loop on long enough (anywhere from a half hour to one hour
or more), I have very pleasant audio hallucinations where EVERYTHING sounds
like it's part of the loop AFTER the loop is turned off. LaMonte Young kept
carefully tuned oscillators playing in his home for months at a time, which
possibly would create a similar effect. Comments from others?

From Loopers-Delight-request@annihilist.com  Tue Jun  1 14:57:02 1999
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In a message dated 6/1/99 12:38:03 AM, you wrote:

<<Something nobody mentioned in this thread, which seems obvious to me but I
guess not to all you arty ambient soundscape guys, is looping the chord
progression or bassline >>

Au contraire--or whatever!  
Speaking I'm sure for the entire community of artFUL ambient soundscape 
guys---AND gurls, I for one found this idea SO OBVIOUS as to place it beneath 
notice as a discussable function of a serious looping device.
so there.
dpc

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From: improv@peak.org (Dave Trenkel)
Subject: Re: Short Loops
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>If anyone is using a Boss Se-50 here's a seriously demented short loop idea.
>I suspect this will also work on the Boss Se-70, Roland Gp-8, and Gp-16
>since they are all related, try this on the GT-5 and see if it works.  I
>always swore I'd keep this secret but, I discovered you can make it glitch
>in a beautiful way.  Set the delay feedback at 100% then play into the loop.
>  Enter the menu mode and turn the delay time all the way down.  The pitch
>won't change but your sound will start to fragment into digital shards
>resolving into a chugging locamotive sound, this is fun in itself but keep
>going all the way down to about 20ms or less and suddenly a tone will
>appear.  It sounds a bit like the soundtrack from Atari's Pole Position.
>The pitch of this tone, which exists between 1ms and 20ms (+/-), can be
>tuned by expanding or shortening the ms allowance.  If it starts to fade
>just play another note into it.  You can get here by simply starting with an
>infinite loop of say 20ms or you can scroll down from 1.5 secs.  I like the
>effect of the later because of the way the note appears out of digital
>chaos.  I like to use the results in the loops on my Jam Man because you can
>twiddle about with the up/down value buttons and play these wacky little
>chromatic melodies which sound really unique.  If anyone else is abusing an
>Se-50 and wants to share carefully guarded secrets I'd love to hear more
>ideas.

You can do a similar effect on a Lexicon LXP-5 with an MRC controller, grab
a loop at the maximum mono delay time (a bit over a second), with the
feedback at 100%, play with the delay time slider. You can get some cool
stuttering effects if you quickly and drastically shorten then re-lengthen
the loop.

________________________________________________________
Dave Trenkel : improv@peak.org  : www.peak.org/~improv/

"...there will come a day when you won't have to use
gasoline. You'd simply take a cassette and put it in
your car, let it run. You'd have to have the proper
type of music. Like you take two sticks, put 'em
together, make fire. You take some notes and rub 'em
together - dum, dum, dum, dum - fire, cosmic fire."
                                            -Sun Ra
________________________________________________________


From Loopers-Delight-request@annihilist.com  Tue Jun  1 15:25:44 1999
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From: miguel.barella@poyry.com.br (MAT)
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Yes, I have left loops on for hours, even days.

I also did it a couple of times and the main reason was to "break in" new
devices. In one ocasion I had a JamMan + Vortex + EDP for the whole weekend with
the same loop and every time I stopped to rally listen the loop was somehow
different (althogh nothing was added or subtracted). This was one of the reasons
I was initialy attracted to loops: they change because they are always the same.

Miguel



From Loopers-Delight-request@annihilist.com  Tue Jun  1 16:22:51 1999
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Date: Tue, 01 Jun 1999 16:10:35 -0400
From: Jeff Duke <jmar@bellsouth.net>
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Thanks Bill, I would love to hear it online so if it would help I'll write often.

Here in Atlanta we have one of if not the first online radio station WREK FM. You
might wish to check them out at http://cyberbuzz.gatech.edu/wrek/wrek.html
Wonderful station that has warped my mind for over 20 years.

Good Luck,
Jeff
http://members.xoom.com/echo17/tbl.html

William_B_Fox wrote:

> Jeff mentioned:
> > Is any of this availiable online? I searched the links but to no avail.
> >
> > >                         Playlist for "EMUSIC"
>
> I assume that you mean that you want to hear my show over the internet?
> If so, it would be my dream to be able to oblige your wish.  Sadly, this
> is not a reality.  However, I forward every such message to the station
> to keep them informed of the level of interest in netcasting space music
> programs.
>
> I know that Chuck van Zyl has netcasted a small number of his programs,
> but I'd LOVE to be the first to do so on a regular basis.  That would
> increase the visibility of me, my show, the artists played, WDIY, and
> the Lehigh Valley (Allentown and vicinity, located in eastern
> Pennsylvania, USA).  When fund raising rolls around, the internet
> audience would represent an additional source of new members for our
> community public radio station.  I'm sure that the expense of netcasting
> would be carefully weighed against the revenue you space music fans
> represent out there in cyberspace.  We may be non-profit, but it still
> takes funding to anything.
>
> Bill    home: billfox@fast.net  work: billfox@lucent.com
> ==============================================================================
> Host of Emusic, an electronic, ambient, and space music show.  Thursdays at
> 11pm on WDIY 88.1 FM, Allentown and Bethlehem and 93.9 FM in Easton and
> Phillipsburg.  Email me if you wish to submit music for airplay consideration.
> ==============================================================================
> My radio show:  http://www.wdiyfm.org
> My band's site: http://www.crosswinds.net/~shadowplay

From Loopers-Delight-request@annihilist.com  Tue Jun  1 16:46:29 1999
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From: Dpcoffin@aol.com
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Date: Tue, 1 Jun 1999 16:38:05 EDT
Subject: Before I buy a Vortex...
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I'm about to spend $250 on a used Vortex...anybody wanna make me a better 
offer before I send the check?

...and does anybody know where I can get a copy of the Applications guide 
that used to come with 'em? Lexicon Customer Service hadn't a clue.
Thanks!
David Coffin
you can call me at work--800-283-7252, ext. 518

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From: "Liebig, Steuart A." <LiebigSA@Maritz.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: shameless gig plugs . . . l.a. and s.f. 
Date: Tue, 1 Jun 1999 17:36:05 -0400 
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Steuart Liebig [basses/loopage/effects]; Vinny Golia [woodwinds]; Billy
Mintz [drumset]


6 June 1999, 8:00 p.m.

with Will Salmon [flute/voice]; William Roper [tuba]; Alex Cline
[percussion]

at Pasadena Shakespeare Company Theater, Pasadena, California

(626) 795-4989

$10.00 Admission

(in the Pasadena Mall 296 Plaza, 2nd Level; Free Parking in the Mall parking
structure
Enter on Green Street between Euclid and Los Robles pedestrian bridge, 
theatre is the first venue on the left upon entering the mall)

                            
****************************************************************************
***********

STINKBUG 

(Nels Cline [guitars/loopage/stuff]; G.E. Stinson [guitars/loopage/stuff]; 
Steuart Liebig [basses/loopage/stuff]; Scott Amendola [Drumset])


7 June and 8 June 1999

Two sets nightly

$ 5.00 admission (?) 

AT BRUNOS, 2389 MISSION STREET,  SAN FRANCISCO, CA

From Loopers-Delight-request@annihilist.com  Tue Jun  1 17:31:30 1999
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From: "Liebig, Steuart A." <LiebigSA@Maritz.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: FW: bootstrap improvisational music festival
Date: Tue, 1 Jun 1999 17:24:16 -0400 
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> (please accept our apologies if you recieve this more than once due to
> many performers and overlap of mail lists. please respond with remove if
> you do not wish to be on this list. Feel free to forward this to any
> interested parties)
> 
> YOU ARE CORDIALLY INVITED TO ATTEND:
> 
> bootstrap:  creative emergence
> Music Festival
> June 11-13, 1999
> Electric Lodge, Venice, CA
> 1416 Electric Ave.
> 
> Tickets: $15 per event ($10 for students w/valid ID)
> Tickets on sale one hour before performance time. Seating is limited
> Please Use Free On-site Parking
> e mail:  om@metarecords.com
> Schedule details:  Working Class Productions: 323-692-8080
> 
> Performance Schedule:
>  
> FRIDAY June 11 8pm
> Shankar with Kevin Eubanks, Bob Hurst and Adam Rudolph
>  - One of the world's foremost Indian classical musicians and
> cross-cultural music innovators on vocal and double-neck violin presents
> a new group featuring Tonight Show band leader, Eubanks and others.
> Larry Karush Ensemble with Trey Henry, Kendall Kay, Luca Brandoli and
> Bob Fernandez
>  - Known for his work Oregon and Steve Reich, Karush's music places
> elements of Indian, African, Brazilian and contmporary western art music
> in the framework of a percussion flavored jazz ensemble. 
> 
> 
> SATURDAY June 12 3pm
> Bennie Maupin and Friends
>  - Woodwind innovator Bennie Maupin is known for his groundbreaking work
> with Miles Davis and Herbie Hancock.  Look for new compositions
> debuted by this new ensemble.  
> 
> David Cherry and "Impressions of Energy" with Javier Vergara, 
> Jon Williams, Ollie Elder Jr., Robert Ikiz
>  - David's music is harmolodic world music: a multi-kulti blend of roots
> and textures influenced by Don Cherry's Organic Music and Ornette
> Coleman's Harmolodic concepts.
> 
> 
> SATURDAY June 12 8pm
> Adam Rudolph Metamusic Ensemble with I Nyomen Wenten, Charles Moore,
> Ralph Jones, G.E. Stinson, and Jeff Rona
>  - Fresh from recent touring with Yusef Lateef and Pharoah Sanders,
> Rudolph returns to Los Angeles with the premier of his new ensemble. 
> Hailed as "a pioneer in world music" (NY Times), Rudolph's new
> composition features live computer generated electronics, Indonesian
> percussion, guitar and winds in an improvisational exploration. 
> 
> Namah with Pejman Hadadi, dancer Banafsheh, Greg Ellis, Ramin Torkian,
> Afshin Mehrassa, and Shahram Hashemi 
>  - Namah is a contemporary expression of Persian classical music with
> percussion, strings & dance improvisation.
> 
> SUNDAY June 13 3pm
> Bobby Bradford and Vinny Golia Quartet with Alex Cline and Roberto
> Miranda
>  - Bobby Bradford has long been acknowledged as one of the great
> improvisors on the LA scene.  Known for his work with Ornette Coleman,
> he reunites here with fantastic LA woodwind/composer Vinny Golia and his
> other longtime collaborators for bootstrap.
> 
> Leimert Park Artists Collective with Billy Higgins, Kamau Daaood, Dwight
> Trible and Derf Reklaw 
>  - Legendary jazz drummer Billy Higgins will be joined by members of the
> Pan Afrikan People's Arkestra and percussion great Derf Reklaw. 
> 
> 
> SUNDAY June 13 8pm
> World Premeire of "Saxophone Trio" Opus 2 No. 2 composed by Yusef Lateef
> performed by Ralph Jones, Bennie Maupin and Vinny Golia.
>  - Legendary composer/performer Yusef Lateef has generously contributed
> his support to the bootstrap festival by composing this new work.
> 
> Joshua Natural Sound (solo) 
>  - The multi instrumentalist will present a 15 minute solo work for
> bamboo flutes and kalimbas.
> 
> New Music Monday Collective with Emily Hay, G.E. Stinson, Alex Cline,
> Karou, Jeff Gauthier, Steuart Liebig
>  - A Tribute to Alligator Lounge New Music Monday Series combinations of
> trios, quartets and electrified improvisation
> 
> 
> bootstrap improvisational music festival:  a celebration  aural
> possibilities, will feature internationally acclaimed touring and
> recording composer/improvisers who live in Los Angeles.  bootstrap will
> present these artists in newly commissioned compositions and premieres
> of ensembles created especially for the festival. 
> 
> bootstrap creative emergence also marks the grand opening month of the 
> Electric Lodge, Venice's beautiful multipurpose community arts center
> and is a collaboration between the above mentioned artists, Electric
> Lodge and Working Class Productions who brought you RISE and the new 
> TRANSMISSIONSERIES.
> 
> bootstrap exists free of any corporate sponsorship or endorsements
> 
> 
> 
> -- 
> Website:  http://www.metarecords.com

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From: Crossedout@aol.com
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Date: Tue, 1 Jun 1999 18:32:18 EDT
Subject: OT - Emagic Audiowerk2 card....
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Hey all - 

sorry for the off-topic post, but I have limited resources otherwise for 
less-biased opinions on computer/music interfacing....

anyone have any opinions on the above-mentioned card? I need something that 
will at least get me an s/pdif interface between my DAT and the computer, and 
this one seems to have the digital and audio outs covered at a pretty decent 
price ($250). 

It's either this or the Alesis Adat computer interface, which I'm going to go 
check out online right now. 

any info would be appreciated. Thanks. 

- Bill
Crossedout@aol.com

From Loopers-Delight-request@annihilist.com  Tue Jun  1 18:09:10 1999
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Date: Tue, 01 Jun 1999 17:59:08 -0400
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From: "earthblind, starbound" <leper@mindspring.com>
Subject: new grendel song
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OK, well, it's a month late, but with the creative block (in most
everything--even with writing I've got nothing beyond a lot of scribbles
to put to use later) I have, plus the major stress/incredible landslide
of work trying to find a job so I'll have somewhere to live in two months,
let's just say that there probably won't be a new song for three months
at the least, and that's IF I survive that long(considerably less than
100%).  So I wanted to drag it out.

No matter, I finally decided to send it up.  Go to
http://www.geocities.com/SoHo/Atrium/4664 or the URL in my .sig and
download whichever is your fancy, realaudio or mp3.  This one is a
sort of jazz/metal/loop bit with special help from Bill Hicks.  Under
Songs, that's where you'll find the song.

-- 
Listen to Grendel (ambient/signal music) at http://listen.to/grendel
Coming soon-ish to an IP address near you: "Life in Flames," a serial.
  ++Note, my return address may be munged.  You make the call.++

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From: Stephan Ball <steverb@earthlink.net>
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While I may be dating myself a bit, I've never had the urge to part with my old
(original issue) Yamaha DX-7.  As most know, this synth isn't multi-timbral;
thus making the EDP an excellent tool for multi part, shortish compositions with
a single DX-7.  The tonal combinations of this single (digital in character)
instrument can be quite varied with a little care in patch selection.  The 'plex
also works nicely in this capacity with the Oberheim Xpander, an older analog
synth that's multi-timbral, but limited to six voice polyphony.  Long loops make
for nice combinations with these two guys, plus various guitar, etc., blended
in.  The 'plex really expands the scope of these wonderful instruments.

Steve
Cincinnati, OH



From Loopers-Delight-request@annihilist.com  Tue Jun  1 18:53:08 1999
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From: Stephan Ball <steverb@earthlink.net>
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I know this is getting pretty far out in OT land, but I often notice (or maybe
just lapse into a particular state) that when in a "noisy" environment such as a
crowded restaurant, an effort can be made to treat all of the various sounds
(snippets of conversations, clinks of glass and silverware, etc., at various
frequencies) in a detached or homogeneous way.  The result is a rather smooth
cacophony that rises and falls with bits of recognizable verbage coming
occasionlly to the surface.  It takes a little effort to treat all of the sound
sources in such an environment as totally equal with no intrinsic meaning in
terms of language, etc., but the result is a very interesting and somewhat
exhilarating, "sound collage" experience.

This is probably brought on by many years of intense listening to music of
various sorts (including my own) and probably fostered my current interest in
some of the more ambient derivations of electronica by groups such as the Orb
and FSOL.  The point in all this?  Uh, well....

Steve


K. Douglas Baldwin wrote:

> .....If I keep any loop on long enough (anywhere from a half hour to one hour
> or more), I have very pleasant audio hallucinations where EVERYTHING sounds
> like it's part of the loop AFTER the loop is turned off. LaMonte Young kept
> carefully tuned oscillators playing in his home for months at a time, which
> possibly would create a similar effect. Comments from others?



From Loopers-Delight-request@annihilist.com  Tue Jun  1 20:19:34 1999
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From: Tim Nelson <tcn62@ici.net>
Subject: Re: It just goes...
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Sounds like that old Erik Satie thing about music written to mingle with
the sounds of the knives and forks... or Eno's comments in the notes to
Discreet Music where he talks about accidentally setting the volume too low
when playing some harp music, and then realizing that the other sounds he
was hearing could be experienced in much the same way as the music; a new
way of listening...

Tim

At 06:52 PM 6/1/99 -0400, you wrote:
... when in a "noisy" environment such as a
>crowded restaurant, an effort can be made to treat all of the various sounds
>(snippets of conversations, clinks of glass and silverware, etc., at various
>frequencies) in a detached or homogeneous way.  The result is a rather smooth
>cacophony that rises and falls with bits of recognizable verbage coming
>occasionlly to the surface.  It takes a little effort to treat all of the
sound
>sources in such an environment as totally equal with no intrinsic meaning in
>terms of language, etc., but the result is a very interesting and somewhat
>exhilarating, "sound collage" experience.

From Loopers-Delight-request@annihilist.com  Tue Jun  1 21:02:10 1999
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Date: Tue, 1 Jun 1999 20:40:29 -0400 (EDT)
From: Unit Circle Media <unitcirc@unitcircle.com>
To: Loopers-Delight@annihilist.com
Subject: Re: Laptop looper?
In-Reply-To: <3.0.6.32.19990531234009.009ec420@POP.VISI.com>
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Wow, the Ego-sys box looks pretty damn cool, but the only price I could
find for it was at Thinkware for $600, where did you see it for $400?

	Kevin


Kevin Goldsmith				kevin@unitcircle.com
Unit Circle Media			http://www.unitcircle.com/


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From: "Steven Perry" <sper@sunlink.net>
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Subject: Re: Before I buy a Vortex...
Date: Tue, 1 Jun 1999 21:06:58 -0400
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Sure --  how 'bout $275?

-----Original Message-----
From: Dpcoffin@aol.com <Dpcoffin@aol.com>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Tuesday, June 01, 1999 4:52 PM
Subject: Before I buy a Vortex...


>I'm about to spend $250 on a used Vortex...anybody wanna make me a better 
>offer before I send the check?
>


From Loopers-Delight-request@annihilist.com  Tue Jun  1 21:39:32 1999
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From: "James Pokorny" <j.pokorny@worldnet.att.net>
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Subject: Re: It just goes...
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Stephan said:

>I often notice (or maybe
>just lapse into a particular state) that when in a "noisy" environment such
as a
>crowded restaurant, an effort can be made to treat all of the various
sounds
>(snippets of conversations, clinks of glass and silverware, etc., at
various
>frequencies) in a detached or homogeneous way.  The result is a rather
smooth
>cacophony that rises and falls with bits of recognizable verbage coming
>occasionlly to the surface.  It takes a little effort to treat all of the
sound
>sources in such an environment as totally equal with no intrinsic meaning
in
>terms of language, etc., but the result is a very interesting and somewhat
>exhilarating, "sound collage" experience.
>
>This is probably brought on by many years of intense listening to music of
>various sorts (including my own)

I think we're getting back into the realm of "loop religion" here!  I've had
similar experiences where I tend to zone out by intensely concentrating on
and/or suddenly becoming aware of all the surrounding sounds.  I realize
that this is recommended within Buddhism as an exercise in centering and
focus.  I'm no student of Buddhism, but I always liked this idea, at least
in theory.  And I believe that this was the basis of John Cage's
experimental "composition" called 4'33" (performer sits behind instrument
and remains silent for 4 minutes and 33 seconds -- the point being that all
the ambient sounds of the hall [papers rustling, throats clearing, overhead
fans whirring, etc.] ARE the music.)

But to be honest, I get a little frightened when I realize that I've been
driving on an expressway at 75 mph with the windows down and enjoying the
"musical content" of vehicles rushing by in the opposite lanes, horns
honking, all the pings and buzzes that emanate from my dashboard, etc.  It
makes me think -- OK, it's great that I can think of this as "music" -- but
I should be concentrating more on my driving!  I wouldn't want the
performance to end with squealing brakes and crunching metal.

A month or two ago I was walking down several flights of stairs in my
building at work.  The steam pipes starting hissing and giving off a fairly
strident, screechy sound.  But then a second tone arose, quickly followed by
a third.  Despite the unpleasant texture of the hiss, the resulting chord
was really quite lovely.  It made me wonder how often this sort of thing
occurs.  I had the idea that I'd wind up sneaking away from my desk and
spending hours loitering in the stairwell waiting for it to happen again.
But common sense prevailed and I haven't started this practice.  Yet.

A rather more pleasant experience occurred last week.  I woke up at about
4:30 in the morning because all the birds outside my window were waking up
(these birds are LOUD).  Usually when this happens I get angry since it's
hard to get back to sleep for another hour until they calm down, which is
when I'm getting up anyway.  But this one morning I sort of slowly drifted
into wakefulness, suddenly realizing that each different bird was singing
it's own "looped" melodic pattern, which would come around again and again.
There must have been six or seven different species of birds, because there
was a real sense of order -- one "loop" running and interacting with
another, some moments of silence, more "loops" entering, etc.  It was a very
full sound altogether, and also much more soothing than I'd ever thought
possible.  I had always regarded the use of bird sounds in recorded music as
being extremely trite, but this was music enough in itself and didn't need
any human interaction (except for the listening).  I don't know that I would
ever have come to this realization if I hadn't been involved in looping.

So I'm having somewhat of a dilemma here -- am I evolving as a listener to
the point where random sound can be as pleasant and meaningful as
"structured" music, or am I just losing it big time?

James

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From: Nemoguitt@aol.com
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In a message dated 6/2/99 12:39:42 AM Mid-Atlantic Daylight Time, 
j.pokorny@worldnet.att.net writes:

<< or am I just losing it big time? >>

yes........isnt it wonderfull?........also very inexpensive!..........michael

From Loopers-Delight-request@annihilist.com  Wed Jun  2 00:48:10 1999
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From: Hawkeye255@aol.com
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Date: Wed, 2 Jun 1999 00:43:11 EDT
Subject: Re: It just goes...
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<< am I evolving as a listener to the point where random sound can be as 
pleasant and meaningful as "structured" music, or am I just losing it big 
time?
       James >>
				yes and yes 
	   				(looped over "the sound of one hand 
clapping")  
							Zen, Fractals and 
Chaos Theory...

I'm sitting here smiling from ear to ear, in recognition, because I often 
experience the same sort of things you describe.  And I suspect we're not 
alone in this.  ;-) 				-hawkeye

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Date: Wed, 02 Jun 1999 13:56:25 +1000
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thanks Sean!

this effect seems to use one of the strengths of the se-50... wide ranging and
very finely graduated parameters...
here's another boss abuse : in the stereo pitch shifter, if you set one shifter
an octave down, the other an octave up and turn the cross-feedback way up
(setting a >100ms pre-delay on both shifters) you get this very distinctive
resonance.. hmmm.. maybe this is dependent on the exact pre-delay i have set
(which i cant remember... something like 300 and 400 ms) but i'm guessing
not.... anything you play gets transformed into this glassy pipe organ thing...

brad

Sean Witters wrote:

> If anyone is using a Boss Se-50 here's a seriously demented short loop idea.
> I suspect this will also work on the Boss Se-70, Roland Gp-8, and Gp-16
> since they are all related, try this on the GT-5 and see if it works.  I
> always swore I'd keep this secret but, I discovered you can make it glitch
> in a beautiful way.  Set the delay feedback at 100% then play into the loop.
>   Enter the menu mode and turn the delay time all the way down.  The pitch
> won't change but your sound will start to fragment into digital shards
> resolving into a chugging locamotive sound, this is fun in itself but keep
> going all the way down to about 20ms or less and suddenly a tone will
> appear.  It sounds a bit like the soundtrack from Atari's Pole Position.
> The pitch of this tone, which exists between 1ms and 20ms (+/-), can be
> tuned by expanding or shortening the ms allowance.  If it starts to fade
> just play another note into it.  You can get here by simply starting with an
> infinite loop of say 20ms or you can scroll down from 1.5 secs.  I like the
> effect of the later because of the way the note appears out of digital
> chaos.  I like to use the results in the loops on my Jam Man because you can
> twiddle about with the up/down value buttons and play these wacky little
> chromatic melodies which sound really unique.  If anyone else is abusing an
> Se-50 and wants to share carefully guarded secrets I'd love to hear more
> ideas.
>
> _______________________________________________________________
> Get Free Email and Do More On The Web. Visit http://www.msn.com

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From: Dpcoffin@aol.com
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Date: Wed, 2 Jun 1999 00:19:30 EDT
Subject: Re: OT - Emagic Audiowerk2 card....
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In a message dated 6/1/99 6:47:55 PM, Crossedout@aol.com writes:

>anyone have any opinions on the above-mentioned card? 
Hey, Bill
I expect to have one of these before the month is out...so no experience yet, 
but it seems to be a fantastic bargain, esp. for the Mac, since it comes with 
a Masterlist equivalent, plus ASIO and Sound Manager drivers, and its daddy, 
the aw8 got good reviews for its A/D converters. Describing it recently to a 
Sweetwater salesman (reading from the Harmony central press release) was 
kinda fun, since he was trying to sell me some other nearly $1000 card with 
very fussy tastes regarding compatible CD burners PLUS Masterlist for another 
$400+. He seemed to be watching the digital audio landscape change before his 
very eyes as he pulled up the aw2 data on his own computer...
The eMagic tech guy I spoke to was very definite about how UNfussy the aw2 
would be re: other hardware, but that remains to be seen of course.
 Please post or PEM anything you learn about it. 
Thanks
David

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Date: Tue, 1 Jun 1999 21:56:04 -0700 (PDT)
From: John Tidwell <wedgehed@yahoo.com>
Subject: Re: Before I buy a Vortex...
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I just bought a new Vortex last week from Big City
Music. http://www.bigcitymusic.com

The price was $319 +s/h (I also had to lay out an
extra
six dollars because I used a credit card).

The guy's name is Roger & he told me that he had 
several more new ones in stock. The one that I
received
had definately never been opened. If I recall
correctly, the Lexicon inspection slip inside
indicated
that mine was manufactured in 1993.

It could be worth the extra money just to have one
with no mileage on the knobs. It seems that I read in
the LD archives that the knobs were the parts most
prone to going bad.

Mine checks out fine so far. I just haven't had time
to do anything more than check the presets. I'm
looking forward to introducing it to my EDP.

Oh, I printed the applications guide from the Vortex
page at LD. You might have to have a color printer
though. Mine printed out in light blue print.

John



--- Dpcoffin@aol.com wrote:
> I'm about to spend $250 on a used Vortex...anybody
> wanna make me a better 
> offer before I send the check?
> 
> ...and does anybody know where I can get a copy of
> the Applications guide 
> that used to come with 'em? Lexicon Customer Service
> hadn't a clue.
> Thanks!
> David Coffin
> you can call me at work--800-283-7252, ext. 518
> 
> 



===
John Tidwell



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From Loopers-Delight-request@annihilist.com  Wed Jun  2 01:45:10 1999
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check w/ guitar center. isn't it published on the lexicon website? if not i
can make you a copy of mine...it should be on the wb somewhere...peace,
                        paulDpcoffin@aol.com wrote:

> I'm about to spend $250 on a used Vortex...anybody wanna make me a better
> offer before I send the check?
>
> ...and does anybody know where I can get a copy of the Applications guide
> that used to come with 'em? Lexicon Customer Service hadn't a clue.
> Thanks!
> David Coffin
> you can call me at work--800-283-7252, ext. 518



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Date: Wed, 02 Jun 1999 00:42:14 -0700
From: Clifford Novey <clifsound@earthlink.net>
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Man, you are definitely going crazy!

No- kidding- actually you are blessed in noticing so many details in the
everyday things around you- sounds like a potential source of creative
inspiration!

Cliff

James Pokorny wrote:

> Stephan said:
>
> >I often notice (or maybe
> >just lapse into a particular state) that when in a "noisy" environment such
> as a
> >crowded restaurant, an effort can be made to treat all of the various
> sounds
> >(snippets of conversations, clinks of glass and silverware, etc., at
> various
> >frequencies) in a detached or homogeneous way.  The result is a rather
> smooth
> >cacophony that rises and falls with bits of recognizable verbage coming
> >occasionlly to the surface.  It takes a little effort to treat all of the
> sound
> >sources in such an environment as totally equal with no intrinsic meaning
> in
> >terms of language, etc., but the result is a very interesting and somewhat
> >exhilarating, "sound collage" experience.
> >
> >This is probably brought on by many years of intense listening to music of
> >various sorts (including my own)
>
> I think we're getting back into the realm of "loop religion" here!  I've had
> similar experiences where I tend to zone out by intensely concentrating on
> and/or suddenly becoming aware of all the surrounding sounds.  I realize
> that this is recommended within Buddhism as an exercise in centering and
> focus.  I'm no student of Buddhism, but I always liked this idea, at least
> in theory.  And I believe that this was the basis of John Cage's
> experimental "composition" called 4'33" (performer sits behind instrument
> and remains silent for 4 minutes and 33 seconds -- the point being that all
> the ambient sounds of the hall [papers rustling, throats clearing, overhead
> fans whirring, etc.] ARE the music.)
>
> But to be honest, I get a little frightened when I realize that I've been
> driving on an expressway at 75 mph with the windows down and enjoying the
> "musical content" of vehicles rushing by in the opposite lanes, horns
> honking, all the pings and buzzes that emanate from my dashboard, etc.  It
> makes me think -- OK, it's great that I can think of this as "music" -- but
> I should be concentrating more on my driving!  I wouldn't want the
> performance to end with squealing brakes and crunching metal.
>
> A month or two ago I was walking down several flights of stairs in my
> building at work.  The steam pipes starting hissing and giving off a fairly
> strident, screechy sound.  But then a second tone arose, quickly followed by
> a third.  Despite the unpleasant texture of the hiss, the resulting chord
> was really quite lovely.  It made me wonder how often this sort of thing
> occurs.  I had the idea that I'd wind up sneaking away from my desk and
> spending hours loitering in the stairwell waiting for it to happen again.
> But common sense prevailed and I haven't started this practice.  Yet.
>
> A rather more pleasant experience occurred last week.  I woke up at about
> 4:30 in the morning because all the birds outside my window were waking up
> (these birds are LOUD).  Usually when this happens I get angry since it's
> hard to get back to sleep for another hour until they calm down, which is
> when I'm getting up anyway.  But this one morning I sort of slowly drifted
> into wakefulness, suddenly realizing that each different bird was singing
> it's own "looped" melodic pattern, which would come around again and again.
> There must have been six or seven different species of birds, because there
> was a real sense of order -- one "loop" running and interacting with
> another, some moments of silence, more "loops" entering, etc.  It was a very
> full sound altogether, and also much more soothing than I'd ever thought
> possible.  I had always regarded the use of bird sounds in recorded music as
> being extremely trite, but this was music enough in itself and didn't need
> any human interaction (except for the listening).  I don't know that I would
> ever have come to this realization if I hadn't been involved in looping.
>
> So I'm having somewhat of a dilemma here -- am I evolving as a listener to
> the point where random sound can be as pleasant and meaningful as
> "structured" music, or am I just losing it big time?
>
> James

From Loopers-Delight-request@annihilist.com  Wed Jun  2 04:25:57 1999
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Date: Wed, 02 Jun 1999 17:58:37 +1000
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John Tidwell wrote:

> I just bought a new Vortex last week from Big City
> Music. http://www.bigcitymusic.com
>
> The price was $319 +s/h (I also had to lay out an
> extra
> six dollars because I used a credit card).

ahhhh... this makes me feel *just a little* better about forking out
AU$700 for an ex-demo 'texter (yep. that was me a while ago
contemplating this less-than-ideal-we've-got-one-left deal... managed to
talk them down from AU$800.. \begin{sarcasm} woohoo \end{sarcasm}... at
least i'm not the US$700-for-a-used-jamman guy tho! :)

that said.... believe the hype... the 'texter is without doubt a very
strange creature in dire need of a mood management course. capable of
subtly caressing or totally and brutally mangling a loop. capable of
tangentalising(?) the feel of delay based rhythmic loops...all very
organically... one minute it's a toy making fart noises and the next
it's a surreal whispering chasm...

and now that i've justified the purchase to myself...

does anyone else have this problem (bug?) : with a footpedal connected
(i found the cheap-assed "proel" expression/vol pedal works a treat) and
bypassed, the 'texter seems to not accept a delay tap from the front
panel 100% of the time (and yes, this is with the parameter knob
pointing at one of the "echo /"s).. not serious i guess but
unpredictable therefore infuriating...

brad

From Loopers-Delight-request@annihilist.com  Wed Jun  2 05:37:00 1999
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From: PMimlitsch@aol.com
Message-ID: <830441bb.24865075@aol.com>
Date: Wed, 2 Jun 1999 05:16:37 EDT
Subject: Re:  OT - Emagic Audiowerk2 card....
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I'm currently using the Audiowerk8 card with Logic and it works great.

From Loopers-Delight-request@annihilist.com  Wed Jun  2 06:11:00 1999
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Date: 	Wed, 2 Jun 1999 05:04:38 -0500 (CDT)
Sender: crash@waste.org
From: Todd Madson <crash@waste.org>
To: Loopers-Delight@annihilist.com
Subject: Scotty Moore?
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Spare Scotty Moore?

Last I heard he was doing special recording projects with various 50s
recording artists.  Why would we ask that the governor of Oklahoma "spare"
him?

Todd Madson
Musician, Mountain Biker, Stunt Kite Flyer, BeOS/MacOS/Linux/WinNt user.
http://www.waste.org/~crash/index.html

From Loopers-Delight-request@annihilist.com  Wed Jun  2 06:22:13 1999
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From: "roberto briozzo" <briozzo@atene.it>
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what a funny joke.....


> Spare Scotty Moore?
> 
> Last I heard he was doing special recording projects with various 50s
> recording artists.  Why would we ask that the governor of Oklahoma "spare"
> him?
> 
> Todd Madson
> Musician, Mountain Biker, Stunt Kite Flyer, BeOS/MacOS/Linux/WinNt user.
> http://www.waste.org/~crash/index.html
> 


canemacchina
briozzo@atene.it
icq 25922888

From Loopers-Delight-request@annihilist.com  Wed Jun  2 06:17:58 1999
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Date: Wed, 2 Jun 1999 06:10:38 -0500
To: Loopers-Delight@annihilist.com
From: Patrick Smith <patrick@his.com>
Subject: KK NULL In DC Tonight
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Don't know if he uses any loop boxes but the man loves to drone. Tonight at
the Velvet Lounge on 915 U St. NW in WAshington DC as part of the Emergent
Music Forum.

-------------------
Wed 6/2/99

[Rah Bras]
-from richmond va
"Featuring members of Sleepytime Trio, Mens Recovery Project, and Damn Near
Red! Richmond, VA's Rah Bras have begun the upheaval of the masses via
their 'rondo'-core that they have created in their secret laboratories.
Blending surrealism, and various eclectic musical influences to form
extremely hooky and interesting non-guitar rock! Some say their music fits
well in bars that Silons (see: Battlestar Galactica) frequent, or perhaps
music for disassembling computers by... either way, the Rah Bras are HERE."
 -Lovitt Records website
http://www.lovitt.com/

[Damien Catera]
-Memeber Con Demek takes sampled, processed guitars, and restructures them.
Touring with KK Null.

[KK Null]
-Kazuyuki K. Null:  Founder of one of the first noise groups to emerge
from Japan, KK Null will present a wall of sound, performing solo guitar
and electronics. Well known for his Japanese metal-noise group, Zeni
Geva [includes Mitsuru Tabata and Eito Noro], Null has collaborated with
some of the finest musicians around including Tatsuya Yoshida [Ruins],
Jim O'Rourke [Gastr del Sol], Steve Albini and Fred Frith.  Null's
fierce sound is often tempered by his apparent appreciation for
composition and texture.
__________________________________________



Patrick


                     http://www.fingerpain.net

From Loopers-Delight-request@annihilist.com  Wed Jun  2 06:43:14 1999
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Date: Wed, 02 Jun 1999 12:34:27 +0100
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The recent thread about that let me hope. I'd
like to buy a card. I have a VERY limited
amount of money for it and would need
principally just audio in and out both
analogue and digital.
Is this card able to work with cubase VST???
Sorry for pushing the off topic line a little
more..

Olivier Malhomme

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From: Alan.Maguire@CERT.IE
Date: Wed, 02 Jun 1999 12:13 +0100 (BST)
Subject: Re: Subject: Re: It just goes...
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>j.pokornoy wrote:
     
>So I'm having somewhat of a dilemma here -- am I evolving as a listener to 
>the point where random sound can be as pleasant and meaningful as 
>"structured" music, or am I just losing it big time?
>James
     
     
     I think I have the same problem. But not quite. If random sound can be 
     percieved musically, what is the need for structure? Why pay money for 
     an album of found sound, when you can just pop out to the stairway and 
     find some sounds of your own?
     
     Also, does this ability to hear pan-cromatic resonance in highly 
     ambient domains reprasent a higher form of perception? Or just a 
     different kind?
     
     Cheers,
        Al.

From Loopers-Delight-request@annihilist.com  Wed Jun  2 09:17:52 1999
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Date: Wed, 2 Jun 1999 08:54:46 -0400
From: Andreas Willers <AWillers@compuserve.com>
Subject: Re: TC 2290 a request and a warning
Sender: Andreas Willers <AWillers@compuserve.com>
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I found the tc 0050 remote control, it's black, about 2 1/4 x 15 1/2",
connects via a standard guitar cord and is very sturdy with five broad,
noiseless knobs. =


I think I want ca. 40$ for it if that is o.k. with you depending on how
much it will cost you to have it shipped. The hard part is figuring out h=
ow
to manage the transaction/shipment. German Post will not do reimbursement=
s
to the US, maybe you can check with UPS, they are quite big here.

If reimbursement won't work at all (or maybe it's to expensive) I am
willing to send the box away with no money upfront but only if they bill
you with the freightmoney upon delivery. If that doesn't work either, we'=
ll
have to find out about shipping, you'll send me the grand total (check or=

sim.) and I'll send away the stuff but that's gonna take some time.

Tax or customs shouldn't be a problem with a used guitarpart of low value=
.

I hope we can sort this out, best, Andreas Willers =

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> At 10:44 AM -0700 5/31/99, Hawkeye255@aol.com wrote:
> >I use the Akai Headrush everyday and I get NO AUDIBLE CLICK unless I miss the
> >loop point badly.  Any sampler will click when the end of the loop and the
> >beginning of the loop are out of phase.  And they will not click when the end
> >of loop and beginning of loop are in phase.  "Somedays timing is everything."
> 
> this would be true except for devices designed specifically not to click at
> the endpoint of the loop. (which I think should be the case for anything
> designed for looping!)  We designed the echoplex this way, where it does a
> quick crossfade between endpoint and startpoint, so you don't get a click.
> In fact, I think the design was always that way, it seemed like a pretty
> obvious requirement right from the start. I'm rather surprised that some of
> these looping devices coming out now didn't do something similar. You
> should be able to play anything into the loop, right up to the endpoint and
> beyond, and never get a click.
> 
> kim

Kim,

With my DJRND2, there is no crossfade between endpoint and startpoint
during a loop recording !

I just record the phrase just as it is without any signal processing,
and except in specific cases, it works in 99 percent most of the time
due to my tempo accuracy.

But shure this device is more designed for Djs than for musicians, and
of course more critical with basslines on live.

Emmanuel

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Did this thread start with something to do with looping?
Who cares? Its weird...

Has any one had the experience while listening to something over and
over like a rythmic loop, you start to concentrate on the gaps of
silence in between the sounds and the rythum that they produce...hmm
does this make sense?

god it is easy to sound like a weirdo isnt it?

MArk Francombe
XXX

Clifford Novey wrote:
> 
> Man, you are definitely going crazy!
> 
> No- kidding- actually you are blessed in noticing so many details in the
> everyday things around you- sounds like a potential source of creative
> inspiration!
> 
> Cliff
> 
> James Pokorny wrote:
> 
> > Stephan said:
> >
> > >I often notice (or maybe
> > >just lapse into a particular state) that when in a "noisy" environment such
> > as a
> > >crowded restaurant, an effort can be made to treat all of the various
> > sounds
> > >(snippets of conversations, clinks of glass and silverware, etc., at
> > various
> > >frequencies) in a detached or homogeneous way.  The result is a rather
> > smooth
> > >cacophony that rises and falls with bits of recognizable verbage coming
> > >occasionlly to the surface.  It takes a little effort to treat all of the
> > sound
> > >sources in such an environment as totally equal with no intrinsic meaning
> > in
> > >terms of language, etc., but the result is a very interesting and somewhat
> > >exhilarating, "sound collage" experience.
> > >
> > >This is probably brought on by many years of intense listening to music of
> > >various sorts (including my own)
> >
> > I think we're getting back into the realm of "loop religion" here!  I've had
> > similar experiences where I tend to zone out by intensely concentrating on
> > and/or suddenly becoming aware of all the surrounding sounds.  I realize
> > that this is recommended within Buddhism as an exercise in centering and
> > focus.  I'm no student of Buddhism, but I always liked this idea, at least
> > in theory.  And I believe that this was the basis of John Cage's
> > experimental "composition" called 4'33" (performer sits behind instrument
> > and remains silent for 4 minutes and 33 seconds -- the point being that all
> > the ambient sounds of the hall [papers rustling, throats clearing, overhead
> > fans whirring, etc.] ARE the music.)
> >
> > But to be honest, I get a little frightened when I realize that I've been
> > driving on an expressway at 75 mph with the windows down and enjoying the
> > "musical content" of vehicles rushing by in the opposite lanes, horns
> > honking, all the pings and buzzes that emanate from my dashboard, etc.  It
> > makes me think -- OK, it's great that I can think of this as "music" -- but
> > I should be concentrating more on my driving!  I wouldn't want the
> > performance to end with squealing brakes and crunching metal.
> >
> > A month or two ago I was walking down several flights of stairs in my
> > building at work.  The steam pipes starting hissing and giving off a fairly
> > strident, screechy sound.  But then a second tone arose, quickly followed by
> > a third.  Despite the unpleasant texture of the hiss, the resulting chord
> > was really quite lovely.  It made me wonder how often this sort of thing
> > occurs.  I had the idea that I'd wind up sneaking away from my desk and
> > spending hours loitering in the stairwell waiting for it to happen again.
> > But common sense prevailed and I haven't started this practice.  Yet.
> >
> > A rather more pleasant experience occurred last week.  I woke up at about
> > 4:30 in the morning because all the birds outside my window were waking up
> > (these birds are LOUD).  Usually when this happens I get angry since it's
> > hard to get back to sleep for another hour until they calm down, which is
> > when I'm getting up anyway.  But this one morning I sort of slowly drifted
> > into wakefulness, suddenly realizing that each different bird was singing
> > it's own "looped" melodic pattern, which would come around again and again.
> > There must have been six or seven different species of birds, because there
> > was a real sense of order -- one "loop" running and interacting with
> > another, some moments of silence, more "loops" entering, etc.  It was a very
> > full sound altogether, and also much more soothing than I'd ever thought
> > possible.  I had always regarded the use of bird sounds in recorded music as
> > being extremely trite, but this was music enough in itself and didn't need
> > any human interaction (except for the listening).  I don't know that I would
> > ever have come to this realization if I hadn't been involved in looping.
> >
> > So I'm having somewhat of a dilemma here -- am I evolving as a listener to
> > the point where random sound can be as pleasant and meaningful as
> > "structured" music, or am I just losing it big time?
> >
> > James

-- 
\
-\
--\
---\
----\
-----\
------\
-------\
--------\
---------\
----------\
-----------\
------------\
mark-red-----\
--------------\
---------------\
work------------\
-----------------\
in2win------------\
-------------------\
multimedia-designer-\
ovre-slottsgate-5----\
0157-oslo-------------\
tlf.--22-40-29-94------\
fax--22-42-14-24--------\
e-mail--mark@in2win.com--\
web--http-//www.in2win.com\
---------------------------\
----------------------------\
personal---------------------\
tlf.-22-43-10-79--------------\
mob.-91-56-99-88---------------\
mark@8day.com-------------------\
christine@8day.com---------------\
----------------------------------\
-----------------------------------\
redweb------------------------------\
http-//www.8day.com/redweb-----------\
--------------------------------------\
---------------------------------------\
icq-4531031-----------------------------\
-----------------------------------------\

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From: "Dennis W. Leas" <dennis@mdbs.com>
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Subject: John Cage recordings
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I hope somebody else will find this as funny as I did.

The past week-end I wandered into the local Barnes and Noble looking for a
John Cage recording.  "What section?", I asked myself since virtually all
music MUST BE CLASSIFIED  (check the Music Business Police Handbook under
"retail sales").  "Pop/Rock?  Folk?, New Age, Classical?"  I found John Cage
in "Classical."  I laughed out loud.

Dennis Leas
-----------------------------
dennis@mdbs.com
-

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>It takes a little effort to treat all of the sound
>sources in such an environment as totally equal with no intrinsic meaning
in
>terms of language, etc., but the result is a very interesting and somewhat
>exhilarating, "sound collage" experience.

Yes!  Become a receiver (but not interpreter) of the sonic environment.
It's kind of dis-embodying (is that a word?).

Dennis Leas
-----------------------------
dennis@mdbs.com


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Dear all,	

	Another place to check out for pricings on the Zoom 2100, is 
http://www.wmcworld.com  wherein they are selling it at $130.00 with the 
power adapter.  The expression pedal is another $50.00

	L8r on,

		Lee-ohki.

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>So I'm having somewhat of a dilemma here -- am I evolving as a listener to
>the point where random sound can be as pleasant and meaningful as
>"structured" music, or am I just losing it big time?

Why not both?  :)

Some John Cage quotes:
* "Beauty is now underfoot wherever we take the trouble to look"

* "Noises, too, had been discriminated against; and being American, having
been trained to be sentimental, I fought for noises.  I liked being on the
side of the underdog.  I got police permission to play sirens...But quiet
sounds were like loneliness, or love or friendship.  Permanent, I thought,
values, independent at least from Life, Time, and Coca-Cola.  I must say I
still feel this way, but something else is happening; I begin to hear the
old sounds - the ones I had thought worn out, worn out by
intellectualization - I begin to hear the old sounds as though they are not
worn out.  Obviously, they are not worn out.  They are just as audible as
the new sounds.  Thinking had worn them out.  And if one stops thinking
about them, suddenly they are fresh and new.  'If you think you are a ghost
you will become a ghost.'

Dennis Leas
-----------------------------
dennis@mdbs.com


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Music is typically written by concentrating on the gaps of silence.



Daniel Ferguson

mark wrote:

>
> Has any one had the experience while listening to something over and
> over like a rythmic loop, you start to concentrate on the gaps of
> silence in between the sounds and the rythum that they produce...hmm
> does this make sense?
>
>

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From: "Dennis W. Leas" <dennis@mdbs.com>
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Subject: vocalists?
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Is anybody doing loops with primarily or exclusively vocals?  I.e., all or
most sounds are vocally produced?  Do you have example, mp3 files, etc.?

Dennis Leas
-----------------------------
dennis@mdbs.com


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From: Phaedebk@aol.com
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Date: Wed, 2 Jun 1999 11:23:25 EDT
Subject: Re: Zoom 2100
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To my namesake,

	Hey, let's get a few more together and really confuse a few cats, eh? 
 ;)  Found out that the problem is when you let the Zoom 2100 actually 
over-write itself when sampling what I am playing.  There is also the issue, 
that when it samples, it is none-too-forgiving on the pickups.  I am finding 
that my pickups are a little on the microphonic side of one ax, and not on a 
few others.  The "click" it would seem was me, actually tapping the pickup, 
in beat to my depressing the pedal, either 1, 2, or 3.  LOL!  Guess, that I 
wasn't meant to be a drummer.

	Anywho, the nice thing is that I have sussed out a few of my worries 
with the unit, and am still exploring the beastie.  Found a few new phaser 
sounds in it from the edits that are really killer!

	Thanks again.

		Lee-ohki.

PS.  At least I didn't say, SPAM, SPAM, SPAM, Eggs, Bacon, Lee, SPAM,...
	  For a different loop of sorts...  ^_^

		L.  

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Hey, we're all a little loopy on this list.
Sorry about the bad pun, but I just couldn't help it!


	Lee-ohki.

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From: "Future Perfect" <artmusic@gte.net>
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Subject: RE: Zoom 2100
Date: Wed, 2 Jun 1999 13:34:22 -0400
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 Can any passive volume pedal be used?? Or do ya need theirs? And did we
ever get a full review of the Zoom 2100? If not, can someone write it?

Dave Eichenberger- guitars.loops.devices
http://home1.gte.net/artmusic/dave
 



>
> Dear all,
>
> 	Another place to check out for pricings on the Zoom 2100, is
> http://www.wmcworld.com  wherein they are selling it at $130.00 with the
> power adapter.  The expression pedal is another $50.00
>
> 	L8r on,
>
> 		Lee-ohki.
>
>

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Subject: Re: John Cage recordings
Date: Wed, 2 Jun 1999 11:44:02 -0700
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I suspect that it's because there were wind instruments involved, eh?  I've
had the same conundrum with Eno, who's been found in Electronic, New Age,
Experimental, Pop/Rock, Rock/R&B (!), but NOT classical.  Guess they never
heard Discreet Music...

Alas, one must merely be entertained by the sheer pig ignorance of music
industry people, which is as constant as the stars in heaven.  One then must
be as constant in their drive to create, despite such inane forces.

Stephen Goodman * It's the Loop of the Week!
EarthLight Productions * http://www.earthlight.net

Dennis W. Leas <dennis@mdbs.com> put forth...
> The past week-end I wandered into the local Barnes and Noble looking for a
> John Cage recording.  "What section?", I asked myself since virtually all
> music MUST BE CLASSIFIED  (check the Music Business Police Handbook under
> "retail sales").  "Pop/Rock?  Folk?, New Age, Classical?"  I found John
Cage
> in "Classical."  I laughed out loud.
>
> Dennis Leas
> -----------------------------
> dennis@mdbs.com
> -
>

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From: "K. Douglas Baldwin" <dbaldwin@suffolk.lib.ny.us>
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Subject: Product reviews
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    The Akai Headrush is reviewed in England's "the Guitar Magazine" (May
issue) with NO mention of the 11-plus or 23-plus second delay/looping
capabilities. The review mentions "just under two seconds sampling
time"!!?!?
    Also, just thought y'all would like to know that the ElectroVoice
MicroSynth which I reviewed is on the news stands now - Guitar World
Magazine, July issue. Thank you all for your contributing remarks. The
editor(s) did cut a comment or three on the construction of the box, which
is dismal (both the construction and the editing).


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At 6:06 AM -0700 6/2/99, PERILLE wrote:
>> At 10:44 AM -0700 5/31/99, Hawkeye255@aol.com wrote:
>> >I use the Akai Headrush everyday and I get NO AUDIBLE CLICK unless I
>>miss the
>> >loop point badly.  Any sampler will click when the end of the loop and the
>> >beginning of the loop are out of phase.  And they will not click when
>>the end
>> >of loop and beginning of loop are in phase.  "Somedays timing is
>>everything."
>>
>> this would be true except for devices designed specifically not to click at
>> the endpoint of the loop. (which I think should be the case for anything
>> designed for looping!)  We designed the echoplex this way, where it does a
>> quick crossfade between endpoint and startpoint, so you don't get a click.
>> In fact, I think the design was always that way, it seemed like a pretty
>> obvious requirement right from the start. I'm rather surprised that some of
>> these looping devices coming out now didn't do something similar. You
>> should be able to play anything into the loop, right up to the endpoint and
>> beyond, and never get a click.
>>
>> kim
>
>Kim,
>
>With my DJRND2, there is no crossfade between endpoint and startpoint
>during a loop recording !
>
>I just record the phrase just as it is without any signal processing,
>and except in specific cases, it works in 99 percent most of the time
>due to my tempo accuracy.
>
>But shure this device is more designed for Djs than for musicians, and
>of course more critical with basslines on live.
>
>Emmanuel

So, if there is still audio playing in at the point where you end the loop,
you probably get a click, right? If you don't do a crossfade or use
zero-crossing tricks, I don't see how you could prevent that. The
discontinuity between the end sample and the start sample will sometimes be
big enough to be an audible click. I guess the typical dj would be looping
something with a percussive attack at the beginning of the loop, so maybe
it's not so noticeable for that case.

But just wait, there will be some guy who finds it screws up his music, and
boy will he complain! :-)

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


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Subject: Re: It just goes...
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Stephan Ball's comment on the texture of conversation reminds me of an
observation I once read about and have subsequently observed myself: groups
of people tend to converse in waves of about 15 to 20 minutes. If you enter
the state that Stephan refers to (perhaps we could call it a focused
division of attention) you will often hear the volume and complexity of
crosstalk rise and fall in these long waves. I feel it's important for all
musicians to bring their attention to these kinds of cycles, particularly
when performing live. On some of my best solo gigs I've felt I could "ride
the waves" of the listeners and maintain attention to the performance by
holding an awareness of this phenomenon. I believe looping in general has a
real atraction for those who (either consciously or not) seek a resonance
with these slower cycles.

>I know this is getting pretty far out in OT land, but I often notice (or
maybe
>just lapse into a particular state) that when in a "noisy" environment such
as a
>crowded restaurant, an effort can be made to treat all of the various
sounds
>(snippets of conversations, clinks of glass and silverware, etc., at
various
>frequencies) in a detached or homogeneous way.  The result is a rather
smooth
>cacophony that rises and falls with bits of recognizable verbage coming
>occasionlly to the surface.  It takes a little effort to treat all of the
sound
>sources in such an environment as totally equal with no intrinsic meaning
in
>terms of language, etc., but the result is a very interesting and somewhat
>exhilarating, "sound collage" experience.
>
>This is probably brought on by many years of intense listening to music of
>various sorts (including my own) and probably fostered my current interest
in
>some of the more ambient derivations of electronica by groups such as the
Orb
>and FSOL.  The point in all this?  Uh, well....
>
>Steve
>
>
>K. Douglas Baldwin wrote:
>
>> .....If I keep any loop on long enough (anywhere from a half hour to one
hour
>> or more), I have very pleasant audio hallucinations where EVERYTHING
sounds
>> like it's part of the loop AFTER the loop is turned off. LaMonte Young
kept
>> carefully tuned oscillators playing in his home for months at a time,
which
>> possibly would create a similar effect. Comments from others?
>


From Loopers-Delight-request@annihilist.com  Wed Jun  2 15:41:17 1999
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I think this is at the heart of this "concept" (an intellectualization in
itself?);  it's kind of a burdon being lifted feeling, if you will.  The
suspension of the constraints of attaching some kind of value or definition to
aural, as well as other, events is central to the attractiveness.  Like a
psychological coffee break.  Casteneda would call it suspending the internal
dialog.  What does this have to do with looping?  Er...uh..., oh yea, you could
record the ambient sounds inside that restaurant on a portable DAT and feed
them into your looper.... yea, that's the ticket.  Seriously though, I think
this is fundamental to the attraction of looping; using "pieces" of sound in a
different and consistently changing context.  To my mind, that's as valid a
musical concept as recurring themes played on various instruments (sort of).

Steve
Cincinnati

Dennis W. Leas wrote:

> Some John Cage quotes:
> ............I begin to hear the old sounds - the ones I had thought worn out,
> worn out by intellectualization - I begin to hear the old sounds as though
> they are not worn out.  Obviously, they are not worn out.  They are just as
> audible as the new sounds.  Thinking had worn them out.  And if one stops
> thinking about them, suddenly they are fresh and new.  'If you think you are
> a ghost you will become a ghost.'............



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To: "James Pokorny" <j.pokorny@worldnet.att.net>,
        <Loopers-Delight@annihilist.com>
Subject: Re: It just goes...
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Yes, we are getting into loop religion here, and it's probably a good idea
to consider some form of "grounding" whenever one begins to diddle with
these higher states. It is decidedly NOT a good idea to zone out on the
overtones while navigating the Autobahn (or the Long Island Expressway, or
Interstate 80, or while tending the tribe's fire, or when sawing wood with a
radial arm saw, or... you get the picture) I begin by focusing on my
breathing and my physical presence if I feel a little too light.
Contrariwise, I've maintained that if one really wants to know what
psychotropic drugs can do, just stay awake for twenty-four hours drinking
coffee, then don a set of headphones with some seventies-era Steve Reich and
go to the local shopping mall on foot.
    Another important lesson for me has been to learn to enjoy the moment,
and walk away, letting go of it. If I chased down every sound that caught my
ear, I'd get nothing done! Sometimes it's more important to do the housework
than to capture sounds which should remain free.
    That having been said, one of my all-time favorite tapes is of sunrise
in May, the birds riffing big-time. I can put it on almost any sound system
and it recreates the environment beautifully.
-----Original Message-----
From: James Pokorny <j.pokorny@worldnet.att.net>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Tuesday, June 01, 1999 9:22 PM
Subject: Re: It just goes...


>Stephan said:
>
>>I often notice (or maybe
>>just lapse into a particular state) that when in a "noisy" environment
such
>as a
>>crowded restaurant, an effort can be made to treat all of the various
>sounds
>>(snippets of conversations, clinks of glass and silverware, etc., at
>various
>>frequencies) in a detached or homogeneous way.  The result is a rather
>smooth
>>cacophony that rises and falls with bits of recognizable verbage coming
>>occasionlly to the surface.  It takes a little effort to treat all of the
>sound
>>sources in such an environment as totally equal with no intrinsic meaning
>in
>>terms of language, etc., but the result is a very interesting and somewhat
>>exhilarating, "sound collage" experience.
>>
>>This is probably brought on by many years of intense listening to music of
>>various sorts (including my own)
>
>I think we're getting back into the realm of "loop religion" here!  I've
had
>similar experiences where I tend to zone out by intensely concentrating on
>and/or suddenly becoming aware of all the surrounding sounds.  I realize
>that this is recommended within Buddhism as an exercise in centering and
>focus.  I'm no student of Buddhism, but I always liked this idea, at least
>in theory.  And I believe that this was the basis of John Cage's
>experimental "composition" called 4'33" (performer sits behind instrument
>and remains silent for 4 minutes and 33 seconds -- the point being that all
>the ambient sounds of the hall [papers rustling, throats clearing, overhead
>fans whirring, etc.] ARE the music.)
>
>But to be honest, I get a little frightened when I realize that I've been
>driving on an expressway at 75 mph with the windows down and enjoying the
>"musical content" of vehicles rushing by in the opposite lanes, horns
>honking, all the pings and buzzes that emanate from my dashboard, etc.  It
>makes me think -- OK, it's great that I can think of this as "music" -- but
>I should be concentrating more on my driving!  I wouldn't want the
>performance to end with squealing brakes and crunching metal.
>
>A month or two ago I was walking down several flights of stairs in my
>building at work.  The steam pipes starting hissing and giving off a fairly
>strident, screechy sound.  But then a second tone arose, quickly followed
by
>a third.  Despite the unpleasant texture of the hiss, the resulting chord
>was really quite lovely.  It made me wonder how often this sort of thing
>occurs.  I had the idea that I'd wind up sneaking away from my desk and
>spending hours loitering in the stairwell waiting for it to happen again.
>But common sense prevailed and I haven't started this practice.  Yet.
>
>A rather more pleasant experience occurred last week.  I woke up at about
>4:30 in the morning because all the birds outside my window were waking up
>(these birds are LOUD).  Usually when this happens I get angry since it's
>hard to get back to sleep for another hour until they calm down, which is
>when I'm getting up anyway.  But this one morning I sort of slowly drifted
>into wakefulness, suddenly realizing that each different bird was singing
>it's own "looped" melodic pattern, which would come around again and again.
>There must have been six or seven different species of birds, because there
>was a real sense of order -- one "loop" running and interacting with
>another, some moments of silence, more "loops" entering, etc.  It was a
very
>full sound altogether, and also much more soothing than I'd ever thought
>possible.  I had always regarded the use of bird sounds in recorded music
as
>being extremely trite, but this was music enough in itself and didn't need
>any human interaction (except for the listening).  I don't know that I
would
>ever have come to this realization if I hadn't been involved in looping.
>
>So I'm having somewhat of a dilemma here -- am I evolving as a listener to
>the point where random sound can be as pleasant and meaningful as
>"structured" music, or am I just losing it big time?
>
>James
>



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Dennis,
        Some of the stuff we do as Dreamchild features vocal looping.  The
only available one recorded at the moment is conveniently on our mp3.com
page.  Its called "The Sirens'Song" and is at mp3.com/dreamchild.  We're
working on some new material that also includes vocal looping, but it'll be
awhile before its all recorded.

Frank Gerace
Dreamchild
http://www.channel1.com/users/seahorse
http://mp3.com/dreamchild

PS: andre, looking forward tp project obeject in Boston!


At 10:55 AM 6/2/99 -0500, you wrote:
>Is anybody doing loops with primarily or exclusively vocals?  I.e., all or
>most sounds are vocally produced?  Do you have example, mp3 files, etc.?
>
>Dennis Leas
>-----------------------------
>dennis@mdbs.com
>
>
>
>

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When my wife was pregnant, we were able to hear the baby's heartbeat with something
called a Doppler (I think).  Anyway, I couldn't help but thinking it would be
interesting to get one of those, apply it to your own body and run the results
through the usual host of processors.  I wonder what it would be like to be
surrounded by the sound of your own blood coursing through your body?  And what
would happen if you started delaying or shifting that sound?  Would it be
disorienting to have something that is so intimately a part of you (the rhythm of
your heartbeat) being projected externally and then altered in ways that you would
know (hope?) aren't happening in your body?

Someday perhaps I'll try this (commercial Dopplers are now available at about $40)

Kevin


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From: "Jesse Kudler" <jkudler@mail.wesleyan.edu>
To: <Loopers-Delight@annihilist.com>
Subject: John Cage
Date: Wed, 2 Jun 1999 16:08:22 -0400
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The Cage-ian things people were saying led me to hunt down a sight with his
classic Indeterminacy stories:
http://www.pdos.lcs.mit.edu/~eddietwo/indeterminacy/   Two in particular
come to mind a la looping.  The first relates to what someone said about
loops "changing" while staying the same:  (wacky spacing not mine)

At  the  New  School  once      I  was  substituting
 for  Henry  Cowell,             teaching  a  class
 in  Oriental  music.                  I  had  told
him  I  didn't  know  anything  about  the  subject.
                 He  said,              ``That's  all
 right.                   Just  go  where  the  records
 are.                   Take  one  out.
   Play  it       and  then  discuss  it  with  the
 class.''                   Well,              I  took
 out  the  first  record.                   It  was
an  LP  of  a  Buddhist  service.                   It
 began  with  a  short  microtonal  chant  with
sliding  tones,               then  soon  settled  into
 a  single  loud  reiterated  percussive  beat.
                 This  noise  continued  relentlessly
 for  about  fifteen  minutes        with  no
perceptible  variation.                     A  lady
got  up  and  screamed,                and  then
yelled,                ``Take  it  off.
      I  can't  bear  it  any  longer.''
         I  took  it  off.                       A  man
 in   the   class   then   said   angrily,
       ``Why'd   you   take   it   off?
           I   was   just   getting    interested.''

****
Then there's this one:


In   Zen                                  they   say:

            If   something   is   boring   after   two
  minutes,
                                               try   it
 for   four.
                                                        If
  still   boring,
                                                       try
  it   for   eight,

                                                  sixteen,


                           thirty-two,


             and   so   on.



Eventually   one   discovers   that   it's   not
boring   at   all
                           but   very    interesting.



-Jesse

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Date: Wed, 2 Jun 1999 16:14:49 EDT
Subject: Re: Product reviews akai headrush in English gtr mag
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i noticed that too. did they change the delay time? 11 vs. 1 seconds seems 
like a pretty big difference!! not easy to mistake that even if you don't 
count mississippi's.
=-) pj

From Loopers-Delight-request@annihilist.com  Wed Jun  2 16:30:35 1999
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Date: Wed, 02 Jun 1999 16:09:49 -0400
To: Loopers-Delight@annihilist.com
From: Gary Davis <artshop@artist-shop.com>
Subject: Re: John Cage recordings
Cc: dennis@mdbs.com
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At 03:09 PM 6/2/99 -0400, Dennis wrote:
>
>I hope somebody else will find this as funny as I did.
>
>The past week-end I wandered into the local Barnes and Noble looking for a
>John Cage recording.  "What section?", I asked myself since virtually all
>music MUST BE CLASSIFIED  (check the Music Business Police Handbook under
>"retail sales").  "Pop/Rock?  Folk?, New Age, Classical?"  I found John Cage
>in "Classical."  I laughed out loud.

While I can see the humor in Dennis' situation, in thinking about it, I'm
not sure I would have found any other categories applied to Cage as being
less funny.  After all, if you had to pick, how would you classify Cage?

His earlier material - 30's and 40's - sounds like progressive rock to me.
I especially love his percussion and prepared piano pieces - so far ahead of
their time.  From the 50's on, when he began composing through chance
operations, could fall into a couple areas for me.  For the quieter pieces a
classification of ambient sounds reasonable while the louder works might go
well with the RIO, Rock In Opposition, crowd.

If you're looking for an interesting starting point for Cage, a few years
ago I produced an album in tribute to Cage called A Chance Operation.  It
was a double disc set that featured such artists as Laurie Anderson, Frank
Zappa, Kronos Quartet, John Cale, Robert Ashley and many more, 22 artists in
all.  It got quite a bit of positive press at the time.  You'll find info
about it at <http://www.artist-shop.com/gary>.

Gary

**************************************************************
                          Gary Davis
The Artist Shop                              The Other Road
http://www.artist-shop.com          artshop@artist-shop.com
phone: 330-929-2056			   fax:330-945-4923
              SUPPORT THE INDEPENDENT ARTIST!!!
**************************************************************
       Check out the latest Artist Shop newsletter at
            http://www.artist-shop.com/news.htm

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From: "Liebig, Steuart A." <LiebigSA@Maritz.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: RE: Product reviews akai headrush in English gtr mag
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mine sure seems way longer than one second . . . probably a proofing/editing
glitch.

stig

> -----Original Message-----
> From:	PJBMHB@aol.com [SMTP:PJBMHB@aol.com]
> Sent:	Wednesday, June 02, 1999 13:15
> To:	Loopers-Delight@annihilist.com
> Subject:	Re: Product reviews akai headrush in English gtr mag
> 
> i noticed that too. did they change the delay time? 11 vs. 1 seconds seems
> 
> like a pretty big difference!! not easy to mistake that even if you don't 
> count mississippi's.
> =-) pj

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From: Crossedout@aol.com
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Date: Wed, 2 Jun 1999 16:46:42 EDT
Subject: Re: It just goes...
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In a message dated 6/2/99 3:10:09 PM Central Daylight Time, 
kevin@minds-eye.org writes:

<< When my wife was pregnant, we were able to hear the baby's heartbeat with 
something
 called a Doppler (I think).  Anyway, I couldn't help but thinking it would be
 interesting to get one of those, apply it to your own body and run the 
results
 through the usual host of processors.  >>

There is a Japanese artist called Aube that uses single sound sources for his 
compositions (e.g. a song composed out of noises made from a book [flipping 
pages, crumpling paper, etc], songs composed of water dripping noises, sheets 
of metal manipulated, etc) who made a release using sounds gathered from a 
similar medical scanning machine, so all the sound sources he processed came 
from within his body. 

Not sure of the name of this record, if anyone is really interested let me 
know and I'll try to dig up more info. 

- Crossedout@aol.com

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> >> At 10:44 AM -0700 5/31/99, Hawkeye255@aol.com wrote:
> >> >I use the Akai Headrush everyday and I get NO AUDIBLE CLICK unless I
> >>miss the
> >> >loop point badly.  Any sampler will click when the end of the loop and the
> >> >beginning of the loop are out of phase.  And they will not click when
> >>the end
> >> >of loop and beginning of loop are in phase.  "Somedays timing is
> >>everything."
> >>
> >> this would be true except for devices designed specifically not to click at
> >> the endpoint of the loop. (which I think should be the case for anything
> >> designed for looping!)  We designed the echoplex this way, where it does a
> >> quick crossfade between endpoint and startpoint, so you don't get a click.
> >> In fact, I think the design was always that way, it seemed like a pretty
> >> obvious requirement right from the start. I'm rather surprised that some of
> >> these looping devices coming out now didn't do something similar. You
> >> should be able to play anything into the loop, right up to the endpoint and
> >> beyond, and never get a click.
> >>
> >> kim



Kim wrote :

> So, if there is still audio playing in at the point where you end the loop,
> you probably get a click, right? If you don't do a crossfade or use
> zero-crossing tricks, I don't see how you could prevent that. The
> discontinuity between the end sample and the start sample will sometimes be
> big enough to be an audible click. 


My opinion is that the problem is not phase discontinuity itself. 

Kim, I suppose you should have noticed something : What do you think
about these two similar cases ?

-1- a pure 10 khz sin wave   
-2- a pure 100 Hz sin wave

Do you think the problem is quite similar even for golden ears ?

if not, then you will probably find out the answer : the problem is not
where we suppose it is. Don't get trapped by waveforms on screens and
just think more in terms of energy!


> I guess the typical dj would be looping
> something with a percussive attack at the beginning of the loop, so maybe
> it's not so noticeable for that case.
> 

In most cases, I never get a click, or very seldom .(If so, I just
sample again)
It is because my tempo is o'clock accurate with the flow I am recording,
and most of the time what I am recording comes out from sampled music
... at the exact same tempo. But it also works great with good old stuff
rock music anyway.



> But just wait, there will be some guy who finds it screws up his music, and
> boy will he complain! :-)
> 

The main point of the DJRND2 is to loop records, and if you can get the
good tempo, most of the time it doesn't give any matter.

But of course I won't bet so much on live basslines recording for
instance, which is not what the DJRND2 has been mainly made for.

Emmanuel

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Date: Wed, 02 Jun 1999 18:11:26 -0400
From: Jeff Duke <jmar@bellsouth.net>
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Crossedout@aol.com wrote:

>
> There is a Japanese artist called Aube that uses single sound sources for his
> compositions (e.g. a song composed out of noises made from a book [flipping
> pages, crumpling paper, etc], songs composed of water dripping noises, sheets
> of metal manipulated, etc) who made a release using sounds gathered from a
> similar medical scanning machine, so all the sound sources he processed came
> from within his body.
>

Jeff Collins turned me on to this label. Some info on Aube but its the only RA
soundbite at the site that isn't there, down or something.

http://www.alien8recordings.com/aube.html

jd
http://members.xoom.com/echo17/tbl.html

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From: Kriist@aol.com
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Date: Wed, 2 Jun 1999 20:37:55 EDT
Subject: Aube        Re: It just goes...
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please tell

rodrigo

In a message dated 6/2/99 4:56:05 PM Eastern Daylight Time, 
Crossedout@aol.com writes:

> Not sure of the name of this record, if anyone is really interested let me 
>  know and I'll try to dig up more info. 
>  
>  - Crossedout@aol.com
>  

From Loopers-Delight-request@annihilist.com  Wed Jun  2 21:11:11 1999
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From: Kriist@aol.com
Message-ID: <f98d1436.2487282b@aol.com>
Date: Wed, 2 Jun 1999 20:36:59 EDT
Subject: Re: John Cage recordings
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as funny, or unfortunate of what ever it may be
'classical' is the lump name given to non pop music other than jazz and new 
age
which means it spans from gregorian chant to cage (and all other 
'contemporary classical' composers)
so how do you differentiate between classical and contemp classical
some people(composers) use terms like 'legit' or 'serious' music to say they 
write contemp classical or neo(whatever)to diff other styles , i.e. "that 
piece is neoromantic")etc....

rodrigo

In a message dated 6/2/99 4:30:43 PM Eastern Daylight Time, 
artshop@artist-shop.com writes:

> While I can see the humor in Dennis' situation, in thinking about it, I'm
>  not sure I would have found any other categories applied to Cage as being
>  less funny.  After all, if you had to pick, how would you classify Cage?
>  

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Date: Tue, 02 Jun 1998 16:37:17 -0500
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K. Douglas Baldwin wrote:
> 
> Stephan Ball's comment on the texture of conversation reminds me of an
> observation I once read about and have subsequently observed myself: groups
> of people tend to converse in waves of about 15 to 20 minutes. If you enter
> the state that Stephan refers to (perhaps we could call it a focused
> division of attention) you will often hear the volume and complexity of
> crosstalk rise and fall in these long waves. I feel it's important for all
> musicians to bring their attention to these kinds of cycles, particularly
> when performing live. On some of my best solo gigs I've felt I could "ride
> the waves" of the listeners and maintain attention to the performance by
> holding an awareness of this phenomenon. I believe looping in general has a
> real atraction for those who (either consciously or not) seek a resonance
> with these slower cycles.
> 
> >I know this is getting pretty far out in OT land, but I often notice (or
> maybe
> >just lapse into a particular state) that when in a "noisy" environment such
> as a
> >crowded restaurant, an effort can be made to treat all of the various
> sounds
> >(snippets of conversations, clinks of glass and silverware, etc., at
> various
> >frequencies) in a detached or homogeneous way.  The result is a rather
> smooth
> >cacophony that rises and falls with bits of recognizable verbage coming
> >occasionlly to the surface.  It takes a little effort to treat all of the
> sound
> >sources in such an environment as totally equal with no intrinsic meaning
> in
> >terms of language, etc., but the result is a very interesting and somewhat
> >exhilarating, "sound collage" experience.
> >
> >This is probably brought on by many years of intense listening to music of
> >various sorts (including my own) and probably fostered my current interest
> in
> >some of the more ambient derivations of electronica by groups such as the
> Orb
> >and FSOL.  The point in all this?  Uh, well....
> >
> >Steve
> >
	by the definitions of hypnosis the depth of the trance state is related
to one thing: effortless concentration. this very simialar state is also
reffered to as no mind in some asian cultures. to achieve this state one
must be RELAXED. no ego. no mind. no worries. 			when you catch it it is
a beautiful thing. i agree i've experienced THE feeling playing and
listening. thinking about that exeprince makes me think: public
performance was not in the mix. usually it involved playing With
musicians i've played with a long time or alone...but never in front of
a crowd. most of the time i'm thinking about what can go wrong and being
self critical of each note i pick. that is a different feeling
altogether for me.....comments?......jp

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From: "Collins" <collinsclan@sprintmail.com>
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Subject: Re: Aube        Re: It just goes...
Date: Wed, 2 Jun 1999 22:43:21 -0400
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Aube's CD is called "Cardiac Strain" it is amazing. Utilizing sounds from
the heart and body. He also has a recording out called "Metal De Metal"
which i have and think is awesome. Just using sounds from sheet metal and
devices to bow and scrape the pieces of metal, it even comes in a galvanized
folder which is very cool.
Hope this helps...
If not visit...
www.alien8recordings.com
or
http://www.esophagus.com/aube/interview.html
or
http://www.halcyon.com/tntmusic/aube.htm
or
http://www.esophagus.com/aube/

If you want more, go to a search engine.
Jeff Collins

A Strange View of Music:
http://www.geocities.com/SunsetStrip/Stadium/1429/STRANGETONES.html

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To all into the whole field recording stuff.

there are a great number of recordings out there of people who do
installations and record them. to name a few are. Michael Shumacher, Ann
Hamilton, Achim Wollscheid, Rafael Toral, Marc Behrens (mbehrens), Bernhard
Guenter, There's a great recording of the resonance's of a room by the duo
of Minoru Sato and Toshiya Tsunoda called "FUL". Very amazing what they all
do...the only thing is that these recordings have strict needs for
listening, like quiet rooms, good stereos, and great speaker placement.
Believe me it helps to listen pretty loudly to these also. Or maybe not, but
in a bigger type of room they are great sonic listening experiences.

You can find all their music through Forced Exposure.

Till later.

Jeff Collins


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Date: Wed, 2 Jun 1999 21:25:53 -0700 (PDT)
From: petr dolak <pepetr@yahoo.com>
Subject: EDP FEEDBACK GHOST
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EDP FEEDBACK GHOST
	Sometimes my EDP ignores the feedback knob.  When I move the knob to get
shorter feedback, it still acts like on max.  I have tried everything to
fixt it: I move the knob back and forth, I tap the loop again, dub,
multiply, mute, switch to another loop (there it is the same problem), or
I even restart EDP, but it is still as if the knob would be on max.  So I
leave it for some time, and when I get back to it after several minutes,
EDP follows the feedback knob like if nothing happened.  
	This problem is quite frustrating especially when I am on stage, when it
happens that after a composition where I use max feedback I turn the knob
down for the next composition -- and EDP ignores it.  But it can be even
worse: sometimes I play a composition with feedback lower and it is fine,
then suddenly in the middle of it EDP jumps into max feedback, and I have
to stop playing.  
	It is like if there was a malicious ghost in my EDP, acting in a totally
unpredictable way.  I cannot figure out any reason why this happens.  This
problem cannot be caused by receiving a Midi signal for feedback, because
I am not using Midi for EDP.

I will greatly appreciate any advice.

petr
===






Nasledujici oznameni je bohuzel nevyhnutelne.  V zadnem pripade ale neznamena, ze bych osobne chtel propagovat tuto spolecnost.
_________________________________________________________
Do You Yahoo!?
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From Loopers-Delight-request@annihilist.com  Thu Jun  3 01:58:15 1999
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Date: Thu, 03 Jun 1999 07:49:41 +0200
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Organization: NOPE
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Subject: belew
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Just read an article in french magazine "home studio
recording" were Belew say he threw away all his stuff (damn
where is his garbage!) and went to VG-8/Johnson millenium on
which he uses the delays to..... -you guessed- loop.

He is on the verge to release a new CD called "Belewps"

Olivier Malhomme

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Date: Thu, 03 Jun 1999 09:57:57 +0200
From: mark <mark.francombe@in2win.com>
Organization: in2win Interactive Learning Systems
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Daniel, yes, of course, good point (MR PEDANT) but I was really thinking
of the idea that the gaps BECOME the music and the music becomes the
gaps... I think that I have only had this experience when listening to
loops, because it takes time for your brain to turn the sounds "inside
out" rather like the optical illusion of the two human profiles that
become a candle stick when you concentrate on the ares between the
faces...

M

Daniel Ferguson wrote:
> 
> Music is typically written by concentrating on the gaps of silence.
> 
> Daniel Ferguson
> 
> mark wrote:
> 
> >
> > Has any one had the experience while listening to something over and
> > over like a rythmic loop, you start to concentrate on the gaps of
> > silence in between the sounds and the rythum that they produce...hmm
> > does this make sense?
> >
> >

-- 
\
-\
--\
---\
----\
-----\
------\
-------\
--------\
---------\
----------\
-----------\
------------\
mark-red-----\
--------------\
---------------\
work------------\
-----------------\
in2win------------\
-------------------\
multimedia-designer-\
ovre-slottsgate-5----\
0157-oslo-------------\
tlf.--22-40-29-94------\
fax--22-42-14-24--------\
e-mail--mark@in2win.com--\
web--http-//www.in2win.com\
---------------------------\
----------------------------\
personal---------------------\
tlf.-22-43-10-79--------------\
mob.-91-56-99-88---------------\
mark@8day.com-------------------\
christine@8day.com---------------\
----------------------------------\
-----------------------------------\
redweb------------------------------\
http-//www.8day.com/redweb-----------\
--------------------------------------\
---------------------------------------\
icq-4531031-----------------------------\
-----------------------------------------\

From Loopers-Delight-request@annihilist.com  Thu Jun  3 05:43:23 1999
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From: Kim Flint <kflint@annihilist.com>
Subject: Re: EDP FEEDBACK GHOST
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my guess is:

- you have something plugged into the feedback jack on the back, maybe
incorrectly

- you don't have anything in the feedback jack, but the feedback jack is
dirty and so the echoplex thinks there is something plugged in it.

- the feedback jack has somehow become damaged, so the echoplex sometimes
thinks there is something plugged into it.

You see, there is a circuit that detects if something is connected to the
feedback jack. It's possible if the jack is dirty, that the detection
contact will be opened and the echoplex thinks there is something plugged
in. When the echoplex thinks there is something in its feedback jack, it
uses that input for feedback and ignores the feedback knob on the front. If
their is actually nothing in the jack, it will be read as max feedback.
Then you will get the problem you describe. Especially if it is dirty, the
contact will be intermittant, and the feedback thing will come and go like
you are seeing.

Probably if you get some of that electronics contact cleaner (what do they
call that stuff these days anyway?), you can clean the jack with it. Or you
might try plugging/unplugging a cable in the jack a bunch of times, see if
that fixes it. If not, open it up and see if the jack looks bent or damaged
somehow. it's the middle tab on the jack that handles this plug
detection.....

hope this helps,
kim


At 9:25 PM -0700 6/2/99, petr dolak wrote:
>EDP FEEDBACK GHOST
>	Sometimes my EDP ignores the feedback knob.  When I move the knob
>to get
>shorter feedback, it still acts like on max.  I have tried everything to
>fixt it: I move the knob back and forth, I tap the loop again, dub,
>multiply, mute, switch to another loop (there it is the same problem), or
>I even restart EDP, but it is still as if the knob would be on max.  So I
>leave it for some time, and when I get back to it after several minutes,
>EDP follows the feedback knob like if nothing happened.
>	This problem is quite frustrating especially when I am on stage,
>when it
>happens that after a composition where I use max feedback I turn the knob
>down for the next composition -- and EDP ignores it.  But it can be even
>worse: sometimes I play a composition with feedback lower and it is fine,
>then suddenly in the middle of it EDP jumps into max feedback, and I have
>to stop playing.
>	It is like if there was a malicious ghost in my EDP, acting in a
>totally
>unpredictable way.  I cannot figure out any reason why this happens.  This
>problem cannot be caused by receiving a Midi signal for feedback, because
>I am not using Midi for EDP.
>
>I will greatly appreciate any advice.
>
>petr
>===
>
>
>
>
>
>
>Nasledujici oznameni je bohuzel nevyhnutelne.  V zadnem pripade ale
>neznamena, ze bych osobne chtel propagovat tuto spolecnost.
>_________________________________________________________
>Do You Yahoo!?
>Get your free @yahoo.com address at http://mail.yahoo.com


______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


From Loopers-Delight-request@annihilist.com  Thu Jun  3 07:09:07 1999
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From: Tim Nelson <tcn62@ici.net>
Subject: Re: belew
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You probably wouldn't find anything in his garbage; in the March issue of
Guitar Shop (the one with the David Torn piece), Belew talks about using
the VG-8/Johnson Millenium on "Belewps", but also makes several statements
about his old effects such as:

     - "I still have all of these things - I almost have a museum going
here, so I'm liable to pull those old things out and use the old sounds
every now and then."
     - "It's difficult to get away from the stompboxes, actually, because
there is some attraction to having knobs and things that can be changed in
real time."
     - "I love *playing* the effects. That's when you find something that a
unit is not supposed to do, and that's my favorite moment - when you can
get a device to do something they don't tell you about in the manual! But
it's become harder and harder over the years to find these moments as more
manufacturers have become more controlled, more digital: You don't have as
much room to cause things to happen. That's why some people really love the
old stompboxes. They may have been of lower quality, but at least they had
a lot of flexibility. You could get one box to do three or four different
sounds. Now, you can get a multi-effect to do a hundred different sounds,
but those sounds are not really all that different - they're sort of
homogenous."

Et cetera, et cetera... He DOES say some interesting things about using
loops in the interview, and he's always been one to embrace new technology,
but he's a self-admitted packrat. He's pictured literally surrounded by his
massive guitar collection, and even mentions that he still uses one of
Fripp's original Revoxes.

Now, perhaps if we were to sift through Fripp's rubbish... :-)

Tim

At 07:49 AM 6/3/99 +0200, you wrote:
>Just read an article in french magazine "home studio
>recording" were Belew say he threw away all his stuff (damn
>where is his garbage!) and went to VG-8/Johnson millenium on
>which he uses the delays to..... -you guessed- loop.
>
>He is on the verge to release a new CD called "Belewps"
>
>Olivier Malhomme
>
>

From Loopers-Delight-request@annihilist.com  Thu Jun  3 07:57:06 1999
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From: Todd Madson <crash@waste.org>
To: Loopers-Delight@annihilist.com
Subject: Field Recordings/Loops, etc.
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One of my fave CDs that utilizes field recordings is Steve Tibbets
"Safe Journey".  There is some crazy looping on that one, too.  I'd
definetely check it out.  Some of the textures are hallucinogenic.
Amazing stuff.  Loopworthy tracks are the quiet "Night Again" and 
the incandescent yet eerie "Going Somewhere."

As far as finding music or loops in environmental sounds: my parents
had a small electric fan  that emanated a very odd, cyclic droning
that was very pleasant.

I also have noticed that birds can be master loopers.  I get up at 
4:30 in the a.m. to get ready for work and find that some of it would
be loopworthy.

Also, if I drive across a particular bridge, the resonance of the
tires going across this odd abrasive material creates an interesting
drone sound.

Todd Madson
Musician, Mountain Biker, Stunt Kite Flyer, BeOS/MacOS/Linux/WinNt user.
http://www.waste.org/~crash/index.html

From Loopers-Delight-request@annihilist.com  Thu Jun  3 07:50:04 1999
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So how long are* this things delay times?
11 seconds?
23 seconds?
 2 seconds?

How long?

and, how much does this thing cost?

Todd Madson
Musician, Mountain Biker, Stunt Kite Flyer, BeOS/MacOS/Linux/WinNt user.
http://www.waste.org/~crash/index.html

From Loopers-Delight-request@annihilist.com  Thu Jun  3 09:20:43 1999
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From: Anthony Mullen <anthony.mullen@KSCL.com>
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Subject: Multiple Sound Cards and resolving MIDI clock
Date: Thu, 3 Jun 1999 14:10:07 +0100 
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Hi,

I'm wondering if you can help :

I already have a PC audio recording system with one audio card (Event Gina)
and I'm looking to add another card to my system to allow multiple programs
to play audio at once.

I was thinking of getting the SBLive card but have a couple of questions :

1. Does the Live work ok with a Gina installed?
2. Does the SPDIF connection come with the Live basic package or do you need
to get the daughterboard option?
3. Can I connect the SPDIF out of my Gina to the SPDIF in of the Live in
order to resolve the audio clock AND to keep the cards in sync. I want to
have two apps - one master though the Gina and one slave through the Live.
The setup will be running MIDI data aswell (but not through the Live card).

I know that if you're running multiple cards with audio and MIDI split
between two programs that you need to resolve the audio clock of the card
aswell as locking the two audio cards together. 

I'd be grateful for a quickish reply if possible as I'm going to be buying a
card shortly

Cheers folks
Anthony




> ----------
> From:
> Loopers-Delight-d-request@annihilist.com[SMTP:Loopers-Delight-d-request@an
> nihilist.com]
> Reply To: 	Loopers-Delight@annihilist.com
> Sent: 	03 June 1999 08:15
> To: 	Loopers-Delight-d@annihilist.com
> Subject: 	Loopers-Delight-d Digest V99 #220
> 
> <<Message: Microsoft Exchange Message>><<Message: Re: John Cage
> recordings>><<Message: [Fwd: Re: It just goes...]>><<Message: Re: Aube
> Re: It just goes...>><<Message: Scenic Views of Music>><<Message: EDP
> FEEDBACK GHOST>><<Message: belew>>
> 
> 

From Loopers-Delight-request@annihilist.com  Thu Jun  3 10:11:11 1999
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From: Sean Witters <seanwitters@hotmail.com>
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Subject: Room sounds
Date: Thu, 03 Jun 1999 06:54:27 PDT
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Here's an interesting Cagian ambient sound experience of my own:
Last spring I participated in an Installation/Performance Art Exhibit with 
visual artists Jeffrey Hatfield and Allison Schlegal; the central theme was 
observation of the creative environment.  My primary sound source was a 
sampled music box manipulated with a Kurzweil K-2000 and sequenced with 
Vision.  I decided to augment these sounds with ambient microphones in the 
installation space, an idea derived from Cage's assertion that there is no 
pure listening environment and that all ambient sounds becomes a part of any 
listening.  These ambient sounds were the audio reflection of video images 
being captured and projected in various parts of the space.  I placed four 
microphones in very visible positions throughout the rooms and ran them into 
my various processors and lo-fi pedals.  In my rehersal the room sound 
filled in the cracks around the prepared tapes which I was playing 
asynchronously against each other.
When the show opened and the room filled with people, everything changed.  
Rather than performing the prepared guitar and Rhodes piano parts against 
the tape as I had intended to, I was glued to the mixer peering into each 
room's audio environment looping laughter, or someone's observation, or 
their shuffling feet.  One person said something when entering the space and 
I looped and manipulated it the whole time they were there.  Soon, the 
audience caught onto the fact that they were being watched and listened to 
and they began to perform.  This is were it got really interesting, one 
group of people picked up these heavy old oversized bank ledgers which were 
a part of the installation and started to read entries "january 2nd, 1946 
Deposit: six hundred and fifty three dollars and three cents...".  They did 
this spontaneously as the prepared tapes were playing back a piece using a 
pitch derived from a sample of a spinning coin.  It was incredible!  People 
started creating spontaneous poetry which I looped, transformed and wove 
into the prepared tape portions.  At the climax of the show the artists, who 
were upstairs typing (yeah, I looped that too) in a small booth visible 
through portals and on a video screen, announced that the show was closing 
and began counting down the minutes and then seconds.  I created micro-loops 
within the countdown mixed with random ambient noises like paper falling 
(there were papers being dumped from the ceiling).  I didn't record a single 
second of the night. I truly wish I had because it was some of the most 
magical spontaneous interaction I've ever experienced.  I temper my sense of 
loss with the assurance that those sounds were a result of environment, 
moment, and interaction and should be left in that time and space.


_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

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From: David Kirkdorffer <DKirkdorffer@exapps.com>
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Subject: RE: belew
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Oh God!  Belewps!!!  Is this for real?  It's soooo corny it has to be
real...

He'll be in Boston on the 10th.  I wonder what the
almost-a-guitar-hero-but-also-a-goofy--entertainter will present to us...
Belewps?

David Kirkdorffer



-----Original Message-----
From: Malhomme [mailto:malhomme@vete.ucl.ac.be]
Sent: Thursday, June 03, 1999 1:50 AM
To: Loopers-Delight@annihilist.com
Subject: belew


Just read an article in french magazine "home studio
recording" were Belew say he threw away all his stuff (damn
where is his garbage!) and went to VG-8/Johnson millenium on
which he uses the delays to..... -you guessed- loop.

He is on the verge to release a new CD called "Belewps"

Olivier Malhomme

From Loopers-Delight-request@annihilist.com  Thu Jun  3 11:09:13 1999
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From: "Dennis W. Leas" <dennis@mdbs.com>
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Subject: Re: Room sounds
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Thanks for this message!  Hearing about such cool events is really
encouraging!

Dennis Leas
-----------------------------
dennis@mdbs.com


From Loopers-Delight-request@annihilist.com  Thu Jun  3 12:43:14 1999
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Subject: Re: [Fwd: Re: It just goes...]
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>
> by the definitions of hypnosis the depth of the trance state is related
>to one thing: effortless concentration. this very simialar state is also
>reffered to as no mind in some asian cultures. to achieve this state one
>must be RELAXED. no ego. no mind. no worries. when you catch it it is
>a beautiful thing. i agree i've experienced THE feeling playing and
>listening. thinking about that exeprince makes me think: public
>performance was not in the mix. usually it involved playing With
>musicians i've played with a long time or alone...but never in front of
>a crowd. most of the time i'm thinking about what can go wrong and being
>self critical of each note i pick. that is a different feeling
>altogether for me.....comments?......jp
>
    John, I wouldn't have a clue as to what the state of relaxed attention
feels like if I drew exclusively from my performing experience. Like
practicing a riff, it's something I TRY to bring forth in performance,
having experiened it elsewhere. But as in daily life, if in performance the
primary thoughts are "what can go wrong and being self-critical..", then
things will go wrong and you will blame yourself for them. I am way off the
loop here, perhaps we should continue this discussion elsewhere. Which
reminds me, are there any other newsgroups/sites which discuss both
practical and spiritual/metaphysical aspects of music performance?

From Loopers-Delight-request@annihilist.com  Thu Jun  3 12:47:37 1999
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Date: Thu, 03 Jun 1999 12:38:27 -0500
From: Mark Sottilaro <msottila@mailbox.syr.edu>
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Subject: Belew garage sale
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Wow, think of it... almost as good as when Frampton bought the
inflatable pig at Pink Floyd's garage sale...

From Loopers-Delight-request@annihilist.com  Thu Jun  3 13:10:41 1999
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From: "Collins" <collinsclan@sprintmail.com>
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Subject: about the $4.95 Cd's
Date: Thu, 3 Jun 1999 13:00:41 -0400
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I think that anyone who orders from this place at myshopnow will not only
end up getting a CD that is NOT like the original but will take some well
deserved $$ out of the artist hands. Now do you really want to cheat an
artist who's work you admire?

Jeffrey Collins

A Strange View of Music

http://www.geocities.com/SunsetStrip/Stadium/1429/STRANGETONES.html

From Loopers-Delight-request@annihilist.com  Thu Jun  3 13:22:50 1999
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Date: Thu, 03 Jun 1999 12:16:24 -0500
From: Mike Artemenko <chemuser@ix.netcom.com>
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Has anyone tried looping with this processor? It has only a 5 sec.
sample time.
I'm also interested in the reverse delay and time warp effects (are they
really backwards?)
Actually, I want to know if anyone out there has used this processor and
can give some opinions.

Mike



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Date: Thu, 03 Jun 1999 19:12:21 +0200
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From: Leo Cavallo <cavallo@dada.it>
Subject: Re: Multiple Sound Cards and resolving MIDI clock
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hi

if you need the spdif out only (no matter for ultra clean analog outs) get
an old AWE 64 gold. The Live is a pain in the arse, major driver problems
and difficult installation. take an old 64 gold. I've mounted my gina and
gold, now GOld and MOTU2408, and it works flawlessly. Very good for software
synths. You run the appz on the GOld and record the digital out with the
GIna (not so good with virtual synths). 
it's a brilliant combination....

>
>I was thinking of getting the SBLive card but have a couple of questions :
>
>1. Does the Live work ok with a Gina installed?

yes, you can have 2 soundcards installed in one system. 

>2. Does the SPDIF connection come with the Live basic package or do you need
>to get the daughterboard option?

daughterboard option

>3. Can I connect the SPDIF out of my Gina to the SPDIF in of the Live in
>order to resolve the audio clock AND to keep the cards in sync. I want to
>have two apps - one master though the Gina and one slave through the Live.

you need a virtual midi cable to sync two or more appz 

>The setup will be running MIDI data aswell (but not through the Live card).
>
>I know that if you're running multiple cards with audio and MIDI split
>between two programs that you need to resolve the audio clock of the card
>aswell as locking the two audio cards together. 
>

??????

ciao
leo

>I'd be grateful for a quickish reply if possible as I'm going to be buying a
>card shortly
>
>Cheers folks
>Anthony
>
>
>
>
>> ----------
>> From:
>> Loopers-Delight-d-request@annihilist.com[SMTP:Loopers-Delight-d-request@an
>> nihilist.com]
>> Reply To: 	Loopers-Delight@annihilist.com
>> Sent: 	03 June 1999 08:15
>> To: 	Loopers-Delight-d@annihilist.com
>> Subject: 	Loopers-Delight-d Digest V99 #220
>> 
>> <<Message: Microsoft Exchange Message>><<Message: Re: John Cage
>> recordings>><<Message: [Fwd: Re: It just goes...]>><<Message: Re: Aube
>> Re: It just goes...>><<Message: Scenic Views of Music>><<Message: EDP
>> FEEDBACK GHOST>><<Message: belew>>
>> 
>> 
>
>
>

From Loopers-Delight-request@annihilist.com  Thu Jun  3 14:17:06 1999
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Reply-To: "Tom Lambrecht" <hideo@concentric.net>
From: "Tom Lambrecht" <hideo@concentric.net>
To: "Collins" <collinsclan@sprintmail.com>, <Loopers-Delight@annihilist.com>
Subject: Re: about the $4.95 Cd's
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Jeff:

I checked this site and ran a couple of my usual "stump the record club"
choices thru and these guys had 'em including a locally produced-extrremely
small production disc--

thought to myself, "there's no way K-Tel could have tooled up a run of
this--sooooooo I ordered a couple of things to check it out

In th event that these are produced by K-Tel, by copyright law, don't the
artists have to be paid royalties on these discs anyway . . .?

(I thought the Internet was the only place where that was'nt the case)

anyway, keep you posted as I am an advocate of artists getting their
royalties as much as anyone else on this list

Tom Lambrecht
hideo@concentric.net


-----Original Message-----
From: Collins <collinsclan@sprintmail.com>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Thursday, June 03, 1999 12:17 PM
Subject: about the $4.95 Cd's


>I think that anyone who orders from this place at myshopnow will not only
>end up getting a CD that is NOT like the original but will take some well
>deserved $$ out of the artist hands. Now do you really want to cheat an
>artist who's work you admire?
>
>Jeffrey Collins
>
>A Strange View of Music
>
>http://www.geocities.com/SunsetStrip/Stadium/1429/STRANGETONES.html
>
>

From Loopers-Delight-request@annihilist.com  Thu Jun  3 14:21:25 1999
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From: "Liebig, Steuart A." <LiebigSA@Maritz.com>
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> So how long are* this things delay times?
> 11 seconds?
> 
	** = loop with overdubbing

> 23 seconds?
> 
	** = single loop, no overdub (also digital delay setting i believe)

>  2 seconds?
> 
	** = echo setting - - tho' it may really be longer . . . 

	these are all from memory


> and, how much does this thing cost?
> 
	** about $200

	stig

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From: Matthias Grob <matthias@grob.org>
Subject: Re: more on Kyma.....
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This is a posting of  Jim Coker <jcoker@interaccess.com> in '97. I just
stumbeled over it and liked it and since we had talk about this going, I
repost it.


>> Jim answered me:
>> >In reference to Matthias' questions, most parameters on sound
>> >objects (such as delay times, frequency settings, filter bandwidth
>> >and frequency) are controllable in real time, and without glitches.
>> >Put an lfo on a short delay, and you get a flanger. (Delay lengths can
>> >be specified in a number of ways, such as in seconds, or samples,
>> >or relative to something else)  Control signals can come from midi,
>> >or all sorts of other things, frequency trackers, envelope followers,
>> >other audio signals, or signals built by processing other signals.
>> >When I was there, a Peavey PC1600 fader box (16 programmable
>> >midi faders and assorted buttons) was set up to
>> >control sound parameters. This is what I used during the looping
>> >test (no foot controller available).
>>
>> I see... but this I can do on my PCM80, as long as its just controlling
>> parameters of a delay.
>> I was thinking about the loop specific functions like Tap, Multiply, Undo,
>> or rather sampler type functions like restarting the actual loop or
>> changing to another loop and so on. Probably those functions will have to
>> be created and I wondered how difficult this might be.
>
>Well, there's no tap tempo control that comes with the unit (I asked),
>but
>I don't think it would be difficult to build one.  As far as the
>echoplex-type
>functions go, it depends on your goal.  If you want to duplicate the
>interface
>of an echoplex, you can probably do it, but I can't say how difficult it
>would
>be, and I don't think it would be the best way to approach loop
>programming
>with Kyma.  Since you can have a large number of loops and samplers
>running
>at once, and there are numerous controls available on them, some of the
>metaphors
>that apply with the echoplex don't make much sense.  For example,
>multiply
>on the echoplex affects the original loop, whereas on Kyma, I would be
>more
>likely to achive a similar result by adding a new, concurrent loop whose
>time is a multiple of the first.  This would leave the original loop
>available
>for individual processing.  Of course, everyone has their own preference
>about
>how such features should be configured, but a big part of Kyma is that
>the
>user has many options on how to organize things.
>
>>
>> >Another nice patch involved a "harmonic resonator", a special
>> >kind of filter that resonates at a given pitch and all it's
>> >harmonics.
>>
>> also available on PCM70/80
>>
>> >Probably the most unique capabilities of the system revolve around
>> >it's analysis and resynthesis capabilities.  Their latest software
>> >version comes w/ a configureable vocoder w/ up to 70 filter bands.
>> >In addition to real time vocoding, you can analyize a sample
>> >(drums, vocals and animal sounds work best, due to their widely
>> >varying formants) to build a time-varying filter bank, and then use
>> >this filter bank to process a live signal.
>>  ...
>>
>> >For really hard-core stuff, you can use an FFT analysis to convert
>> >the signal from the time domain into the freqency domain, and do
>> >processing there (such as stretching or scaling harmonics, pitch
>> >and time shifting, etc), and then resynthesize the result using
>> >an oscillator bank.  This is the approach used by Digital Performer
>> >1.7 and others to do pitch shifting w/o ugly artifacts.  Kyma
>> >can do this in real time, minus a 1/4sec delay due to FFT
>> >windowing issues
>>
>> Interesting. This could certainly be used to colour and modulate loops. And
>> in this case, the 250ms delay (thats a lot!) could be hidden somehow.
>
>The delay is intrinsic to all FFT algorithms.  The processing occurs by
>taking short samples (called windows) of the input, and doing the FFT
>on each window.  Longer windows give more accurate frequency results,
>shorter ones give a better indication of when events occur in the
>signal.
>The windowing is what causes the delay.  I do think it is adjustable, so
>shorter delays can be traded for some accuracy.
>(caveat: That's a very short and imprecise description of a complex
>signal processing task)
>
>
>> >The only dissapointment I had was with the frequency tracker.
>> >It works amazingly well w/ vocals, but didn't do so great on
>> >a guitar.  The response time was at least as good as a Roland
>> >GI-10 midi converter and it did track vibrato and
>> ...
>> > One big change that would make
>> >it better would be to use hexaphonic input a-la GK2, which would
>> >restrict the pitch guessing range, and avoid multi-string noises.
>>
>> Did you play monophonic for this test, or is it even able to detect chords
>> of a monophonic guitar?!?
>
>The tracker can't handle chords, that is truly a difficult task.  It is
>discussed in the Curtis Roads book I mentioned earlier (as is the FFT
>stuff).
>
>>
>> >Currently Kyma only has 2 inputs and 2 outputs, but they are working
>> >on increasing this.  They get many requests to increase the
>> >number of outputs, but Kurt said that this was the first time they
>> >had a solid reason for having multiple inputs, ...
>>
>> Ahh... we will end up making our own VGx, more serious, with all in it!
>>
>> >Kyma can run simutaneously w/ a
>> >sequencer or MAX on a modest MAC or PC.  Symbolic Sound is also
>> >working on a PC-card interface so you can use Kyma w/ a laptop.
>>
>> Does it also work without any computer, on stage?
>
>Nope, the computer is the controller, where all patches are stored and
>other important things happen. It also, obviously, lowers the price of
>the
>Capybara, which has no front panel controls.  There is a midi-map
>function
>so you can use program changes to load new sounds.
>
>The "stuck-to-a-computer" issue is one the Sym. Sound is aware of.  They
>had said that at AES some engineers from Eventide had asked if they'd
>had people complain about requiring the computer.  They are working on a
>PC card for laptops, so that makes it a bit less of a problem.  The way
>I see it is that they leverage so many capabilities from the computer
>that
>the restriction is well-justified.
>
>> Did you check the reverb sounds? If the KYMA replaces two Plexes and my two
>> Lexicons, its not that expensive any more!
>
>I don't know of any serious reverb programs that come with the unit, but
>it has Delays, Comb Filters and such that can be used to build reverbs.
>There are some general reverb algorithms covered in signal processing
>publications, but if you're looking to replace the reverb in a PCM80,
>its not gonna happen easily.
>
>This brings up the issue of what Kyma is all about. The fx boxes from
>Lexicon,
>Eventide and others come with great programs that are ready-to-use
>and are targeted for music production, but even though they have
>relatively
>flexible programming options, their limitations are rigid: They have a
>fixed
>processing & memory capacity (for both delays and programs), a limited
>number of processing algorithms (i.e. chorus, flange, pitch shift,
>reverb), and limited
>number of ways to combine those algorithms.  Kyma is an open-ended box,
>it is
>what the user makes of it.  Symbolic Sound provides a number of useful
>processing algorithms, software to combine them in new and interesting
>ways, many intriguing
>and instructive example programs, and ongoing software and hardware
>updates that avoid obsolecence.
>
>It blurs the distinction between synthesizer, effects processor, hard
>disk
>recorder, sampler and sequencer.  It is a little bit of all these
>things, but
>by combining them all it becomes something different entirely.  The
>first
>demonstration Carla showed me was a piece that she had created for Kyma.
>The complex
>program turned the Capybara into an instrument, in that it created
>synthesized
>sounds, an effects processor, in that it processed her voice in real
>time, a
>sampler, as it played & modified sounds from disk, a sequencer, in that
>sounds
>were layered and ordered by program events, and a real-time studio or
>composition tool, in that the operation of all these processes were
>interrelated,
>and she was able to control the whole process through vocal inflections
>and
>midi sliders.
>
>Kyma is a solution for those who have
>become frustrated with the limitations of the equipment
>they are working with, and want to create an instrument of their own. It
>will not
>likely replace a Lexicon reverb unit in anyone's rack, but reveberant
>sounds
>built using it can be new and unique. It may not harmonize as
>effortlessly as
>an Eventide, but it has numerous tools for modifying pitch.  It is a
>toolset
>for creating music, and thus the user has both the exciting and
>somewhat daunting task of making something out of it.
>
>
>
>jim





*    Lots of music (samples), inventions (drawings), philosophy:
*         ---> http://Matthias.Grob.org
*    Archive and mailinglist about looping:
*         ---> http://www.annihilist.com/loop/loop.html


From Loopers-Delight-request@annihilist.com  Thu Jun  3 20:01:45 1999
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From: ld thomson <heatshrink@hotmail.com>
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Cc: snowmelter@hotmail.com
Subject: SOUNDSCAPES & SCRABBLE
Date: Thu, 03 Jun 1999 16:35:31 PDT
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Be sure to mark Wednesday June 23rd on your calendar for another night of 
Soundscapes at THE GRAPEFRUIT MOON.  You are invited to come out, play a 
round of the award winning game "SCRABBLE", talk, eat, drink or just be 
mellow as Lorne Thomson creates subtle soundscapes live. It's music that you 
don't have to listen to!

Lorne's will begin to attempt to alter the space/time continuum at 8pm.  
Several soundscapes will be created through out the night, or as long as the 
batteries will allow.

THE GRAPEFRUIT MOON is located at 968 Bathurst St, just north of Bloor 
street, south of Dupont on the west side.


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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Date: Thu, 03 Jun 1999 17:44:27 -0700
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On the west side of where?  What state/country are we talking about here?


ld thomson wrote:

> Be sure to mark Wednesday June 23rd on your calendar for another night of
> Soundscapes at THE GRAPEFRUIT MOON.  You are invited to come out, play a
> round of the award winning game "SCRABBLE", talk, eat, drink or just be
> mellow as Lorne Thomson creates subtle soundscapes live. It's music that you
> don't have to listen to!
>
> Lorne's will begin to attempt to alter the space/time continuum at 8pm.
> Several soundscapes will be created through out the night, or as long as the
> batteries will allow.
>
> THE GRAPEFRUIT MOON is located at 968 Bathurst St, just north of Bloor
> street, south of Dupont on the west side.
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com

From Loopers-Delight-request@annihilist.com  Thu Jun  3 21:07:53 1999
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Date: Thu, 03 Jun 1999 19:01:13 -0600
From: Jim Coker <jcoker@magelang.com>
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Matthias Grob wrote:
> 
> This is a posting of  Jim Coker <jcoker@interaccess.com> in '97. I just
> stumbeled over it and liked it and since we had talk about this going, I
> repost it.
> 
> >> Jim answered me:
[ big snip ]

Hi Matthias.  Give me a couple days to get things under control,
and I'll post a reply to my original post to see what I still
agree with. I'll also give some details about looping w/ Kyma
and Kim can put that up at the looper site.

I'm busy preparing an application for:

[clipped from an emf.org mailing]
*Summer Media Institute / Techne and Eros: Human Sensory Space and the
Machine, in Santa Fe, New Mexico (USA), July 5 - August 14, will include
six separate, one-week workshops conducted by six major figures in the
media arts and sciences: Joan La Barbara, Steina Vasulka, Morton
Subotnick,
David Dunn, Woody Vasulka, and physicist Jim Crutchfield. The essential
issue for each workshop is the interaction between humans, machines, and
the physical spaces they occupy. Techne and Eros is directed toward
participants already involved in electronic media as art, preferably
practicing artists who are interested in further exploring the
relationship
between art and science, music and performance. Deadline coming up. And
note that there are some scholarships available.

          http://mediainstitute.csf.edu
          http://www.santafe.edu/~woodyv

Applications must be postmarked by tomorrow (june 5), so if any looper's
are interested they have to rush.  The main draw for me is Subotnick. At
the media institute site, there are links to Morton's home page.

Jim (formerly of interaccess.com, now of magelang.com, 
soon to be of jguru.com (magelang is changing it's name)) Coker

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From: Hawkeye255@aol.com
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Date: Thu, 3 Jun 1999 21:40:29 EDT
Subject: OT: DOD Dimension 12 with LFO!!
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Am  currently 'test-driving" DOD's Dimension 12:

A small rack-mount looper with built-in LFO modulation (controls: an LFO 
speed knob, a modulation depth knob, an effects feedback knob, aaaand a 
wet/dry mix knob!!!)  The sample can be recorded with effects then more 
effects added over the top.  Or recorded dry.  Then reversed, and a "stutter" 
function initiated too.  Loop times are 2 banks, each with two 6 second loops 
(that can be played back simultaneously), or 2 banks each with one 12-second 
loop (that cannot be played back at the same time)..  No overdubbing 
capabilities.  But interesting all the same.

Bill

From Loopers-Delight-request@annihilist.com  Fri Jun  4 00:30:03 1999
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From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'mark'" <mark.francombe@in2win.com>, Loopers-Delight@annihilist.com
Subject: RE: It just goes...
Date: Thu, 3 Jun 1999 23:58:45 -0400 
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I would say I experience something like you're describing often when I
listen 
a disc or record and I'm totally immersed in the experience of listening --
and then there comes this silence between tracks...

A very cool "I'm still in this, but just hanging up here as time flows by"
kind of feeling.

No drugs necessary.

David Kirkdorffer
UNDO


-----Original Message-----
From: mark [mailto:mark.francombe@in2win.com]
Sent: Thursday, June 03, 1999 3:58 AM
To: Loopers-Delight@annihilist.com
Subject: Re: It just goes...

Daniel, yes, of course, good point (MR PEDANT) but I was really thinking
of the idea that the gaps BECOME the music and the music becomes the
gaps... I think that I have only had this experience when listening to
loops, because it takes time for your brain to turn the sounds "inside
out" rather like the optical illusion of the two human profiles that
become a candle stick when you concentrate on the ares between the
faces...

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ld thomson wrote:

> It's music that you don't have to listen to!

wo. this is the best quote i've seen since D.Torn's "ambient shmambient not so
somnambulant" or the classic heckler comeback to "play something we can dance
to!" ie.. "how about you dance something i can play to!"

seriously though, giving the punters a "silent" board game like scrabble doesn't
seem like such a bad idea... especially if you're going for an extended loopage
session...hope all goes well Lorne!

brad.

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From: Kriist@aol.com
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Date: Fri, 4 Jun 1999 00:59:00 EDT
Subject: on the topic of cage and looping
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cage was a great appreciator of the early impressionistic iconoclast composer 
erik satie(grandaddy of the loop?)
there was one of his piano pieces(i dont remember the name, if anybody knows 
do tell,id love to know)that was comprised of a very sparse, drawn out melody
nothing too outrageous there, BUT the instructions said to play the piece 
some 800 times or so
cage was the first performer to tackle the piece in its entirety
and endevour that lasted 24hrs or so
one can only begin to imagine what playing something over and over and over 
like that must do, or become
gives me the willies thinking about it

rodrigo

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From: Michael Peters <mpeters@csi.com>
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Subject: AW: on the topic of cage and looping
Date: Fri, 4 Jun 1999 07:56:23 +0200
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> erik satie(grandaddy of the loop?)
> there was one of his piano pieces(i dont remember the name, if anybody knows 
> do tell,id love to know)that was comprised of a very sparse, drawn out melody
> nothing too outrageous there, BUT the instructions said to play the piece 
> some 800 times or so

Vexations ... read the 'History' page on our looper's website.

-Michael


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Date: Thu, 03 Jun 1999 22:55:35 +0000
From: Bill Moyer <vargo2muse@earthlink.net>
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Thank you. The beauty of your story is truly inspiring

Bill Moyer

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Date: Fri, 04 Jun 1999 10:16:50 +0200
From: mark <mark.francombe@in2win.com>
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Mark Sottilaro wrote:
> 
> Wow, think of it... almost as good as when Frampton bought the
> inflatable pig at Pink Floyd's garage sale...


And this in turn reminds me of when my band (cranes)returned from the US
to england and somehow my rack got mixed up by the shipping company with
a rack from the rolling stones, they got my humble poweramp mixer,
effects etc and I got an inflatable fifty foot honky tonk woman..

sorry if thats irrelevant,

MArk
-- 
\
-\
--\
---\
----\
-----\
------\
-------\
--------\
---------\
----------\
-----------\
------------\
mark-red-----\
--------------\
---------------\
work------------\
-----------------\
in2win------------\
-------------------\
multimedia-designer-\
ovre-slottsgate-5----\
0157-oslo-------------\
tlf.--22-40-29-94------\
fax--22-42-14-24--------\
e-mail--mark@in2win.com--\
web--http-//www.in2win.com\
---------------------------\
----------------------------\
personal---------------------\
tlf.-22-43-10-79--------------\
mob.-91-56-99-88---------------\
mark@8day.com-------------------\
christine@8day.com---------------\
----------------------------------\
-----------------------------------\
redweb------------------------------\
http-//www.8day.com/redweb-----------\
--------------------------------------\
---------------------------------------\
icq-4531031-----------------------------\
-----------------------------------------\

From Loopers-Delight-request@annihilist.com  Fri Jun  4 05:35:01 1999
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At 1:16 AM -0700 6/4/99, mark wrote:
>Mark Sottilaro wrote:
>>
>> Wow, think of it... almost as good as when Frampton bought the
>> inflatable pig at Pink Floyd's garage sale...
>
>
>And this in turn reminds me of when my band (cranes)returned from the US
>to england and somehow my rack got mixed up by the shipping company with
>a rack from the rolling stones, they got my humble poweramp mixer,
>effects etc and I got an inflatable fifty foot honky tonk woman..

Damn! None of my inflatable women are that big. Things like that never
happen to me.

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


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From: "Dennis W. Leas" <dennis@mdbs.com>
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Cc: <heatshrink@hotmail.com>
Subject: Re: SOUNDSCAPES & SCRABBLE
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>THE GRAPEFRUIT MOON is located at 968 Bathurst St, just north of Bloor
>street, south of Dupont on the west side.

A friendly reminder that our list members are all over the world, let alone
in a particular city, state, or province.  Please include more complete
information when posting gig announcements.

BTW: Sounds like a good gig!

Dennis Leas
-----------------------------
dennis@mdbs.com
-----Original Message-----
From: ld thomson <heatshrink@hotmail.com>
Date: Thursday, June 03, 1999 7:03 PM
Subject: SOUNDSCAPES & SCRABBLE


>Be sure to mark Wednesday June 23rd on your calendar for another night of
>Soundscapes at THE GRAPEFRUIT MOON.  You are invited to come out, play a
>round of the award winning game "SCRABBLE", talk, eat, drink or just be
>mellow as Lorne Thomson creates subtle soundscapes live. It's music that
you
>don't have to listen to!
>
>Lorne's will begin to attempt to alter the space/time continuum at 8pm.
>Several soundscapes will be created through out the night, or as long as
the
>batteries will allow.


From Loopers-Delight-request@annihilist.com  Fri Jun  4 09:54:36 1999
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From: "Jon Southwood" <noj@cedar-rapids.net>
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Subject: Re: on the topic of cage and looping
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> 
> Vexations ... read the 'History' page on our looper's website.
> 
> -Michael
>

Just a little FYI:
About five years ago, the Center for New Music at the University of Iowa
performed the piece with multiple pianists, sort of a tag-team event.
 

Cheers,

Jon Southwood
noj@cedar-rapids.net

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Date: Fri, 4 Jun 1999 10:37:42 -0400 (EDT)
From: billfox@lucent.com (William_B_Fox)
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Subject: EMUSIC Playlist
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			Playlist for "EMUSIC"

"Emusic," an electronic, ambient, and space music show, airs each Thursday
at 11pm on WDIY 88.1 FM, Allentown and Bethlehem, PA and 93.9 FM in
Easton, PA and Phillipsburg, NJ.  http://www.wdiyfm.org/schedule/s_emusic.html

		Show #117		June 3, 1999.
		Host: Bill Fox		http://www.wdiyfm.org
		billfox@fast.net

On this show, I began a month-long focus on Neu Harmony recording group,
AirSculpture.  Adrian Beasley, John Christian, and Peter Ruczynski
improvise 100% of their music!  The feature CD at midnight was
Impossible Geometries.

	AirSculpture  :  http://www.softbase.co.uk/as
	Neu Harmony   :  http://www.neuharm.demon.co.uk
	EMUSIC Focus  :  http://www.wdiyfm.org/emusic/playlists/focus.html


ARTIST                  TRACK                    ALBUM (label)
======================= ======================== ==============================
11:00 pm
Synthetic Block         Careful With That        The Opposite of Staring
                          Fax Machine              Into Space (none)
Redshift                Mania                    Down Time (Champagne Lake)
Ron Boots               Dejection's Cure         Tainted Bare Skin (Groove)
Cassiel                 1919/21 (Green Axis)     Listen/Move (Atomic City)
Laocoon                 Hollow Tranquility       Immersion (Parnassus Nump)
Ian Boddy               Nobody's Home            Box of Secrets (DiN)
Robert Rich             Part 3                   Inner Landscapes (Hypnos)
Stratosphere            exerpt from 6th Alfa-Centauri performance 10-apr-99

12:00 am
AirSculpture            Floe                 Impossible Geometries (Neu Harmony)
AirSculpture            Imp. Geom.           Impossible Geometries (Neu Harmony)
AirSculpture            Stranger Tractors    Impossible Geometries (Neu Harmony)

1:00 am

 * = exerpt
VA = Various Artists (compilation)

On the next EMUSIC, I will continue the month-long focus on the British
group AirSculpture.  The Feature CD at Midnight will be Attrition System
on Neu Harmony.

Please visit the WDIY web site and navigate through the schedule to the
EMUSIC pages.  Playlists for every show are there.  Hot links to artists
and labels can be found in the monthly focus section.

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From: "K. Douglas Baldwin" <dbaldwin@suffolk.lib.ny.us>
To: "Sean Witters" <seanwitters@hotmail.com>, <Loopers-Delight@annihilist.com>
Subject: Re: Room sounds
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-----Original Message-----
From: Sean Witters <seanwitters@hotmail.com>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Thursday, June 03, 1999 9:54 AM
Subject: Room sounds


>Here's an interesting Cagian ambient sound experience of my own:
>Last spring I participated in an Installation/Performance Art Exhibit with
>visual artists Jeffrey Hatfield and Allison Schlegal; the central theme was
>observation of the creative environment.  My primary sound source was a
>sampled music box manipulated with a Kurzweil K-2000 and sequenced with
>Vision.  I decided to augment these sounds with ambient microphones in the
>installation space, an idea derived from Cage's assertion that there is no
>pure listening environment and that all ambient sounds becomes a part of
any
>listening.  These ambient sounds were the audio reflection of video images
>being captured and projected in various parts of the space.  I placed four
>microphones in very visible positions throughout the rooms and ran them
into
>my various processors and lo-fi pedals.  In my rehersal the room sound
>filled in the cracks around the prepared tapes which I was playing
>asynchronously against each other.
>When the show opened and the room filled with people, everything changed.
>Rather than performing the prepared guitar and Rhodes piano parts against
>the tape as I had intended to, I was glued to the mixer peering into each
>room's audio environment looping laughter, or someone's observation, or
>their shuffling feet.  One person said something when entering the space
and
>I looped and manipulated it the whole time they were there.  Soon, the
>audience caught onto the fact that they were being watched and listened to
>and they began to perform.  This is were it got really interesting, one
>group of people picked up these heavy old oversized bank ledgers which were
>a part of the installation and started to read entries "january 2nd, 1946
>Deposit: six hundred and fifty three dollars and three cents...".  They did
>this spontaneously as the prepared tapes were playing back a piece using a
>pitch derived from a sample of a spinning coin.  It was incredible!  People
>started creating spontaneous poetry which I looped, transformed and wove
>into the prepared tape portions.  At the climax of the show the artists,
who
>were upstairs typing (yeah, I looped that too) in a small booth visible
>through portals and on a video screen, announced that the show was closing
>and began counting down the minutes and then seconds.  I created
micro-loops
>within the countdown mixed with random ambient noises like paper falling
>(there were papers being dumped from the ceiling).  I didn't record a
single
>second of the night. I truly wish I had because it was some of the most
>magical spontaneous interaction I've ever experienced.  I temper my sense
of
>loss with the assurance that those sounds were a result of environment,
>moment, and interaction and should be left in that time and space.


    This thread on room sounds reminds me of a process piece, perhaps by Lou
Harrison. The title, as I best recall, was/is "I Am Sitting In A Room..."
and it consists of a short text which is read out loud. The text is the set
of instructions for performance. Here's a paraphrase:
    "I am sitting in a room with a microphone about six feet away. This
microphone's signal is being recorded onto tape. This recording will be
played back from approximately where I am sitting, and recorded again. This
process will be repeated for as long as is practical, and the entire process
will be recorded."
    The resulting recording would then consist of this short spoken piece
repeated over and over, slowly degenerating into room resonance and circuit
resonance until it sounded like a bit of musique concrete. There may have
even been an instruction to play the entire thing backwards somehow,
allowing the text to emerge from the cloud of resonances. Can anyone
identify this piece better?

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From: ld thomson <heatshrink@hotmail.com>
To: Loopers-Delight@annihilist.com
Subject: Re: SOUNDSCAPES & SCRABBLE
Date: Fri, 04 Jun 1999 08:40:40 PDT
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There is a history to this Scrabble thing.  I should fill the loopers in on 
it.  My last live performance at the GRAPEFRUIT MOON (a cool little fried 
green tomatos style cafe in Toronto's "annex" area) was on a quiet sunday 
night.  Thanks to email I had an excellent turn out.
About three minutes into the first soundscape some grumpy fellow in the 
back, who was playing Scrabble with 3 other fellows began yelling "change 
the CD!"  When he was informed that this strange music was being generated 
by someone live he actually went up to the owner and demanded that she make 
me stop.  She didn't of course.  The weirdest thing about it was this jerk 
was my next door neighbour, who up until that point had always been somewhat 
friendly.  Now when I see him, he just scowls at me.


>From: "b.knox" <b.knox@latrobe.edu.au>
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: SOUNDSCAPES & SCRABBLE
>Date: Fri, 04 Jun 1999 14:15:18 +1000
>
>
>
>ld thomson wrote:
>
> > It's music that you don't have to listen to!
>
>wo. this is the best quote i've seen since D.Torn's "ambient shmambient not 
>so
>somnambulant" or the classic heckler comeback to "play something we can 
>dance
>to!" ie.. "how about you dance something i can play to!"
>
>seriously though, giving the punters a "silent" board game like scrabble 
>doesn't
>seem like such a bad idea... especially if you're going for an extended 
>loopage
>session...hope all goes well Lorne!
>
>brad.
>


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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The way to overdub on the DOD "Demented 12" is to set it on "delay", spin 
the lucky wheel to 12 seconds (or the time of your choice) turn the feedback 
setting to 90% and away you go.  The old school Frippertronics way of 
looping.  I use it in tandem with a random Digitech 2 second clucker I 
bought before the free trade agreement was signed.  Plus a GP-8 I got for 
free.


>From: Hawkeye255@aol.com
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: OT: DOD Dimension 12 with LFO!!
>Date: Thu, 3 Jun 1999 21:40:29 EDT
>
>Am  currently 'test-driving" DOD's Dimension 12:
>
>A small rack-mount looper with built-in LFO modulation (controls: an LFO
>speed knob, a modulation depth knob, an effects feedback knob, aaaand a
>wet/dry mix knob!!!)  The sample can be recorded with effects then more
>effects added over the top.  Or recorded dry.  Then reversed, and a 
>"stutter"
>function initiated too.  Loop times are 2 banks, each with two 6 second 
>loops
>(that can be played back simultaneously), or 2 banks each with one 
>12-second
>loop (that cannot be played back at the same time)..  No overdubbing
>capabilities.  But interesting all the same.
>
>Bill
>


______________________________________________________
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From: improv@peak.org (Dave Trenkel)
Subject: Re: Room sounds
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>    This thread on room sounds reminds me of a process piece, perhaps by Lou
>Harrison. The title, as I best recall, was/is "I Am Sitting In A Room..."
>and it consists of a short text which is read out loud. The text is the set
>of instructions for performance. Here's a paraphrase:
>    "I am sitting in a room with a microphone about six feet away. This
>microphone's signal is being recorded onto tape. This recording will be
>played back from approximately where I am sitting, and recorded again. This
>process will be repeated for as long as is practical, and the entire process
>will be recorded."
>    The resulting recording would then consist of this short spoken piece
>repeated over and over, slowly degenerating into room resonance and circuit
>resonance until it sounded like a bit of musique concrete. There may have
>even been an instruction to play the entire thing backwards somehow,
>allowing the text to emerge from the cloud of resonances. Can anyone
>identify this piece better?

The composer is Alvin Lucier, and the piece is called "I am sitting in a
room". The piece takes up both sides of an lp, and I used to listen to the
2nd side a lot, after the spoken words have degenerated into a blur, it was
actually a very musical piece.

________________________________________________________
Dave Trenkel : improv@peak.org  : www.peak.org/~improv/

"...there will come a day when you won't have to use
gasoline. You'd simply take a cassette and put it in
your car, let it run. You'd have to have the proper
type of music. Like you take two sticks, put 'em
together, make fire. You take some notes and rub 'em
together - dum, dum, dum, dum - fire, cosmic fire."
                                            -Sun Ra
________________________________________________________


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From: SoundFNR@aol.com
Message-ID: <17d83a1.24895d77@aol.com>
Date: Fri, 4 Jun 1999 12:48:55 EDT
Subject: Vortex loop mangler (patch)
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Some of you may enjoy................


preset>>              9 Deja Vu B             2 Atmosphere B
mix                           64                              64
output                        64                             64
ModFX                       32                             42
EchoFX                      64                             64
Morph                        59                             59
Env                            64                             1 
Echo1                         1                               1
Echo2                          1                              3
Feedback1                  64                             64
Feedback2                   1                               1
Rate1                          11                              3
Depth1                        32                              5
res1                            21                               1
Rate2                          15                               2 
Depth2                        1                                 14
res2                             1                                1

Start off on the A part of the patch and build up a loop ( this is a standard 
loop patch),
possibly assign pedal to envelope to control how much of what you play goes 
into the loop.
Let it run till you've had enough...
then switch briefly to B and back again.
Appreciate your now modified loop.
repeat as necessary.

....then you can stay in the  B patch for a while (assign pedal to MOD FX 
LVL, which gives a swell control)
build up a wall of sound and then back to A.

If you used this as a pedal morph you could keep on A with the pedal while 
using the A/B button to 
access the B patch , which could then be secretly modified for later use.

There's a lot of possibilities in this one, I think of it as a 
'compositional' patch rather than
just an effect.

Andy Butler
Lexicon Vortex Database (aging section on undocumented features)
http://members.aol.com/soundfnr/vortex.htm   

From Loopers-Delight-request@annihilist.com  Fri Jun  4 15:03:49 1999
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Message-ID: <001f01beaeb2$cee3cd40$1722dacf@sgoodman>
Reply-To: "Stephen P. Goodman" <sgoodman@earthlight.net>
From: "Stephen P. Goodman" <sgoodman@earthlight.net>
To: <Loopers-Delight@annihilist.com>
References: <014401beaea5$9e2def80$262a10ac@Douglas>
Subject: Travel Query...
Date: Fri, 4 Jun 1999 10:51:00 -0700
Organization: EarthLight Productions
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Hi folks!

Presently I'm about to go to the UK for several weeks, for to meet my
Intended's mother and Make It Semi-Official, at least until I get the
obligatory finger-hardware (with which to Officially Pop The Question, a
formality at this point).

As I may be bouncing back and forth to the UK for some time, it dawns upon
me that I might avoid a travelling disaster by purchasing an acoustic guitar
to have Over There.  Electrics travel so much better of course.

But in general are the prices in the UK much worse for used equipment like
this, or about the same?

Thanks.

Stephen Goodman * It's the Loop of the Week!
EarthLight Productions * http://www.earthlight.net

From Loopers-Delight-request@annihilist.com  Fri Jun  4 15:23:30 1999
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From: "Dennis W. Leas" <dennis@mdbs.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: Room sounds
Date: Fri, 4 Jun 1999 13:30:35 -0500
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Yes!  That's Alvin Lucier and the CD is called "I Am Sitting in a Room"
Check out: http://www.cdemusic.org/cgi-bin/cde_search.pl?keywords=aluciercds
Recommended!

After being inspired by this recording, I've done something similar with an
EDP and a SPX-90 reverb.  I used the EDP as a long delay line (feedback=0).
The set-up looked something like:

                             in                out
        mic -----+------->   EDP  >----------|
                      |                                       |
                      |      out                 in        |
                      +-------< SPX-90 <-------+
                      |                                       |
                      |        out               in        |
                      ----------< mixer   <-------+------->speakers

so a portion of the EDP's output is returned dry to the EDP input and a
portion is returned after passing through the reverb.  The intention is to
simulate Lucier's set-up.  Of course, I really used aux/effect send/returns
and input channels to realize the set-up but the above diagram shows the
signal flow.  Mess with the EQ in the mixer path to simulate treblely or
bassy rooms, etc.

It's a little tricky to get the right gain structure so that the signal
level remains approximately the same with each repetition.  I had to "ride"
the send/returns a bit.  Some kind of compressor/limiter would be helpful
here.

My favorite input material was the local newspaper's High School sports
section.  The language is suitably inane.  I would read one or two
paragraphs.  As with Lucier's set-up, the sound goes through an amazing
transformation, smoothly turning into an abstract sequence of tones.  You
get a sense of the beauty hidden in even really trite writtings.

Never did perform this in public.  This set-up required too much prep.
Well, there's always the future...

Dennis Leas
-----------------------------
dennis@mdbs.com

-----Original Message-----
From: K. Douglas Baldwin <dbaldwin@suffolk.lib.ny.us>
To: Sean Witters <seanwitters@hotmail.com>; Loopers-Delight@annihilist.com
<Loopers-Delight@annihilist.com>
Date: Friday, June 04, 1999 11:35 AM
Subject: Re: Room sounds


>    This thread on room sounds reminds me of a process piece, perhaps by
Lou
>Harrison. The title, as I best recall, was/is "I Am Sitting In A Room..."
>and it consists of a short text which is read out loud. The text is the set
>of instructions for performance. Here's a paraphrase:
>    "I am sitting in a room with a microphone about six feet away. This
>microphone's signal is being recorded onto tape. This recording will be
>played back from approximately where I am sitting, and recorded again. This
>process will be repeated for as long as is practical, and the entire
process
>will be recorded."
>    The resulting recording would then consist of this short spoken piece
>repeated over and over, slowly degenerating into room resonance and circuit
>resonance until it sounded like a bit of musique concrete. There may have
>even been an instruction to play the entire thing backwards somehow,
>allowing the text to emerge from the cloud of resonances. Can anyone
>identify this piece better?


From Loopers-Delight-request@annihilist.com  Fri Jun  4 15:37:39 1999
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From: "Dennis W. Leas" <dennis@mdbs.com>
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Subject: Re: SOUNDSCAPES & SCRABBLE
Date: Fri, 4 Jun 1999 13:41:47 -0500
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What a great story!  

>About three minutes into the first soundscape some grumpy fellow in the 
>back, who was playing Scrabble with 3 other fellows began yelling "change 
>the CD!"

This guy is just BEGGING to be sampled and looped ;)

Dennis Leas
-----------------------------
dennis@mdbs.com


From Loopers-Delight-request@annihilist.com  Fri Jun  4 17:13:23 1999
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To: Loopers-Delight@annihilist.com
Subject: RE: Field Recordings/Loops, etc.
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----------
From: 	Todd Madson[SMTP:crash@waste.org]
Sent: 	Thursday, June 03, 1999 2:30 AM

>I also have noticed that birds can be master loopers.  I get up at 
>4:30 in the a.m. to get ready for work and find that some of it would
>be loopworthy.

Check out "Granchester Meadows" by Roger Waters, from Pink Floyd's 1968 album "Ummagumma." The backing is a tape loop of a bird singing (species unknown).

Jim Bailey


----------------------------------------------------------
Get your FREE personalized e-mail at http://www.canada.com

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Date: Fri, 4 Jun 1999 17:18:32 -0400 (EDT)
From: Unit Circle Media <unitcirc@unitcircle.com>
To: Loopers-Delight@annihilist.com
Subject: Re: John Cage recordings
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On Wed, 2 Jun 1999, Dennis W. Leas wrote:

> "retail sales").  "Pop/Rock?  Folk?, New Age, Classical?"  I found John Cage
> in "Classical."  I laughed out loud.
> 
Umm, I'm not sure where else you would find him.  While his music was
very progressive for it's time, it and he were completely grounded in
"traditional" classical music.

	Kevin

Kevin Goldsmith				kevin@unitcircle.com
Unit Circle Media			http://www.unitcircle.com/


ii      asdqweqweqweqwe

From Loopers-Delight-request@annihilist.com  Fri Jun  4 19:25:59 1999
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From: "James Lanpheer" <jlanphe@uswest.com>
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Gathered in a cave and grooving with a pict?

And no, Floyd never did drugs.......Suuuuuuuuuuuure.



;p
meliketheFloyd.  regards.



jimb@ehmail.com wrote:

> ----------
> From:   Todd Madson[SMTP:crash@waste.org]
> Sent:   Thursday, June 03, 1999 2:30 AM
>
> >I also have noticed that birds can be master loopers.  I get up at
> >4:30 in the a.m. to get ready for work and find that some of it would
> >be loopworthy.
>
> Check out "Granchester Meadows" by Roger Waters, from Pink Floyd's 1968 album "Ummagumma." The backing is a tape loop of a bird singing (species unknown).
>
> Jim Bailey
>
> ----------------------------------------------------------
> Get your FREE personalized e-mail at http://www.canada.com



From Loopers-Delight-request@annihilist.com  Fri Jun  4 21:25:31 1999
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Date: Fri, 04 Jun 1999 19:50:47 -0500
From: Mark Sottilaro <msottila@mailbox.syr.edu>
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Subject: Inflatable?
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	 <3.0.5.32.19990603070611.0079d8d0@pop.ici.net>
	 <3756BD90.E37F8AA5@mailbox.syr.edu> <v03102800b37d49e86e96@[63.192.37.242]>
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--------------C813D4668B203D0048A55019
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> >> Wow, think of it... almost as good as when Frampton bought the
> >> inflatable pig at Pink Floyd's garage sale...
> >
> >
> >And this in turn reminds me of when my band (cranes)returned from the US
> >to england and somehow my rack got mixed up by the shipping company with
> >a rack from the rolling stones, they got my humble poweramp mixer,
> >effects etc and I got an inflatable fifty foot honky tonk woman..
>
> Damn! None of my inflatable women are that big. Things like that never
> happen to me.
>
> kim
>
Help, I'm way too tempted to come up with a really bad response to this
one...

Please, someone help me!!!!!!!!

Mark

--------------C813D4668B203D0048A55019
Content-Type: text/html; charset=us-ascii
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<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>

<blockquote TYPE=CITE>
<pre>>> Wow, think of it... almost as good as when Frampton bought the
>> inflatable pig at Pink Floyd's garage sale...
>
>
>And this in turn reminds me of when my band (cranes)returned from the US
>to england and somehow my rack got mixed up by the shipping company with
>a rack from the rolling stones, they got my humble poweramp mixer,
>effects etc and I got an inflatable fifty foot honky tonk woman..

Damn! None of my inflatable women are that big. Things like that never
happen to me.

kim</pre>
</blockquote>

<p>Help, I'm way too tempted to come up with a really bad response to this
one...
<p>Please, someone help me!!!!!!!!
<p>Mark</html>

--------------C813D4668B203D0048A55019--

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To: Loopers-Delight@annihilist.com
From: Tim Nelson <tcn62@ici.net>
Subject: RE: Field Recordings/Loops, etc.
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Along these lines (but in the "Classical" bins, on Catalyst along with
Cage!) you might enjoy Einojuhani Rautavaara's "Cantus Arcticus" (1972), a
"Concerto for Birds and Orchestra" where multiple layers of taped wild
birds are played along with live instrumentation as an integral part of the
piece. Not looping, though...

Loop Guru, on the other hand, use loops of birds all the time! Jamuud rules!

Tim

At 03:52 PM 6/4/99 -0400, you wrote:
>
>----------
>From: 	Todd Madson[SMTP:crash@waste.org]
>Sent: 	Thursday, June 03, 1999 2:30 AM
>
>>I also have noticed that birds can be master loopers.  I get up at 
>>4:30 in the a.m. to get ready for work and find that some of it would
>>be loopworthy.
>
>Check out "Granchester Meadows" by Roger Waters, from Pink Floyd's 1968
album "Ummagumma." The backing is a tape loop of a bird singing (species
unknown).
>
>Jim Bailey
>
>
>----------------------------------------------------------
>Get your FREE personalized e-mail at http://www.canada.com
>
>

From Loopers-Delight-request@annihilist.com  Fri Jun  4 23:31:13 1999
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From: Kriist@aol.com
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Date: Fri, 4 Jun 1999 23:04:28 EDT
Subject: Re: Room sounds (AND MORE)
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the composer is alvin lucier

>   This thread on room sounds reminds me of a process piece, perhaps by Lou
>  Harrison. The title, as I best recall, was/is "I Am Sitting In A Room..."
>  and it consists of a short text which is read out loud. The text is the set
>  of instructions for performance. Here's a paraphrase:

>The resulting recording would then consist of this short spoken piece
>repeated over and over, slowly degenerating into room resonance and circuit
>resonance until it sounded like a bit of musique concrete. There may have
>even been an instruction to play the entire thing backwards somehow,
>allowing the text to emerge from the cloud of resonances. Can anyone
>identify this piece better?

i have the score here somewhere i just cant find it now
i also have an interview with him in another book talking mostly about that 
piece
i dont think theres anything about playing it backwards in there but he did 
mention some interesting 'performances' of the pieces
like a 24hour one in a big church
and i think me mentioned a one year long one that was going on

he also mentions in the score to try using different rooms or resonant spaces
'some that you would like to bring the characteristics out of'

with all this 'new music' talk id like to know how many people are on the 
looping list from a newmusic/compositional/reich/cage/stakhousen point of view

rodrigo

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Carlos R. Carrillo said

>One of them is the Ares-Iris system which is being manufactured by
> Bontempi/Farfisa in  Europe.

I just looked for it on the net - in vain. Is this an inside info?





*    Lots of music (samples), inventions (drawings), philosophy:
*         ---> http://Matthias.Grob.org
*    Archive and mailinglist about looping:
*         ---> http://www.annihilist.com/loop/loop.html


From Loopers-Delight-request@annihilist.com  Sat Jun  5 05:08:56 1999
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Lou Harrison is the guy who built an instrument called the "american gamelan".
They guy who did "I am sitting in a room..." was Alvin Lucier. He started by
reading a paragraph that he wrote. It's pretty much like what you wrote down
here. I think the 2 tape recorders were at opposite ends of the room. I don't
remember how long he did it or how many repititions there were, but I'm guessing
that it was about 20-40 minutes long. One of the really cool things about this
piece was that he was a bad stutterer, and about halfway through the piece you
couldn't tell the difference. By the end of the piece, there was no perceptable
speaking part, but the many layers of recorded room ambience made a
synthesizer-like sound.

matt davignon

"K. Douglas Baldwin" wrote:

>
>     This thread on room sounds reminds me of a process piece, perhaps by Lou
> Harrison. The title, as I best recall, was/is "I Am Sitting In A Room..."
> and it consists of a short text which is read out loud. The text is the set
> of instructions for performance. Here's a paraphrase:
>     "I am sitting in a room with a microphone about six feet away. This
> microphone's signal is being recorded onto tape. This recording will be
> played back from approximately where I am sitting, and recorded again. This
> process will be repeated for as long as is practical, and the entire process
> will be recorded."
>     The resulting recording would then consist of this short spoken piece
> repeated over and over, slowly degenerating into room resonance and circuit
> resonance until it sounded like a bit of musique concrete. There may have
> even been an instruction to play the entire thing backwards somehow,
> allowing the text to emerge from the cloud of resonances. Can anyone
> identify this piece better?

From Loopers-Delight-request@annihilist.com  Sat Jun  5 12:27:20 1999
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From: "James Pokorny" <j.pokorny@worldnet.att.net>
To: <Loopers-Delight@annihilist.com>
Subject: For the birds . . . (was Field Recordings/Loops, etc.)
Date: Sat, 5 Jun 1999 10:41:42 -0400
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The 20th century French composer Olivier Messaien was also fascinated with
birdsong, to the point of collecting, notating, cataloguing and transcribing
numerous examples from his own fieldwork, then incorporating these "found"
melodies into his own compositions.

Another fascinating example of interplay between live musicians and birds
can be found on a great recording, on the Swiss VDE-Gallo label, VDE CD-699
"Afghanistan - the Rubab of Herat - Mohammed Rahim Khushnawaz."  These were
field recordning made by an ethnomusicologist, John Baily, who was studying
Afghani traditional music.  The performer heard here is a virtuoso of the
short-necked Afghani lute, the rubab (also spelled rabab).  On several
pieces you can clearly hear birds singing.  This would not be unusual for
"field recordings" -- except that the performer specifically brought some
caged canaries along to the recording session!  The liner notes explain:

"The sounds of music combined with the sounds of birdsong constituted the
acme of musical aesthetic enjoyment in Herat [town where the music was
recorded].  The Heratis believed that the birds were stimulated to sing by
the sound of music, and caged birds were sometimes brought to performances
so that their voices could be added to the sound.  The better the music, the
more the birds were believed to respond, and their song provided a sort of
litmus test of how well the music was going."

But I'd recommend this recording for its incredible musical content even
more than for the birdsong.

I've also heard other Afghani recordings where the musicians themselves
perform amazing imitations of bird calls during their performance, I suppose
for the same effect.

>Along these lines (but in the "Classical" bins, on Catalyst along with
>Cage!) you might enjoy Einojuhani Rautavaara's "Cantus Arcticus" (1972), a
>"Concerto for Birds and Orchestra" where multiple layers of taped wild
>birds are played along with live instrumentation as an integral part of the
>piece. Not looping, though...
>
>Loop Guru, on the other hand, use loops of birds all the time! Jamuud
rules!
>
>Tim
>
>At 03:52 PM 6/4/99 -0400, you wrote:
>>
>>----------
>>From: Todd Madson[SMTP:crash@waste.org]
>>Sent: Thursday, June 03, 1999 2:30 AM
>>
>>>I also have noticed that birds can be master loopers.  I get up at
>>>4:30 in the a.m. to get ready for work and find that some of it would
>>>be loopworthy.
>>
>>Check out "Granchester Meadows" by Roger Waters, from Pink Floyd's 1968
>album "Ummagumma." The backing is a tape loop of a bird singing (species
>unknown).
>>
>>Jim Bailey
>>
>>
>>----------------------------------------------------------
>>Get your FREE personalized e-mail at http://www.canada.com
>>
>>
>

From Loopers-Delight-request@annihilist.com  Sat Jun  5 13:32:43 1999
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Date: Sat, 05 Jun 1999 18:37:25 +0200
From: Claude Voit <c.voit@vtx.ch>
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Subject: Re: Belew garage sale
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	 <3.0.5.32.19990603070611.0079d8d0@pop.ici.net>
	 <3756BD90.E37F8AA5@mailbox.syr.edu> <v03102800b37d49e86e96@[63.192.37.242]>
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Kim Flint wrote:
> Damn! None of my inflatable women are that big. Things like that never
> happen to me.


Its not the size,never.err

Claude

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test2


From Loopers-Delight-request@annihilist.com  Sat Jun  5 14:47:46 1999
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Date: Sat, 05 Jun 1999 01:38:04 -0400
From: Daniel Ferguson <Breakz@hom.net>
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Subject: Re: It just goes...
References: <006101beac96$68963960$2a964e0c@u73x0> <3754E056.9370CE20@earthlink.net> <37553072.B00F22B2@in2win.com> <37549A21.7C74B56E@hom.net> <37563585.95A842C3@in2win.com>
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Has anyone tried writing the "silence" in a song first? It works very well
and allows others to place sound in between the silence. You can do it on a
2 track or a nice digital/GUI. When starting they will use a noise source
and a silence generator to distinguish between the void of nothingness. The
noise can be used as a temporary fix to establish; what is silence and what
is not. Another method employed is the use of actual time code to establish
where the silence is. A simplified version could be done with trigger waves
or pulses to determine the on and off the silent material. Remember most
things are about perceiving what is clearly not there. We just need more
masters of perception. Try and make a funky loop "without" those musical
gaps of silence.


Best regards,
Daniel

mark wrote:

> Daniel, yes, of course, good point (MR PEDANT) but I was really thinking
> of the idea that the gaps BECOME the music and the music becomes the
> gaps... I think that I have only had this experience when listening to
> loops, because it takes time for your brain to turn the sounds "inside
> out" rather like the optical illusion of the two human profiles that
> become a candle stick when you concentrate on the ares between the
> faces...
>
> M
>
> Daniel Ferguson wrote:
> >
> > Music is typically written by concentrating on the gaps of silence.
> >
> > Daniel Ferguson
> >
> > mark wrote:
> >
> > >
> > > Has any one had the experience while listening to something over and
> > > over like a rythmic loop, you start to concentrate on the gaps of
> > > silence in between the sounds and the rythum that they produce...hmm
> > > does this make sense?
> > >
> > >
>
> --
> \
> -\
> --\
> ---\
> ----\
> -----\
> ------\
> -------\
> --------\
> ---------\
> ----------\
> -----------\
> ------------\
> mark-red-----\
> --------------\
> ---------------\
> work------------\
> -----------------\
> in2win------------\
> -------------------\
> multimedia-designer-\
> ovre-slottsgate-5----\
> 0157-oslo-------------\
> tlf.--22-40-29-94------\
> fax--22-42-14-24--------\
> e-mail--mark@in2win.com--\
> web--http-//www.in2win.com\
> ---------------------------\
> ----------------------------\
> personal---------------------\
> tlf.-22-43-10-79--------------\
> mob.-91-56-99-88---------------\
> mark@8day.com-------------------\
> christine@8day.com---------------\
> ----------------------------------\
> -----------------------------------\
> redweb------------------------------\
> http-//www.8day.com/redweb-----------\
> --------------------------------------\
> ---------------------------------------\
> icq-4531031-----------------------------\
> -----------------------------------------\

From Loopers-Delight-request@annihilist.com  Sat Jun  5 17:42:30 1999
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From: Phaedebk@aol.com
Message-ID: <e9da4658.248ad715@aol.com>
Date: Sat, 5 Jun 1999 15:40:05 EDT
Subject: Re: Digitech Quad4
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Dear Mike,

	I don't have a QUAD 4, but I do have a TSR 24S (hey, I didn't know 
that Digitech was into D&D!)  The looping that is in the TSR-24S is the same 
5 seconds, and it is really nice, though what happens without the foot 
controller is that you end up having to use a start note, and continue 
playing that start note in order to get the Looper to continue playing your 5 
second sample.  You also have to resort to hopping out of the sample patch 
and then go back into it in order to create a new sample and there is a time 
lag as the processor gives you a few (3) seconds before it starts to record.
	
	Personally, I don't find that this is a hassle, at least for what I 
am playing and what I am sampling from myself on the fly.

	As to the reverse sounds, I don't think that it has the real capacity 
to sample and then play back each note in reverse, but I could easily be 
wrong, still don't have the manual, but I'll give Digitech a holler to see if 
they still carry it, eh?

	Hope this helps.

		Lee-ohki.  

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Subject: there4there4there3there4there(<heaven>)nothIng/in//...just aminute amount of loops sword fish city! Dali delved into the same skull we are all one and am not seperate perhaps except in mind. My favorite My Bloody Valentine song is the one where I come back to life after suicide as a diety who can score at willlllllllllllllllllloooooooooooooooopppppppppp!
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Dear the dearest of the dear, the nicest of the nice, those who
sacrifice a way of life......., for another!!
the greatest loop electronic sounds emanate from Seefeel. They use loops
as a mushroom defence into serenity. I, at the age of 15, looped by hand
with an old duel tape deck stereo and a quick on pause rewind on pause
rewind on pause rewind.....My favorite, I re-did Ministry's "jesus Built
my Hot rod" at the beginning with Jesus is Satan......how does one
channel energy to create as Stockhausen, pure tones..........depression
takes me deep down into despair and life seems hopeless and worthless,
sincerely,
"no friends" Jamie.....

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Date: Sun, 06 Jun 1999 08:14:04 +0000
From: Bobdog <psbuddha@texas.net>
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Organization: Pseudo Buddha/Doghouse Ent.
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Subject: Re: there4there4there3there4there(<heaven>)nothIng/in//...just aminute 
 amount of loops sword fish city! Dali delved into the same skull we are 
 all one and am not seperate perhaps except in mind. My favorite My 
 Bloody Valentine song is the one where I come back to life after suicide 
 as a diety who can score at 
 willlllllllllllllllllloooooooooooooooopppppppppp!
References: <375A2E5D.EC68DF98@bellsouth.net>
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well, uh, welcome to the list, no-friends.

hope you're feeling better tomorrow...

bobdog



> Dear the dearest of the dear, the nicest of the nice, those who
> sacrifice a way of life.......

From Loopers-Delight-request@annihilist.com  Sun Jun  6 10:54:44 1999
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To: jennil@bellsouth.net
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Subject: Re: there4there4there3there4there(<heaven>)nothIng/in//...just aminute 
 amount of loops sword fish city! Dali delved into the same skull we are 
 all one and am not seperate perhaps except in mind. My favorite My 
 Bloody Valentine song is the one where I come back to life after suicide 
 as a diety who can score at 
 willlllllllllllllllllloooooooooooooooopppppppppp!
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well, uh, welcome to the list, no-friends.

hope your feeling better tomorrow...

bobdog

From Loopers-Delight-request@annihilist.com  Sun Jun  6 17:07:49 1999
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Date: Sun, 06 Jun 1999 12:52:28 -0500
From: Mike Artemenko <chemuser@ix.netcom.com>
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Thanks for your insight. I've got a Quad4 ordered and should receive it this
week.
I'll let you know how cool it really is.

Mike



Phaedebk@aol.com wrote:

> Dear Mike,
>
>         I don't have a QUAD 4, but I do have a TSR 24S (hey, I didn't know
> that Digitech was into D&D!)  The looping that is in the TSR-24S is the same
> 5 seconds, and it is really nice, though what happens without the foot
> controller is that you end up having to use a start note, and continue
> playing that start note in order to get the Looper to continue playing your 5
> second sample.  You also have to resort to hopping out of the sample patch
> and then go back into it in order to create a new sample and there is a time
> lag as the processor gives you a few (3) seconds before it starts to record.
>
>         Personally, I don't find that this is a hassle, at least for what I
> am playing and what I am sampling from myself on the fly.
>
>         As to the reverse sounds, I don't think that it has the real capacity
> to sample and then play back each note in reverse, but I could easily be
> wrong, still don't have the manual, but I'll give Digitech a holler to see if
> they still carry it, eh?
>
>         Hope this helps.
>
>                 Lee-ohki.

From Loopers-Delight-request@annihilist.com  Sun Jun  6 18:19:35 1999
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Date: Sun, 06 Jun 1999 21:56:13 +0200
From: Claude Voit <c.voit@vtx.ch>
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CC: "SoundFNR@aol.com" <SoundFNR@aol.com>
Subject: Re: Vortex loop mangler (patch)
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SoundFNR@aol.com wrote:
> 
> Some of you may enjoy................
> 
> preset>>              9 Deja Vu B             2 Atmosphere B
> mix                           64                              64
> output                        64                             64
> ModFX                       32                             42
> EchoFX                      64                             64
> Morph                        59                             59
> Env                            64                             1
> Echo1                         1                               1
> Echo2                          1                              3
> Feedback1                  64                             64
> Feedback2                   1                               1
> Rate1                          11                              3
> Depth1                        32                              5
> res1                            21                               1
> Rate2                          15                               2
> Depth2                        1                                 14
> res2                             1                                1
> 


Aouch
I played a 3 sec stereo loop thru those patches
on the regiser B (second column)



try the following combis
> Echo1    32     48      8      32   
> Echo2    64     64      64     16
with
tapping very short taps     
rythmic values taps
measure multiples taps

change Echo values




Aouch

ClAOude ch

From Loopers-Delight-request@annihilist.com  Sun Jun  6 23:35:38 1999
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Date: Sun, 6 Jun 1999 19:22:30 -0700 (PDT)
From: "Rev. Doubt-Goat" <dgoat@rocketmail.com>
Subject: Re: Room sounds
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93

---"Dennis W. Leas" <dennis@mdbs.com> wrote:
> After being inspired by this recording, I've done
something similar with an
> EDP and a SPX-90 reverb.  I used the EDP as a long
delay line (feedback=0).
> The set-up looked something like:
> 
>                              in                out
>         mic -----+------->   EDP  >----------|
>                       |                            
          |
>                       |      out                 in
       |
>                       +-------< SPX-90 <-------+
>                       |                            
          |
>                       |        out               in
       |
>                       ----------< mixer  
<-------+------->speakers
> 
> so a portion of the EDP's output is returned dry to
the EDP input and a
> portion is returned after passing through the
reverb. 

I'd really like to try this, but I'm afraid I don't
understand your diagram. Could you explain it again? 

93
Rev. Doubt-Goat
===
          The Homepages of the Doubt-Goat

               The Darsan Trio
               Sekhet Maat Oasis, O.T.O.
               Lion & Serpent

          http://www.easystreet.com/~twilliam

_________________________________________________________
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From Loopers-Delight-request@annihilist.com  Mon Jun  7 07:28:21 1999
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From: Jim Carter <Jim.Carter@bristol.ac.uk>
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Subject: Re: test2
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On Sat, 5 Jun 1999, David Myers wrote:

> test2
> 
> 
As someone who enjoys minimalism I really appreciated this post.

Jim Carter

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Brad,

Since you don't have midi control you could get some of the pitch/tape drag 
effect by setting the pitch on the fine pitch control to a small minus 
setting, I suggest between -2 and -6 depending on desired intensity. I like 
-4 this creates enough of a pitch shift to be noticible but it is still 
subtle enough to keep it from sounding like a pitch cascade effect.  The use 
of the fixed fine pitch control is a fine alternative to my midi 
perscription.
-Sean


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From Loopers-Delight-request@annihilist.com  Mon Jun  7 11:27:40 1999
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I had the luck of stumbling on to a steal this weekend.  I spotted an Ibenez 
DML 10 Modulation Delay II for $40.  This little blue pedal, in a 10 series 
Ibanez casing with 6 knobs, is an interesting machine.  It has 900 ms of 
Delay available which unfortuately doesn't really do infinite repeat and 
decays at a disappointing rate.  This is, however, excusable because the 
rest of its features are insane.  Using the modulation width control with a 
delay line allows you to create pitch cascades that sweep as designated by 
the mod. rate knob.  This creates some hands free havoc, but if you start 
tweaking the knobs while all this is going on it gets supernatural. The 
pitch range is great but its strength is on the low side were it gets really 
deep and resonant (watch those speaker cones).
  The mode knob allows you to select between five milli-second ratios from 
very short to long.  The shortest create some nice chorus, flange and faux 
leslie sounds in addition to some wacked out sitar and "the mothership is 
landing" sounds.
For $40 I think this is the best pedal deal I've ever found (except for my 
$35 Ross Phase R2).  When I'm constructing loops now I can't keep this thing 
out of them, it creates such complex textures it is irresistable. This isn't 
a hi-fi affair but the sounds are so enchanting you'll forget all else.  I 
don't know if I was simply lucky or if this is a standard price but give 
this pedal some time if you spot one.


_______________________________________________________________
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From Loopers-Delight-request@annihilist.com  Mon Jun  7 12:17:14 1999
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From: "Dennis W. Leas" <dennis@mdbs.com>
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Subject: Re: John Cage recordings
Date: Mon, 7 Jun 1999 09:33:16 -0500
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After thinking about this a great deal (do I have too much time or what?) I
conclude it all depends on what you mean by classical music.  I consider
many of Cage's ideas to be the antithesis of classical music, such as using
chance operations, incorporation of noise, minimizing the "intention" of the
composer, etc.  He spoke of his music as if it were an alternative to the
classical approach.  To my ear, much of his music is the opposite of, say,
Bach's Fugues.  On the other hand, he studied composition and music theory
and notated his compositions.

It makes me wonder where looper music will be classified in fifty years.

Dennis Leas
-----------------------------
dennis@mdbs.com

-----Original Message-----
From: Unit Circle Media <unitcirc@unitcircle.com>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Friday, June 04, 1999 5:18 PM
Subject: Re: John Cage recordings


>Umm, I'm not sure where else you would find him.  While his music was
>very progressive for it's time, it and he were completely grounded in
>"traditional" classical music.


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Sorry, my diagram must of gotten garbled in the transmission...Let me try it
in words.

Equipment
--------------
* one EDP (set on DELAY mode, not LOOP mode, with feedback at zero)

*one SPX-90 (set on large hall reverb)

*one microphone

*one mixer (TASCAM 1024 in my case) with main outs wired to amp/speakers

Wiring
--------
Microphone into channel 1.

Input of EDP from AUX 1 send (a prefader send, like a monitor send not an
effect send).
Output of EDP to channel 2.

Input of SPX-90 from AUX 2 send (again, a prefader send)
Output of SPX-90 to channel 3.

Control Settings
---------------------
channel 1 (mic)
    main fader up a little (so you can hear mic in speakers)
    sending to AUX 1 (EDP input); set appropriate level for EDP

channel 2 (EDP output)
    main fader up so you can hear EDP in speakers
    sending to AUX 1 (EDP input), this is the feedback of the dry signal to
the EDP; carefully watch the level on this send
    sending to AUX 2 (SPX-90 input), this simulates playing the sound into a
reverberation space

channel 3 (SPX-90 output)
    main fader up so you can hear the SPX-90 in speakers
    sending to AUX1 (EDP input), this is the feedback of the wet signal to
the EDP; watch the level carefully also

AUX 1 Master send (master EDP input level)
    I had to ride this level to get "unity gain" in the feedback loop.

AUX 2 Master send (master SPX-90 input level)
    Not too critical.

Operation
-------------
Press RECORD.  Read text into microphone.  Press RECORD to set delay time.
Signal passes from EDP through board AND through SPX-90 and back to EDP.
Carefully futz with the AUX 1 and AUX 2 sends on channel 2 to get an
appealing wet/dry ratio.  Carefully ride the AUX 1 master send to attain
unity gain in the feedback loop.  I do this by ear and by watching the input
LED on the EDP.  This set-up basically places the SPX-90 in the feedback
loop.

It always takes me awhile to get the levels right before it starts working
correctly.  You might want to turn the channel 2 AUX 2 send to OFF to begin
with and make sure the signal is looping OK through the dry path.  If your
level is set correctly it should slowly fade with each repetition.  Turning
channel 2 AUX 1 send up should make the signal fade less with each rep.
Turning AUX 1 send down will make the signal fade more per repetition.  Once
you have the dry signal looping correctly, turn up channel 2's AUX 2 send.
Remember that the strength of the wet signal is controlled by channel 2's
AUX 2 send AND by the setting of channel 3's AUX 1 send.

The relative levels of Channel 2's AUX 1 and AUX 2 determines the wet/dry
composition of the loop.  The wetter the signal, the quicker it "decays"
into abstract tones.  Play with the EQ setting on channel 2 or 3.  Play with
different EFX in the feedback loop like chorus, etc.  I've found reverb to
be the most sublime, however.



This is how I wired it but there are many other ways as well, I'm sure.
Hope this helps.  Let me know how it works for you.

Dennis Leas
-----------------------------
dennis@mdbs.com


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> On Sat, 5 Jun 1999, David Myers wrote:
> 
> > test2
> > 
> > 
> As someone who enjoys minimalism I really appreciated this post.
> 
> Jim Carter

ROFL

-Michael


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Dennis wrote:

> It makes me wonder where looper music will be classified in fifty years.

i can't think of anything more awful than the "loop music" section at a 2050's
era equivalent of "borders" (okay maybe one or two things more awful)...

i remember a discussion on the list about whether it's fair to talk about
"loop" music as its own special category, somehow separate from the flow of
music culture in general...like, delay music, or sampled or cello or harmonica
music, as though the instrument or technique employed to create the music
determines its typology (i stop this line of reasoning at accordion music,
because it is indeed in a category unto itself :-)


lance g.

(on a philosophical morning?)



From Loopers-Delight-request@annihilist.com  Mon Jun  7 16:06:13 1999
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From: John Paris <john.paris@cpa.state.tx.us>
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To: Loopers-Delight@annihilist.com
Subject: VCO out on Digitech 7.6
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After a year of searching, I got myself a Digitech 7.6 Time 
Machine. However, I don't have a manual. What does the VCO 
out do? What sort of pedal would I use for it?

----------------------
John Paris
john.paris@cpa.state.tx.us

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From: Nemoguitt@aol.com
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thought you all might be 
interested........http://www.magitec.co.uk/echo3.htm........this was on 
harmony central........michael

From Loopers-Delight-request@annihilist.com  Mon Jun  7 17:31:36 1999
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Cage is a special case, though I think he belongs
with other modern "avant-garde" composers of the 50's.
His work drew the same audience and pushed the boundaries
of art music in the same way as the work of Xenakis, 
Stockhausen, Boulez, Ligeti, etc. He's special because
he pushed past all reasonable rules of what could
define a musical experience (i.e. the infamous 4'33).
He's also a composer who is known more for his ideas
than his music.

Robert Morgan's _Twentieth Century Music_ does an
excellent job of covering the evolution of classical
music from post-romanticisim through atonality, serialism,
and all the things that happened after WWII.  Cage
was a student of Schoenberg for a while, so there is
a traceable heritage all the way back to Bach, even
if most of his music does not reveal it. But then again,
Webern doesn't sound like Bach either.


Jim


Dennis W. Leas wrote:
> 
> After thinking about this a great deal (do I have too much time or what?) I
> conclude it all depends on what you mean by classical music.  I consider
> many of Cage's ideas to be the antithesis of classical music, such as using
> chance operations, incorporation of noise, minimizing the "intention" of the
> composer, etc.  He spoke of his music as if it were an alternative to the
> classical approach.  To my ear, much of his music is the opposite of, say,
> Bach's Fugues.  On the other hand, he studied composition and music theory
> and notated his compositions.
> 
> It makes me wonder where looper music will be classified in fifty years.

From Loopers-Delight-request@annihilist.com  Mon Jun  7 17:44:46 1999
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Date: Mon, 7 Jun 1999 13:25:20 -0700 (PDT)
From: "Rev. Doubt-Goat" <dgoat@rocketmail.com>
Subject: Re: Room sounds
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93

---"Dennis W. Leas" <dennis@mdbs.com> wrote:
> Input of EDP from AUX 1 send (a prefader send, like
a monitor send not an
> effect send).
> Output of EDP to channel 2.
> 
> Input of SPX-90 from AUX 2 send (again, a prefader
send)
> Output of SPX-90 to channel 3.

Hmmm. I've got a Mackie 1202. I think only one of the
sends is prefader. I'll give it a shot and see what I
come up with. Thanks!

93
Rev. Doubt-Goat
===
          The Homepages of the Doubt-Goat

               The Darsan Trio
               Sekhet Maat Oasis, O.T.O.
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          http://www.easystreet.com/~twilliam

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From: ld thomson <heatshrink@hotmail.com>
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Subject: Re: John Cage recordings and what's in a name...
Date: Mon, 07 Jun 1999 13:48:29 PDT
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I'm opposed to classifying music at all.  Except perhaps for country music.  
I use the term "soundscape", although I'd rather say ambient.  Unfortunately 
the E'd up ravers of the 90's have changed the meaning of ambient music.  
Although I have had ravers call what I do "chill-out" music.  I must say 
like that better than "looper music" or "loop music".  Than sounds too much 
like some new hot MTV term for a type of music that comes with its own 
required dress code.

As for Mr Cage...classical?  Maybe modern classical?  Or experimental.
Avant Garde?  Does it matter?


>From: lance glover <baumhaus@earthlink.net>
>Reply-To: baumhaus@earthlink.net
>To: Loopers-Delight@annihilist.com
>Subject: Re: John Cage recordings
>Date: Mon, 07 Jun 1999 11:37:39 -0700
>
>Dennis wrote:
>
> > It makes me wonder where looper music will be classified in fifty years.
>
>i can't think of anything more awful than the "loop music" section at a 
>2050's
>era equivalent of "borders" (okay maybe one or two things more awful)...
>
>i remember a discussion on the list about whether it's fair to talk about
>"loop" music as its own special category, somehow separate from the flow of
>music culture in general...like, delay music, or sampled or cello or 
>harmonica
>music, as though the instrument or technique employed to create the music
>determines its typology (i stop this line of reasoning at accordion music,
>because it is indeed in a category unto itself :-)
>
>
>lance g.
>
>(on a philosophical morning?)
>
>
>


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From Loopers-Delight-request@annihilist.com  Mon Jun  7 17:33:04 1999
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From: ld thomson <heatshrink@hotmail.com>
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Subject: The Effects Of Looping...Or am I loopy?
Date: Mon, 07 Jun 1999 13:58:57 PDT
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I dont want to come across as some kind of flake...
but...
I may anyway.
Have any of you loopers who are doing soundscaping noticed that your 
perception of time is altered during the soundscaping?
I don't meditate in the Buddist or Yogi style, however I have heard of this 
effect from people who chant.  I've noticed it several times during live 
performances.
Am I sitting to close to my old GR300...or is this common?  I can't ask my 
"normal" musician friends as they already think I'm crazy for 
soundscaping...
"yeah man...I can warp time with my DOD Dimension 12, far out.."  That would 
go over well.
But seriously, am I losing it or what?

PS I am drug free.  Although I usually drink Camomile tea when I'm 
soundscaping.


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"Dennis W. Leas" wrote:

> It makes me wonder where looper music will be classified in fifty years.
>
> Dennis Leas
> -----------------------------
> dennis@mdbs.com
>
>

 How is loop music classified now?

When I think of loop music I found that it is the process that its named by and
not the music itself. Why? Well the music is so varied that the process is the
only thing that we all have in common in an absolute sense. Read the opening
page of the LD site, it seems to me now and (forever?) the only possible
definition of loop music.

Good question as I am always trying to explain to people what it is that I am
doing.

Jeff ( if you can't dazzle em with brilliance, baffle them with bs) Duke
http://members.xoom.com/echo17/tbl.html

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John Paris wrote:

> After a year of searching, I got myself a Digitech 7.6 Time
> Machine. However, I don't have a manual. What does the VCO
> out do? What sort of pedal would I use for it?
>

> ----------------------
> John Paris
> john.paris@cpa.state.tx.us

On both of my 7.6 Time Machines the last 3 jacks in the back are, VCO
Pulse, trigger pulse and trigger footswitch.

The vco control will sweep the range of the delay when a + 5 volt pedal
is inserted. Very cool. You can make one easily from a passive volume
pedal and parts from Radio Shack. A 9 volt supply will work fine. More
info from Craig Anderton, reprinted by permission at
http://members.xoom.com/echo17/dddl.html

trigger pulse accepts a + 5 v pulse from some drum machines and synths;
one pulse = one bar of music. I use an old Roland  TR-626 as it accepts
midi and can put out control voltage at any point that you place a
click.I don't use the voices just the pulse so it plays soundless.

trigger footswitch will accept a momentary button, I can't remember but
probably normaly open type so that when its in sample mode you can
trigger the sample to play from the begining everytime that you step on
it, great stutter and surprise attack potential.

hope this helps.

jd
http://members.xoom.com/echo17/tbl.html



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From: "Dennis W. Leas" <dennis@mdbs.com>
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Subject: Re: The Effects Of Looping...Or am I loopy?
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-----Original Message-----
From: ld thomson <heatshrink@hotmail.com>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Monday, June 07, 1999 4:35 PM
Subject: The Effects Of Looping...Or am I loopy?

>Have any of you loopers who are doing soundscaping noticed that your
>perception of time is altered during the soundscaping?

Yes, but for me it is similar to what happens whenever I "connect", if you
know what I mean.  I'm a didjeridu player and the same kind of thing happens
when I play it, for example.

We're on the edge of looper religion here...but I'll continue even if I
sound flaky...

* I've been reading "The Power of Myth" by Bill Moyer and Joseph Campbell.
Campbell says that there are two kinds of myth.  The function of one type is
to entertain.  The other type teaches you things about the universe, helps
you access the inifinite, etc.  It's a ritual myth.  It struck me that you
can consider music in the same way.  Most of the music I play with other
folks is entertainment.  Most of the looper-based stuff, the soundscaping,
is ritualistic in Campbell's sense.  In my earlier days, I found listening
to such bands as Pink Floyd gave me a similar experience.

* Some examples of early non-technological looping can be found in religious
ceremony.  I think trance dancing and shaman drumming are probably examples.
In the Christian church, I think the "responsive reading" can qualify as a
looping experience.  Here, the leader recites varying phrases and the
congregation responds to each phrase with (usually) an unchanging phrase.
Consider this situation as the leader "soloing" over a loop!

Dennis Leas
-----------------------------
dennis@mdbs.com

>PS I am drug free.  Although I usually drink Camomile tea when I'm
>soundscaping.

PS I am drug free as well.  Usually I floss when I'm looping at home.


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I always thought that Cage was grouped in classical music because he's thought
of as a composer. I believe he was also trained in some classical schools. From
his training, he's descended from classical music. Somehow, when you compose
music for other musicians to play, and it's not rock, people go and call it
classical. This causes a lot of confusion especially when there's a sizeable
group of classical music fans who say that "Classical Music" is music from a
specific era, like the 1700's or so.

The problem is, there's been no official name for the folks who branched off of
classical music and composed music in different ways. I've seen "20th Century
Music" sections in some record stores, but that could also include things like
Aaron Copeland.

What do you call music by current composers who are classically trained, but now
compose music for computers? It's as complex as classical, but it sounds nothing
like baroque music. It often doesn't even sound like instruments! It's pretty
funny watching people try to describe it. They kind of squirm around and say,
"You know, THAT kind of music."

matt davignon

"Dennis W. Leas" wrote:

> After thinking about this a great deal (do I have too much time or what?) I
> conclude it all depends on what you mean by classical music.  I consider
> many of Cage's ideas to be the antithesis of classical music, such as using
> chance operations, incorporation of noise, minimizing the "intention" of the
> composer, etc.  He spoke of his music as if it were an alternative to the
> classical approach.  To my ear, much of his music is the opposite of, say,
> Bach's Fugues.  On the other hand, he studied composition and music theory
> and notated his compositions.
>
> It makes me wonder where looper music will be classified in fifty years.
>
> Dennis Leas
> -----------------------------
> dennis@mdbs.com
>
> -----Original Message-----
> From: Unit Circle Media <unitcirc@unitcircle.com>
> To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
> Date: Friday, June 04, 1999 5:18 PM
> Subject: Re: John Cage recordings
>
> >Umm, I'm not sure where else you would find him.  While his music was
> >very progressive for it's time, it and he were completely grounded in
> >"traditional" classical music.

From Loopers-Delight-request@annihilist.com  Mon Jun  7 19:01:32 1999
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Date: Mon, 07 Jun 1999 18:33:42 -0400
To: Loopers-Delight@annihilist.com
From: Tim Nelson <tcn62@ici.net>
Subject: Re: John Cage recordings
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Ah, equivocation. As Bill Clinton said (and which I of course sampled and
looped!) "It all depends on what the meaning of the word 'is' is." Or in
this case the word 'Classical'... To the Music Theorist, 'Classical' has a
rather narrow definition associated with (roughly) the late eighteenth and
early nineteenth centuries; to them Cage is definitely not "Classical", but
rather a "Twentieth-Century Composer" or something like that. But to the
unit-shifting demographic-minded folks who SELL recorded music, "Classical"
is the stuff in those bins over there... NOT jazz, NOT pop, NOT country,
NOT (you get the point); it's defined by what it ISN'T... To them, it's ALL
the stuff that gets written about in those Grove and Norton textbooks. A
broad generalization to be sure, but not too far from the truth.

At 09:33 AM 6/7/99 -0500, you wrote:
>After thinking about this a great deal (do I have too much time or what?) I
>conclude it all depends on what you mean by classical music.  
 

From Loopers-Delight-request@annihilist.com  Mon Jun  7 20:00:58 1999
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From: "Trevor Hartsell" <pravda@introvert.org>
To: <Loopers-Delight@annihilist.com>
References: <3.0.5.32.19990607183342.007a5100@pop.ici.net>
Subject: Re: John Cage recordings
Date: Mon, 7 Jun 1999 15:35:10 -0700
Organization: http://www.introvert.org/
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I know this is unrelated, but wow, could you do me a favor and email me a
copy of that clinton sample sometime?

That is, if you still have it.

Thanks!
Trevor
<http://www.introvert.org/>

----- Original Message -----
From: Tim Nelson <tcn62@ici.net>
To: <Loopers-Delight@annihilist.com>
Sent: Monday, June 07, 1999 3:33 PM
Subject: Re: John Cage recordings


> Ah, equivocation. As Bill Clinton said (and which I of course sampled and
> looped!) "It all depends on what the meaning of the word 'is' is." Or in
> this case the word 'Classical'... To the Music Theorist, 'Classical' has a
> rather narrow definition associated with (roughly) the late eighteenth and
> early nineteenth centuries; to them Cage is definitely not "Classical",
but
> rather a "Twentieth-Century Composer" or something like that. But to the
> unit-shifting demographic-minded folks who SELL recorded music,
"Classical"
> is the stuff in those bins over there... NOT jazz, NOT pop, NOT country,
> NOT (you get the point); it's defined by what it ISN'T... To them, it's
ALL
> the stuff that gets written about in those Grove and Norton textbooks. A
> broad generalization to be sure, but not too far from the truth.
>
> At 09:33 AM 6/7/99 -0500, you wrote:
> >After thinking about this a great deal (do I have too much time or what?)
I
> >conclude it all depends on what you mean by classical music.
>
>
>

From Loopers-Delight-request@annihilist.com  Mon Jun  7 19:26:50 1999
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From: "Dennis W. Leas" <dennis@mdbs.com>
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Subject: Re: John Cage recordings and what's in a name...
Date: Mon, 7 Jun 1999 17:13:11 -0500
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-----Original Message-----
From: ld thomson <heatshrink@hotmail.com>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Monday, June 07, 1999 4:42 PM
Subject: Re: John Cage recordings and what's in a name...

>I'm opposed to classifying music at all.

Amen!  The best music store I've seen, regarding "classifying" music, was
one in Austin, TX.  I can't remember the name of it, but they didn't
classify anything!  You could use a computer and search for "types of music"
if you wanted to but the CDs in the store's bins were alphabetical by
band/performer.  I LIKED IT!

Dennis Leas
-----------------------------
dennis@mdbs.com


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From: ld thomson <heatshrink@hotmail.com>
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Subject: Re: The Effects Of Looping...Or am I loopy?
Date: Mon, 07 Jun 1999 16:42:08 PDT
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This is interesting.  I know what you mean by "connecting".  Its hard to 
judge the time shift when I'm soundscaping alone in my apartment, since i'm 
not really paying attention to time.  But in a live situation, where there 
are people and movement...I was sort of startled by it.  It wasn't like I 
was in a different time, it was that I felt I was perceiving it differently. 
In perhaps a non-western way.

I felt that I had slowed my own view of it. It had a similar feeling to the 
perception I'd get from doing martial arts.
I've never considered my soundscaping as a religious act.  I know that if I 
don't do it I get really grumpy.

At least there's hope I'm not losing my marbles.

>From: "Dennis W. Leas" <dennis@mdbs.com>
>Reply-To: Loopers-Delight@annihilist.com
>To: <Loopers-Delight@annihilist.com>
>Subject: Re: The Effects Of Looping...Or am I loopy?
>Date: Mon, 7 Jun 1999 17:35:33 -0500
>
>-----Original Message-----
>From: ld thomson <heatshrink@hotmail.com>
>To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
>Date: Monday, June 07, 1999 4:35 PM
>Subject: The Effects Of Looping...Or am I loopy?
>
> >Have any of you loopers who are doing soundscaping noticed that your
> >perception of time is altered during the soundscaping?
>
>Yes, but for me it is similar to what happens whenever I "connect", if you
>know what I mean.  I'm a didjeridu player and the same kind of thing 
>happens
>when I play it, for example.
>
>We're on the edge of looper religion here...but I'll continue even if I
>sound flaky...
>
>* I've been reading "The Power of Myth" by Bill Moyer and Joseph Campbell.
>Campbell says that there are two kinds of myth.  The function of one type 
>is
>to entertain.  The other type teaches you things about the universe, helps
>you access the inifinite, etc.  It's a ritual myth.  It struck me that you
>can consider music in the same way.  Most of the music I play with other
>folks is entertainment.  Most of the looper-based stuff, the soundscaping,
>is ritualistic in Campbell's sense.  In my earlier days, I found listening
>to such bands as Pink Floyd gave me a similar experience.
>
>* Some examples of early non-technological looping can be found in 
>religious
>ceremony.  I think trance dancing and shaman drumming are probably 
>examples.
>In the Christian church, I think the "responsive reading" can qualify as a
>looping experience.  Here, the leader recites varying phrases and the
>congregation responds to each phrase with (usually) an unchanging phrase.
>Consider this situation as the leader "soloing" over a loop!
>
>Dennis Leas
>-----------------------------
>dennis@mdbs.com
>
> >PS I am drug free.  Although I usually drink Camomile tea when I'm
> >soundscaping.
>
>PS I am drug free as well.  Usually I floss when I'm looping at home.
>
>


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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From: Mike.Biffle@wj.com (Mike Biffle)
Subject: Re[2]: John Cage recordings
To: Loopers-Delight@annihilist.com, Jeff Duke <jmar@bellsouth.net>
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"Dennis W. Leas" wrote:
>> It makes me wonder where looper music will be classified in fifty years.

Jeff Duke...
> How is loop music classified now?
> When I think of loop music I found that it is the process that its named by 
> and not the music itself. Why? Well the music is so varied that the process is
> the only thing that we all have in common in an absolute sense. Read the 
> opening page of the LD site, it seems to me now and (forever?) the only 
> possible definition of loop music.

LD has been such a great place to meet a vast cross section of different genre 
musicians, yet a place where we have something vital in common. There's not many
other places out there that can say that... 

It's tough though when you look for an audience... It's almost better to 
completely ignore the looping aspect and get real solid on what you give the 
audience. High energy? or ambience? Dance grooves? Electronic(a)? Illbient? 
Rock? Acoustic? Humor/drama? Storytelling? It could be any of these... Throw in 
the fact that the performance will be bewildering to at least a few onlookers, 
and dismissed as pre-recorded or gimmicky. Good way to cut the wheat from the 
chaff! 8-) 

I've found that (at least in my mind) adding a multi-media twist really opens 
things up... lets the listener forget how the sound is being created and somehow
a little less overtly analytical. Maybe it's just enough overwhelm to shut down 
that process for the time being.

Anyway... beware the term "LOOP MUSIC"!

best regards,
-Miko Biffle

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Subject: Re[2]: The Effects Of Looping...Or am I loopy?
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>> Have any of you loopers who are doing soundscaping noticed that your
>> perception of time is altered during the soundscaping?

> Yes, but for me it is similar to what happens whenever I "connect", if you
> know what I mean.  I'm a didjeridu player and the same kind of thing happens
> when I play it, for example.

> * I've been reading "The Power of Myth" by Bill Moyer and Joseph Campbell.
> Campbell says that there are two kinds of myth.  The function of one type is
> to entertain.  The other type teaches you things about the universe, helps
> you access the inifinite, etc.  It's a ritual myth.  It struck me that you
> can consider music in the same way.  Most of the music I play with other
> folks is entertainment.  Most of the looper-based stuff, the soundscaping,
> is ritualistic in Campbell's sense.  In my earlier days, I found listening
> to such bands as Pink Floyd gave me a similar experience.

Maybe we're getting somewhere here... "Ritual(istic) Music" could certainly 
pertain to a large body of our work in several genres. I'm sure the more 
humorous modes, and the slice and dice modes which move about wildly will 
probably not quite fit. The word ritual could serve to attract certain audience 
members quite ready to be swept away by the music...

> * Some examples of early non-technological looping can be found in religious
> ceremony.  I think trance dancing and shaman drumming are probably examples.
> In the Christian church, I think the "responsive reading" can qualify as a
> looping experience.  Here, the leader recites varying phrases and the
> congregation responds to each phrase with (usually) an unchanging phrase.
> Consider this situation as the leader "soloing" over a loop!

Call and response is definitely western mantra in action! Check out the Robert 
Duval movie "The Apostle" if you want to see some really mesmerizing portrayals 
of this. What an amazing movie... I've become much more interested in reaching 
beyond my instrument (guitar) and adding word based conceptual ideas, to deepen 
the impact of various ideas. Ritualized repetitive action can be really 
powerful...

-Miko



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From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: OPCODE & The EDP
Date: Mon, 7 Jun 1999 19:50:03 -0400 
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My friend Daniel Orlansky tells me he received an e-mail from OPCODE saying
they are not handling the EDP.  Interesting, no?

Daniel, could you please send us a copy of the e-mail you received so we can
all see it?

David K

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In a message dated 6/7/99 6:05:28 PM Central Daylight Time, dennis@mdbs.com 
writes:

<< We're on the edge of looper religion here...but I'll continue even if I
 sound flaky...
 
 * I've been reading "The Power of Myth" by Bill Moyer and Joseph Campbell.
 Campbell says that there are two kinds of myth.  The function of one type is
 to entertain.  The other type teaches you things about the universe, helps
 you access the inifinite, etc.  It's a ritual myth.  It struck me that you
 can consider music in the same way.  Most of the music I play with other
 folks is entertainment.  Most of the looper-based stuff, the soundscaping,
 is ritualistic in Campbell's sense.  In my earlier days, I found listening
 to such bands as Pink Floyd gave me a similar experience.
 
 * Some examples of early non-technological looping can be found in religious
 ceremony.  I think trance dancing and shaman drumming are probably examples.
 In the Christian church, I think the "responsive reading" can qualify as a
 looping experience.  Here, the leader recites varying phrases and the
 congregation responds to each phrase with (usually) an unchanging phrase.
 Consider this situation as the leader "soloing" over a loop!
  >>
Yes!!!

 I don't even truly loop, as I don't have a true looping device, but this is 
the crux of the biscuit for me, and I am joyed to see it presented in a place 
where people discuss making music.    I played for over twenty years, but 
until I started therapy and men's work, and accessed parts of me I hadn't 
before, music that I played sounded empty.  It went into the head, perhaps, 
like bad prog (ok, flame away, but I know what I mean), but it didn't involve 
the body, nor, consequentially, the whole self.  And part of accessing parts 
ot he humans psyche does involve ritual space.  We love rituals.  If you 
don't believe that, it may be that you just aren't aware of it.  We have 
rituals around everything, from sex to drugs to rock and roll, to name the 
obvious.

Today playing ALL music, whether it is in a church (sometimes I do that, 
yes), or with my 'jazz' group, I play music best when I enter a zone.  Sorry, 
folks, I can't describe it to you, but time does get stretched there.  As I 
get better at going there, the playing part becomes easier, and the listening 
becomes the real work.

Go ahead, think I'm loopy too... I am sure I am.

Kevin

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Me too!
jd

Trevor Hartsell wrote:

> I know this is unrelated, but wow, could you do me a favor and email me a
> copy of that clinton sample sometime?
>
> That is, if you still have it.
>
> Thanks!
> Trevor
> <http://www.introvert.org/>
>
> ----- Original Message -----
> From: Tim Nelson <tcn62@ici.net>
> To: <Loopers-Delight@annihilist.com>
> Sent: Monday, June 07, 1999 3:33 PM
> Subject: Re: John Cage recordings
>
> > Ah, equivocation. As Bill Clinton said (and which I of course sampled and
> > looped!) "It all depends on what the meaning of the word 'is' is." Or in
> > this case the word 'Classical'... To the Music Theorist, 'Classical' has a
> > rather narrow definition associated with (roughly) the late eighteenth and
> > early nineteenth centuries; to them Cage is definitely not "Classical",
> but
> > rather a "Twentieth-Century Composer" or something like that. But to the
> > unit-shifting demographic-minded folks who SELL recorded music,
> "Classical"
> > is the stuff in those bins over there... NOT jazz, NOT pop, NOT country,
> > NOT (you get the point); it's defined by what it ISN'T... To them, it's
> ALL
> > the stuff that gets written about in those Grove and Norton textbooks. A
> > broad generalization to be sure, but not too far from the truth.
> >
> > At 09:33 AM 6/7/99 -0500, you wrote:
> > >After thinking about this a great deal (do I have too much time or what?)
> I
> > >conclude it all depends on what you mean by classical music.
> >
> >
> >

From Loopers-Delight-request@annihilist.com  Mon Jun  7 22:23:35 1999
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Subject: Re: John Cage recordings
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I may be a too idealistic but I would like to see a day when categories are
done away with. The categories we have are inadequate as it is. Yet music is
categorized in more fragmented terms. Carlos Santana said in an interview a
few years ago the the term "Classical" was outdated. To his mind, Classical
meant classic. His idea of classic music was John Coltrane and Miles Davis.
I subsribe to that mode of thinking.


> Dennis wrote:
>
> > It makes me wonder where looper music will be classified in fifty years.
>
> i can't think of anything more awful than the "loop music" section at a
2050's
> era equivalent of "borders" (okay maybe one or two things more awful)...
>
> i remember a discussion on the list about whether it's fair to talk about
> "loop" music as its own special category, somehow separate from the flow
of
> music culture in general...like, delay music, or sampled or cello or
harmonica
> music, as though the instrument or technique employed to create the music
> determines its typology (i stop this line of reasoning at accordion music,
> because it is indeed in a category unto itself :-)
>
>
> lance g.
>
> (on a philosophical morning?)
>
>
>


From Loopers-Delight-request@annihilist.com  Mon Jun  7 21:56:03 1999
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Date: Mon, 7 Jun 1999 17:18:46 -0700 (PDT)
From: "Rev. Doubt-Goat" <dgoat@rocketmail.com>
Subject: Re: The Effects Of Looping...Or am I loopy?
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93

---ld thomson <heatshrink@hotmail.com> wrote:
>
> I dont want to come across as some kind of flake...
> but...
> I may anyway.
> Have any of you loopers who are doing soundscaping
noticed that your 
> perception of time is altered during the
soundscaping?

This is called "trancing". It is normal.

> PS I am drug free.  Although I usually drink
Camomile tea when I'm 
> soundscaping.

Start taking hallucinagins immediately ;-)

93
Rev. Doubt-Goat
===
          The Homepages of the Doubt-Goat

               The Darsan Trio
               Sekhet Maat Oasis, O.T.O.
               Lion & Serpent

          http://www.easystreet.com/~twilliam
   
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com

From Loopers-Delight-request@annihilist.com  Mon Jun  7 22:45:10 1999
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Please forgive this non-looping e-mail. However, being that e-mail is an
integral part of this lists functionality, I thought you would be interested
in this item that was forwarded to me. I checked on the bill. It for real.


> >>Please read the following carefully if you intend to
> >>stay online and continue using email: The last few
> >>months have revealed an alarming trend in the
> >>Government of the United States attempting to quietly
> >>push through legislation that will affect your use of
> >>the Internet. Under proposed legislation the US
> >>Postal Service will be attempting to bilk email users
> >>out of "alternate postage fees." Bill 602P will permit
> >>the Federal Govt. to charge a 5 cent surcharge on
> >>every email delivered, by billing Internet Service
> >>Providers at source. The consumer would then be
> >>billed in turn by the ISP. Washington DC lawyer
> >>Richard Stepp is working without pay to prevent this legislation
> >>from
> >>becoming law.
> >>
> >>The US Postal Service is claiming that
> >>lost revenue due to the proliferation of email is
> >>costing nearly $230,000,000 in revenue per year. You
> >>may have noticed their recent ad campaign "There is
> >>nothing like a letter." Since the average citizen
> >>received about 10 pieces of email per day in 1998, the
> >>cost to the typical individual would be an additional
> >>50 cents per day, or over $180 dollars per year, above
> >>and beyond their regular Internet costs. Note that
> >>this would be money paid directly to the US Postal
> >>Service for a service they do not even provide. The
> >>whole point of the Internet is democracy and
> >>noninterference. If the federal government is
> >>permitted to tamper with our liberties by adding a surcharge to
> >>email,
> >>who
> >>knows
> >>where it will end. You are already paying an
> >>exorbitant price for snail mail because of bureaucratic
> >>efficiency. It currently takes up to 6 days for a
> >>letter to be delivered from New York to Buffalo.
> >>
> >>If the US Postal Service is allowed to tinker with email, it
> >>will
> >>mark
> >>the end of the "free" Internet in the United States.
> >>One congressman, Tony Schnell (r) has even suggested a
> >>"twenty to forty dollar per month surcharge on all
> >>Internet service" above and beyond the government's
> >>proposed email charges. Note that most of the major
> >>newspapers have ignored the story, the only exception
> >>being the Washingtonian which called the idea of email
> >>surcharge "a useful concept who's time has come"
> >>March 6th 1999 Editorial) Don't sit by and watch your
> >>freedoms erode away!
> >>
> >>Send this email to all Americans on your list and tell
> >>your friends and relatives to write to their
> >>congressman and say "No!" to Bill 602P. Kate Turner
> >>Assistant to Richard Stepp, Berger, Stepp and Gorman
> >>Attorneys at Law 216 Concorde Street, Vienna, Va.
> >
>


From Loopers-Delight-request@annihilist.com  Mon Jun  7 23:33:26 1999
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Subject: Re: The Effects Of Looping...Or am I loopy?
Date: Mon, 7 Jun 1999 19:15:16 -0700
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You are not a flake. I have experienced the same sensation many times and
love it. That is the big attraction of looping for me. I consider myself a
spiritual seeker and my looping endevours are very much in harmony with my
spiritual practices. I never felt that way when I was playing Metal in the
bands I played with in the 80's.
I'm currently reading a book entitled "Chanting: Discovering Spirit in
Sound" by Robert Gass. The book covers the socialogical and spiritual
aspects of repeated chants and repitition. I've only started the book but it
is fascinating. I've already found plenty of affirmation to my thoughts on
looping.


> I dont want to come across as some kind of flake...
> but...
> I may anyway.
> Have any of you loopers who are doing soundscaping noticed that your
> perception of time is altered during the soundscaping?
> I don't meditate in the Buddist or Yogi style, however I have heard of
this
> effect from people who chant.  I've noticed it several times during live
> performances.
> Am I sitting to close to my old GR300...or is this common?  I can't ask my
> "normal" musician friends as they already think I'm crazy for
> soundscaping...
> "yeah man...I can warp time with my DOD Dimension 12, far out.."  That
would
> go over well.
> But seriously, am I losing it or what?
>
> PS I am drug free.  Although I usually drink Camomile tea when I'm
> soundscaping.
>
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
>


From Loopers-Delight-request@annihilist.com  Tue Jun  8 00:01:34 1999
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As Kim pointed out to me, this is a hoax. I apologize and will be more
careful.




> Please forgive this non-looping e-mail. However, being that e-mail is an
> integral part of this lists functionality, I thought you would be
interested
> in this item that was forwarded to me. I checked on the bill. It for real.
>
>
> > >>Please read the following carefully if you intend to
> > >>stay online and continue using email: The last few
> > >>months have revealed an alarming trend in the
> > >>Government of the United States attempting to quietly
> > >>push through legislation that will affect your use of
> > >>the Internet. Under proposed legislation the US
> > >>Postal Service will be attempting to bilk email users
> > >>out of "alternate postage fees." Bill 602P will permit
> > >>the Federal Govt. to charge a 5 cent surcharge on
> > >>every email delivered, by billing Internet Service
> > >>Providers at source. The consumer would then be
> > >>billed in turn by the ISP. Washington DC lawyer
> > >>Richard Stepp is working without pay to prevent this legislation
> > >>from
> > >>becoming law.
> > >>
> > >>The US Postal Service is claiming that
> > >>lost revenue due to the proliferation of email is
> > >>costing nearly $230,000,000 in revenue per year. You
> > >>may have noticed their recent ad campaign "There is
> > >>nothing like a letter." Since the average citizen
> > >>received about 10 pieces of email per day in 1998, the
> > >>cost to the typical individual would be an additional
> > >>50 cents per day, or over $180 dollars per year, above
> > >>and beyond their regular Internet costs. Note that
> > >>this would be money paid directly to the US Postal
> > >>Service for a service they do not even provide. The
> > >>whole point of the Internet is democracy and
> > >>noninterference. If the federal government is
> > >>permitted to tamper with our liberties by adding a surcharge to
> > >>email,
> > >>who
> > >>knows
> > >>where it will end. You are already paying an
> > >>exorbitant price for snail mail because of bureaucratic
> > >>efficiency. It currently takes up to 6 days for a
> > >>letter to be delivered from New York to Buffalo.
> > >>
> > >>If the US Postal Service is allowed to tinker with email, it
> > >>will
> > >>mark
> > >>the end of the "free" Internet in the United States.
> > >>One congressman, Tony Schnell (r) has even suggested a
> > >>"twenty to forty dollar per month surcharge on all
> > >>Internet service" above and beyond the government's
> > >>proposed email charges. Note that most of the major
> > >>newspapers have ignored the story, the only exception
> > >>being the Washingtonian which called the idea of email
> > >>surcharge "a useful concept who's time has come"
> > >>March 6th 1999 Editorial) Don't sit by and watch your
> > >>freedoms erode away!
> > >>
> > >>Send this email to all Americans on your list and tell
> > >>your friends and relatives to write to their
> > >>congressman and say "No!" to Bill 602P. Kate Turner
> > >>Assistant to Richard Stepp, Berger, Stepp and Gorman
> > >>Attorneys at Law 216 Concorde Street, Vienna, Va.
> > >
> >
>
>


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It reminds me of the character in Catch 22 who makes his life as boring
as possible in order to give himself the feeling that he's had a long
life.



From Loopers-Delight-request@annihilist.com  Tue Jun  8 01:34:22 1999
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Subject: The Floss of the Loop
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>PS I am drug free as well.  Usually I floss when I'm looping at home.

Thank you for mentioning this, Dennis.  Actually I am surprised that, so
far as I know, flossing has yet to be discussed in-depth on this list.  I
am sure that somewhere I read a Terry Riley interview in which he described
extensive use of dental floss during his famous all-night concerts in the
sixties, certainly setting some sort of historical precedent which will be
of obvious interest to loopers.

David Myers

BTW, maybe some of the knowledgable John Cage fans who have developed that
thread can comment on Cage's attitude toward flossing.  I've combed through
"Silence", but so far haven't found any reference to the subject.


From Loopers-Delight-request@annihilist.com  Tue Jun  8 03:36:40 1999
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SoundFNR@aol.com wrote:

> Some of you may enjoy................
>
> preset>>              9 Deja Vu B             2 Atmosphere B
> mix                           64                              64
> output                        64                             64
> ModFX                       32                             42
> EchoFX                      64                             64
> Morph                        59                             59
> Env                            64                             1
> Echo1                         1                               1
> Echo2                          1                              3
> Feedback1                  64                             64
> Feedback2                   1                               1
> Rate1                          11                              3
> Depth1                        32                              5
> res1                            21                               1
> Rate2                          15                               2
> Depth2                        1                                 14
> res2                             1                                1
>

enjoying !! just submitted a very similar atmos b patch to the website...
thanks again Andy...

brad

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hi to everyone.
some time ago, i read a mail about web sites where download 
samples.... i lost that mail..... would you send it to me again? 
thank you....

p.s. do you know how can i read a roland dj-70 floppy disk with a 
PC or a MAC?
see you soon.
canemacchina
briozzo@atene.it
icq 25922888

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From: "Javier Miranda V." <gnominus@earthling.net>
To: <Loopers-Delight@annihilist.com>
Subject: RE: The Effects Of Looping...Or am I loopy?
Date: Tue, 8 Jun 1999 01:31:23 -0700
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I am also drug-free, but can attest to time warps during soundscaping.  This
is indeed a physical phenomena, and applaud Thomson's bringing it up.  Pass
the tea, please.

  | -----Original Message-----
  | From: ld thomson [mailto:heatshrink@hotmail.com]
  | Sent: Monday 07 June 1999 1:59 PM
  | To: Loopers-Delight@annihilist.com
  | Subject: The Effects Of Looping...Or am I loopy?

  | Have any of you loopers who are doing soundscaping noticed that your
  | perception of time is altered during the soundscaping?
  | I don't meditate in the Buddist or Yogi style, however I have
  | heard of this
  | effect from people who chant.  I've noticed it several times
  | during live
  | performances.
  | PS I am drug free.  Although I usually drink Camomile tea when I'm
  | soundscaping.

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hi all out there!

thanks Kim, feels good to be back!

i'm just about to to get myself far enough to buy some toys for
HD-recording and it seems that the best you can get at this point of time
is the motu2408.

i heard a lot of good things about the emagic- logic silver and gold
software and the emagic amt8 midi interface (to control my hardware
samplers, effects, synths, loopers, ...)
how is emagic's software? anybody with any experiences or comments?
or is cubase way better?

i know that motu's recording tool has been discussed a couple of weeks ago,
but i don't think that following subject has been mentioned (i might be
wrong...):
since i don't have enough change to get myself a mac i'll have to run all
this on my pc. as far as i remember you guys who use motu2408 work with
mac's. will this work with my pc as good as with a mac or is it worth to
wait another 6 month (and a lot of hard work)?

would be really great if you could help me on this one!
thanks in advance

lorenz



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From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'ld thomson'" <heatshrink@hotmail.com>, Loopers-Delight@annihilist.com
Subject: RE: The Effects Of Looping...Or am I loopy?
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Right on!

I would say anytime I've been totally immersed in performance, playing
ambient or rock music, I've experienced some kind of time distortion.  

Generally, I feel the spaces between parts are greater - as if time were
slowing down.  It feels like I am better absorbing smaller and smaller
moments, or being so concentrated I can feel little things with equal effect
in the same way big things other times may be needed.

David Kirkdorffer
UNDO





-----Original Message-----
From: ld thomson [mailto:heatshrink@hotmail.com]
Sent: Monday, June 07, 1999 4:59 PM
To: Loopers-Delight@annihilist.com
Subject: The Effects Of Looping...Or am I loopy?


I dont want to come across as some kind of flake...
but...
I may anyway.
Have any of you loopers who are doing soundscaping noticed that your 
perception of time is altered during the soundscaping?
I don't meditate in the Buddist or Yogi style, however I have heard of this 
effect from people who chant.  I've noticed it several times during live 
performances.
Am I sitting to close to my old GR300...or is this common?  I can't ask my 
"normal" musician friends as they already think I'm crazy for 
soundscaping...
"yeah man...I can warp time with my DOD Dimension 12, far out.."  That would

go over well.
But seriously, am I losing it or what?

PS I am drug free.  Although I usually drink Camomile tea when I'm 
soundscaping.


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From Loopers-Delight-request@annihilist.com  Tue Jun  8 09:31:51 1999
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From: Todd Madson <crash@waste.org>
To: Loopers-Delight@annihilist.com
Subject: A Sense of Time (and Timelessness)
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I always noted certain musical artists had an effect of timelessness
on me (check out Terje Rypdal's more ethereal works, early to mid 
period Tangerine Dream, Michael Hoenig, etc.)

When I started playing music, it was hard enough to figure out what
to do on the instrument, much less determine a sense of time.

Later, after I started playing in a "progressive" band there
were so many complex changes in the music that it became hard to 
sense time - the stuff was literally always on the edge of our ability
and so hours passed but it seemed like just a few minutes since one
could barely breathe during the performances.  Everybody was straight
as an arrow (no alcohol even) as you had to be at the top of your game
just to play the stuff we were writing then.

It was only later that a sense of time emerged in what I was doing.

Later, in looping I found it was easy to get much more contemplative
and enter large spaces between the notes without fear of someone 
yelling that there weren't enough notes.

The best looping for me has a sense of timelessness.

On the back of Michael Hoenig's "Depature from the Northern Wasteland"
he was quoted as saying "Repetition is the image of eternity in music.."
(he used sequencers to death on that one, lots of loop-like repetition).

So repetition could be perceived as an image of eternity, or a reflection
of an interval (or a lifetime).  Kind of profound when one thinks about
it. 

So now I don't feel crazy for leaving processed loops going for hours!

I even have a really weird tune I did where there are looped guitars,
looped synths, drum programs, and a looped answering machine message.
Very odd.  I should put it up as a downloadable MP3 so you can hear it.

Todd Madson
Musician, Mountain Biker, Stunt Kite Flyer, BeOS/MacOS/Linux/WinNt user.
http://www.waste.org/~crash/index.html

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From: "James Pokorny" <j.pokorny@worldnet.att.net>
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Subject: Flossing / Combing / John Cage
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>>PS I am drug free as well.  Usually I floss when I'm looping at home.
>
>Thank you for mentioning this, Dennis.  Actually I am surprised that, so
>far as I know, flossing has yet to be discussed in-depth on this list.  I
>am sure that somewhere I read a Terry Riley interview in which he described
>extensive use of dental floss during his famous all-night concerts in the
>sixties, certainly setting some sort of historical precedent which will be
>of obvious interest to loopers.
>
>David Myers
>
>BTW, maybe some of the knowledgable John Cage fans who have developed that
>thread can comment on Cage's attitude toward flossing.  I've combed through
>"Silence", but so far haven't found any reference to the subject.


Wait a minute!  We're talking "flossing" here!  Please don't get off-topic
and mention "combing" -- we'll save that for a "grooming" thread.

Since you mentioned "Silence" and flossing, it reminded me of one of my
favorite anecdotes in that great book.  Also the fact that it's only 8:30 AM
and is already close to 90 degrees here.  I don't have it in front of me,
but the gist of the story went like this:

Cage said that he had a dental appointment on what turned out to be the
hottest day of the year.  He mentioned that since he thought of going to the
dentist as a somewhat of a formal occasion [this was the 1950's] he decided
to wear a jacket.  While he was seated in the dentist's chair the dentist
said, "It's so hot today -- wouldn't you feel more comfortable without your
jacket?"  Cage replied "I would, but my shirt has a hole in it."  The
dentist then said, "I have a hole in my sock, would you like me to take my
shoes off?"

I'd recommend "Silence" as a great read.  But not necessarily for the essays
on music.  What I love are all the tiny marginal paragraphs like the one
above, which are packed with all of Cage's wisdom, humor, and absurdity that
might not be quite as apparent in just listening to the music, or reading
the texts.  I remember seeing Cage mentioned once in an article on
contemporary music in my local newspaper.  I was infuriated by a statement
along the lines of "His ideas are so important that you don't even need to
listen to his music."  That killed me!  Apparently this writer never caught
on to the basic musical fact that "theory" only comes about long after
"practice" is well-established.  I'm sure Mr. Cage didn't start writing
music to become a "theorist!"

But try to find a copy, if just to read all those little gems, some of which
have been posted recently.

James

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Hi all

I noticed the following on BBC Radio 3's site, describing last Saturday's
Mixing It programme. Anyone else looping like this?!

Cheers

David
<http://www.mp3.com/davidcooperorton>
--------------------------------------------------------------------------------
From
<http://www.bbc.co.uk/radio3/factsheets/mixing_itn.shtml>

Philip Jeck is best known for his work "Vinyl Requiem"
with Lol Sargent (a performance for 180 dansette record
players, 12 slide-projectors and 2 movie-projectors) which
won the Time Out Performance Award in 1993. His most
recent work "Surf" (Touch Records) continues to explore
the possibilities of seemingly outmoded analogue
techniques, creating many of the loops and samples from
his collection of old vinyl. "With looped records or looped
tapes the rhythmic structure looks after itself" says Jeck.
"I listen to the sound and change the tone controls actually
on the record players. And I really only use two effects - an
old cheap reverb which goes wrong occasionally and a
guitar delay pedal. I just fiddle around controls until it
sounds right." 

From Loopers-Delight-request@annihilist.com  Tue Jun  8 10:33:58 1999
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From: ld thomson <heatshrink@hotmail.com>
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Subject: Re: Re[2]: The Effects Of Looping...praise the Lord and pass the Frippertronics
Date: Tue, 08 Jun 1999 06:45:02 PDT
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>Maybe we're getting somewhere here... "Ritual(istic) Music" could certainly
>pertain to a large body of our work in several genres. I'm sure the more
>humorous modes, and the slice and dice modes which move about wildly will
>probably not quite fit. The word ritual could serve to attract certain 
>audience
>members quite ready to be swept away by the music...

Hey maybe we should start our own cult.  Private jets and adoring attentants 
for everyone!!


>Call and response is definitely western mantra in action! Check out the 
>Robert
>Duval movie "The Apostle" if you want to see some really mesmerizing 
>portrayals
>of this. What an amazing movie... I've become much more interested in 
>reaching
>beyond my instrument (guitar) and adding word based conceptual ideas, to 
>deepen
>the impact of various ideas. Ritualized repetitive action can be really
>powerful...
>

Now THAT movie was scarey! Why?  Because my Father was a Penticostal 
Holiness preacher and I was raised in that world.  I never realized that I 
was raised in a cult until I saw it.  I recognized the order of service, the 
songs EVERYTHING.

Lorne Thomson
Toronto, Canada


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From: ld thomson <heatshrink@hotmail.com>
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Subject: Re: The Effects Of Looping...Or am I loopy?
Date: Tue, 08 Jun 1999 06:48:23 PDT
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funny how we all timidly talk about "the zone" or whatever..All afraid to 
even admit what occures when we enter it in case the other kids in the class 
will laugh at us and call us nerds.  At least I'm guiltly of that.

Lorne Thomson
Toronto, Canada


>From: KB305@aol.com
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: The Effects Of Looping...Or am I loopy?
>Date: Mon, 7 Jun 1999 19:50:56 EDT
>
>In a message dated 6/7/99 6:05:28 PM Central Daylight Time, dennis@mdbs.com
>writes:
>
><< We're on the edge of looper religion here...but I'll continue even if I
>  sound flaky...
>
>  * I've been reading "The Power of Myth" by Bill Moyer and Joseph 
>Campbell.
>  Campbell says that there are two kinds of myth.  The function of one type 
>is
>  to entertain.  The other type teaches you things about the universe, 
>helps
>  you access the inifinite, etc.  It's a ritual myth.  It struck me that 
>you
>  can consider music in the same way.  Most of the music I play with other
>  folks is entertainment.  Most of the looper-based stuff, the 
>soundscaping,
>  is ritualistic in Campbell's sense.  In my earlier days, I found 
>listening
>  to such bands as Pink Floyd gave me a similar experience.
>
>  * Some examples of early non-technological looping can be found in 
>religious
>  ceremony.  I think trance dancing and shaman drumming are probably 
>examples.
>  In the Christian church, I think the "responsive reading" can qualify as 
>a
>  looping experience.  Here, the leader recites varying phrases and the
>  congregation responds to each phrase with (usually) an unchanging phrase.
>  Consider this situation as the leader "soloing" over a loop!
>   >>
>Yes!!!
>
>  I don't even truly loop, as I don't have a true looping device, but this 
>is
>the crux of the biscuit for me, and I am joyed to see it presented in a 
>place
>where people discuss making music.    I played for over twenty years, but
>until I started therapy and men's work, and accessed parts of me I hadn't
>before, music that I played sounded empty.  It went into the head, perhaps,
>like bad prog (ok, flame away, but I know what I mean), but it didn't 
>involve
>the body, nor, consequentially, the whole self.  And part of accessing 
>parts
>ot he humans psyche does involve ritual space.  We love rituals.  If you
>don't believe that, it may be that you just aren't aware of it.  We have
>rituals around everything, from sex to drugs to rock and roll, to name the
>obvious.
>
>Today playing ALL music, whether it is in a church (sometimes I do that,
>yes), or with my 'jazz' group, I play music best when I enter a zone.  
>Sorry,
>folks, I can't describe it to you, but time does get stretched there.  As I
>get better at going there, the playing part becomes easier, and the 
>listening
>becomes the real work.
>
>Go ahead, think I'm loopy too... I am sure I am.
>
>Kevin
>


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Hey, now are you saying it is a PHYSICAL effect or a preceived effect?



>From: "Javier Miranda V." <gnominus@earthling.net>
>Reply-To: Loopers-Delight@annihilist.com
>To: <Loopers-Delight@annihilist.com>
>Subject: RE: The Effects Of Looping...Or am I loopy?
>Date: Tue, 8 Jun 1999 01:31:23 -0700
>
>I am also drug-free, but can attest to time warps during soundscaping.  
>This
>is indeed a physical phenomena, and applaud Thomson's bringing it up.  Pass
>the tea, please.
>
>   | -----Original Message-----
>   | From: ld thomson [mailto:heatshrink@hotmail.com]
>   | Sent: Monday 07 June 1999 1:59 PM
>   | To: Loopers-Delight@annihilist.com
>   | Subject: The Effects Of Looping...Or am I loopy?
>
>   | Have any of you loopers who are doing soundscaping noticed that your
>   | perception of time is altered during the soundscaping?
>   | I don't meditate in the Buddist or Yogi style, however I have
>   | heard of this
>   | effect from people who chant.  I've noticed it several times
>   | during live
>   | performances.
>   | PS I am drug free.  Although I usually drink Camomile tea when I'm
>   | soundscaping.
>


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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From: ld thomson <heatshrink@hotmail.com>
To: Loopers-Delight@annihilist.com
Subject: Re: The Effects Of Looping...Or am I loopy?
Date: Tue, 08 Jun 1999 06:50:47 PDT
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I have never needed to take anything, and any time I have its caused way 
more problems than opened doors.  The purest form of insight for me has come 
on the mat training in Aikido.

Lorne Thomson
Toronto, Canada


>From: "Rev. Doubt-Goat" <dgoat@rocketmail.com>
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: The Effects Of Looping...Or am I loopy?
>Date: Mon, 7 Jun 1999 17:18:46 -0700 (PDT)
>
>93
>
>---ld thomson <heatshrink@hotmail.com> wrote:
> >
> > I dont want to come across as some kind of flake...
> > but...
> > I may anyway.
> > Have any of you loopers who are doing soundscaping
>noticed that your
> > perception of time is altered during the
>soundscaping?
>
>This is called "trancing". It is normal.
>
> > PS I am drug free.  Although I usually drink
>Camomile tea when I'm
> > soundscaping.
>
>Start taking hallucinagins immediately ;-)
>
>93
>Rev. Doubt-Goat
>===
>           The Homepages of the Doubt-Goat
>
>                The Darsan Trio
>                Sekhet Maat Oasis, O.T.O.
>                Lion & Serpent
>
>           http://www.easystreet.com/~twilliam
>
>_________________________________________________________
>DO YOU YAHOO!?
>Get your free @yahoo.com address at http://mail.yahoo.com
>


______________________________________________________
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From: "Michael S. Yoder" <myoder@tamiu.edu>
Subject: Re: John Cage recordings and what's in a name...
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At 05:13 PM 6/7/99 -0500, you wrote:
>-----Original Message-----
>>I'm opposed to classifying music at all.
>
>Amen!  The best music store I've seen, regarding "classifying" music, was
>one in Austin, TX.  I can't remember the name of it, but they didn't
>classify anything!  I LIKED IT!
>
>Dennis Leas
>-----------------------------
>dennis@mdbs.com
>
Would that be Waterloo Records?  It's a huge place in Austin, and they
don't classify anything (except movie soundtracks, as I recall).  For
browsing, it's a pain in the ass, because you have to sift through all the
hillbilly music, derivative top 40 crap, etc.  For practical purposes like
browsing, one can argue that a certain level of categorization is preferal,
even if it means the usual misclassification. (like calling Kenny G jazz).

Always two sides to every argument. . . .except the exploitative sides of
capitalism (Hah!)
Michael.
================================================================

Dr. Michael S. Yoder
Assistant Professor of Geography, Coordinator of Urban Studies
Department of Social Sciences
Texas A&M International University
Laredo, TX  78041  U.S.A.
Telephone:  (956)326-2634 Office;  (956)326-2464 FAX
E-Mail  myoder@tamiu.edu
Web Page:  http://tamiu.edu/~myoder/
================================================================

"English ideas about property have given us both the Bill of Rights and the
industrial slum." (Archibald C. Coolidge, Jr.)  

From Loopers-Delight-request@annihilist.com  Tue Jun  8 12:03:25 1999
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Date: Tue, 08 Jun 1999 17:12:40 +0200
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From: haeusle <haeusle@aon.at>
Subject: waldorf miniworks filter upgrade?
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hi!
guess what:
talked to a guy at our local music store and he told me that there should
come out an upgrade-chip for waldorf's miniworks 4-pole filter (more wave
forms, etc.).

does anybody know anything about that? or is this just a rumor?

lorenz

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Three quick comments, then I must get some work done to pay the bills...
    Re. the John Cage record bin categorization thing: The very thought of a
Cage recording is humorous, considering his philosophy. Then attempting to
put it in a slot...! My favorite system of categorization was practiced by
Manny Maris at a small record shop he ran in lower Manhattan called "Lunch
For Yor Ears" (misspelling intentional). He put recordings into two
categories: vocal and instrumental. Here's a thought: what categories do you
put your own records into once you get them home?
    Re. the Loop Religion thing, which keeps popping up. I find it curious
that so many people seem to feel the need to apologize for their
observations ("you may think I'm crazy, but...") I wish we could make the
ecstatic quality of looping a given. I would also like to find a site where
this kind of thing is discussed regularly.
    Here's a whole new topic: why are there apparently so few women involved
with looping, and with music technology in general? I've been catching some
"electronica-songwriter" stuff on the college FM radio lately which is
largely female vocal with ambient/loop/ 'lectronic textures (kinda mid 90's
Sarah McLaghlan, Sheila Chandra, Ani DiFranco) so it exists, but I see no
discussion of this. Could all the women reading this please raise their
hands?


From Loopers-Delight-request@annihilist.com  Tue Jun  8 12:16:39 1999
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hi Roberto

maybe you can find something here....

ftp://jsellens0.uunet.ca/pub/sgroup

ciao
leo



At 10.28 08/06/99 +0200, you wrote:
>hi to everyone.
>some time ago, i read a mail about web sites where download 
>samples.... i lost that mail..... would you send it to me again? 
>thank you....
>
>p.s. do you know how can i read a roland dj-70 floppy disk with a 
>PC or a MAC?
>see you soon.
>canemacchina
>briozzo@atene.it
>icq 25922888
>
>
>

From Loopers-Delight-request@annihilist.com  Tue Jun  8 12:39:42 1999
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From: "Michael S. Yoder" <myoder@tamiu.edu>
Subject: Re: classifications
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. . .Just a followup to my slightly sarcastic argument in favor of
classifying music for the purpose of browsing in a record store. . . . .

Actually, whatever happened to that category called "C.I.", or
"contemporary instrumental" that was supposed to be pushed by the record
companies about five years ago?  They seemed in words (if not in deeds) to
be responding to the kinds of complaints expressed in this thread. . .
.that categories all too often are inaccurate or misleading.  C.I. was
supposed to be an umbrella category for non-jazz instrumental musics,
anything from electronic to "chamber jazz" to electronica dance, to ambient
dance to trip hop to acid jazz to Cage to Jon Hassell to some ECM to
Windham Hill to. . . .you name it (instrumental music that's not jazz per-se.)

Perhaps postmodern juxtapositions of music "styles" make categorization
difficult, I admit.  But Contemporary Instrumental seemed intuitively a
good idea.  Whatever happened to it?

Michael.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

Dr. Michael S. Yoder
Assistant Professor of Geography,
Coordinator of Urban Studies
Texas A&M International University
5201 University Blvd.
Laredo, TX  78041
Tel. (956) 326-2634; FAX (956) 326-2464 
Internet:myoder@tamiu.edu

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=--=-=-=-==

From Loopers-Delight-request@annihilist.com  Tue Jun  8 12:27:16 1999
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Date: Tue, 8 Jun 1999 16:23:13 +0100 (BST)
From: Jim Carter <Jim.Carter@bristol.ac.uk>
To: Loopers-Delight@annihilist.com
Subject: Re: The Effects Of Looping...Or am I loopy?
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> I have never needed to take anything, and any time I have its caused way 
> more problems than opened doors.  The purest form of insight for me has come 
> on the mat training in Aikido.
> 

Agreed! There is nothing to compare with setting up a loop and then
playing through a form of Tai Chi. When you finish you are in the
starting posture - so just loop-on into another form.

hmmmmmmm, martial arts loop.

Jim Carter

From Loopers-Delight-request@annihilist.com  Tue Jun  8 13:03:06 1999
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Reply-To: "Collins" <collinsclan@sprintmail.com>
From: "Collins" <collinsclan@sprintmail.com>
To: <Loopers-Delight@annihilist.com>
Subject:  John Cage and writings
Date: Tue, 8 Jun 1999 12:36:43 -0400
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What you speak about is on a CD set of his called "Indeterminacy". It's a 2
CD set with a good sized booklet. He reads a lot of his memories while David
Tudor plays music. He does that story, the one about Japanese poetry, his
past teachers, and times he was just hanging around friends. It's out on
Smithsonian Recordings so it shouldn't be all that hard to find.

Jeff Collins

-----Original Message-----
From: James Pokorny <j.pokorny@worldnet.att.net>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Tuesday, June 08, 1999 10:51 AM
Subject: Flossing / Combing / John Cage


>>>PS I am drug free as well.  Usually I floss when I'm looping at home.
>>
>>Thank you for mentioning this, Dennis.  Actually I am surprised that, so
>>far as I know, flossing has yet to be discussed in-depth on this list.  I
>>am sure that somewhere I read a Terry Riley interview in which he
described
>>extensive use of dental floss during his famous all-night concerts in the
>>sixties, certainly setting some sort of historical precedent which will be
>>of obvious interest to loopers.
>>
>>David Myers
>>
>>BTW, maybe some of the knowledgable John Cage fans who have developed that
>>thread can comment on Cage's attitude toward flossing.  I've combed
through
>>"Silence", but so far haven't found any reference to the subject.
>
>
>Wait a minute!  We're talking "flossing" here!  Please don't get off-topic
>and mention "combing" -- we'll save that for a "grooming" thread.
>
>Since you mentioned "Silence" and flossing, it reminded me of one of my
>favorite anecdotes in that great book.  Also the fact that it's only 8:30
AM
>and is already close to 90 degrees here.  I don't have it in front of me,
>but the gist of the story went like this:
>
>Cage said that he had a dental appointment on what turned out to be the
>hottest day of the year.  He mentioned that since he thought of going to
the
>dentist as a somewhat of a formal occasion [this was the 1950's] he decided
>to wear a jacket.  While he was seated in the dentist's chair the dentist
>said, "It's so hot today -- wouldn't you feel more comfortable without your
>jacket?"  Cage replied "I would, but my shirt has a hole in it."  The
>dentist then said, "I have a hole in my sock, would you like me to take my
>shoes off?"
>
>I'd recommend "Silence" as a great read.  But not necessarily for the
essays
>on music.  What I love are all the tiny marginal paragraphs like the one
>above, which are packed with all of Cage's wisdom, humor, and absurdity
that
>might not be quite as apparent in just listening to the music, or reading
>the texts.  I remember seeing Cage mentioned once in an article on
>contemporary music in my local newspaper.  I was infuriated by a statement
>along the lines of "His ideas are so important that you don't even need to
>listen to his music."  That killed me!  Apparently this writer never caught
>on to the basic musical fact that "theory" only comes about long after
>"practice" is well-established.  I'm sure Mr. Cage didn't start writing
>music to become a "theorist!"
>
>But try to find a copy, if just to read all those little gems, some of
which
>have been posted recently.
>
>James
>
>

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From: Mike.Biffle@wj.com (Mike Biffle)
Subject: Re[4]: The Effects Of Looping...praise the Lord and pass
To: Loopers-Delight@annihilist.com, ld thomson <heatshrink@hotmail.com>
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>>Maybe we're getting somewhere here... "Ritual(istic) Music" could certainly
>>pertain to a large body of our work in several genres. I'm sure the more
>>humorous modes, and the slice and dice modes which move about wildly will
>>probably not quite fit. The word ritual could serve to attract certain 
>>audience members quite ready to be swept away by the music...

> Hey maybe we should start our own cult.  Private jets and adoring attentants 
> for everyone!!

Hooded Robes!... Live internet feeds from our subteranean chambers... strange 
symbols... and most definitely, bring on the adoring attendants!

>> Call and response is definitely western mantra in action! Check out the 
>> Robert Duval movie "The Apostle" if you want to see some really mesmerizing 
>> portrayals of this. What an amazing movie... I've become much more interested
>> in reaching beyond my instrument (guitar) and adding word based conceptual 
>> ideas, to deepen the impact of various ideas. Ritualized repetitive action 
>> can be really powerful...

>Now THAT movie was scarey! Why?  Because my Father was a Penticostal 
>Holiness preacher and I was raised in that world.  I never realized that I 
>was raised in a cult until I saw it.  I recognized the order of service, the 
>songs EVERYTHING.
>Lorne Thomson

Whoa Lorne, I sympathise with you... Holy Smokes! Swear to Buddha! I'm an 
Aztec!!!... (a quote from his high holiness of the Lunar Asylum, Moon Sharon...)

-Biffoz


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Date: Tue, 08 Jun 1999 18:39:17 +0200
To: Loopers-Delight@annihilist.com
From: Leo Cavallo <cavallo@dada.it>
Subject: Re: motu2408
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I use the MOTU2408 with a PC, some adats, dats, digital desk, sampler, etc. 
it's really good. I use Cubase. VST 3.65 rules. 3.7 maybe much better. logic
is great too. Logic 4 will be a bomb.
I think you can do a lot of things with a PC too, if you are not afraid in
configuring the thing.
I work professionally with this setup (350mhz PII, 128MB ram, 20 Gb HD) and
i'm really happy with it.

ciao
leo

>since i don't have enough change to get myself a mac i'll have to run all
>this on my pc. as far as i remember you guys who use motu2408 work with
>mac's. will this work with my pc as good as with a mac or is it worth to
>wait another 6 month (and a lot of hard work)?
>
>would be really great if you could help me on this one!
>thanks in advance
>
>lorenz
>
>
>
>
>

From Loopers-Delight-request@annihilist.com  Tue Jun  8 13:31:53 1999
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Date: Tue, 8 Jun 1999 11:31:30 -0500
To: Loopers-Delight@annihilist.com
From: Travis Weller <tcweller@purity.com>
Subject: Re: John Cage recordings and what's in a name...
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>>I'm opposed to classifying music at all.
>
>Amen!  The best music store I've seen, regarding "classifying" music, was
>one in Austin, TX.  I can't remember the name of it, but they didn't
>classify anything!  You could use a computer and search for "types of music"
>if you wanted to but the CDs in the store's bins were alphabetical by
>band/performer.  I LIKED IT!

i'm pretty sure you are referring to waterloo records. very cool store
indeed. they do have a few sections that don't fit into the band/performer
system though (compilations, soundtracks, etc). for instance, john cage is
in the composers section. this makes it really easy to find music that
might, in another store, be located in any one of jazz, pop, rock, or (god
forbid) 'electronica'.

it's very natural for people to want to put things into categories. i just
hate going to the record store and looking through the jazz and electronica
sections for isotope 217 and eventually finding it in pop (?!).

-travis


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Date: Tue, 8 Jun 1999 13:23:25 EDT
Subject: Re: Vortex loop mangler (patch)
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In a message dated 06/06/99 23:19:31 GMT Daylight Time, c.voit@vtx.ch writes:

> Aouch
>  I played a 3 sec stereo loop thru those patches
>  on the regiser B (second column)
..but did you try using the vortex to make a loop in the A patch, then 
disrupting that by
A/Bing?(Vortex mangles it's own loop)

thanks for your ideas, I hadn't thought of that one

unusual processing using the echoes like that

probably worth trying out different Depth and rate settings

(bet you have already)

or res1 = 64  and res2 to pedal...

bye .........Andy


  

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From: "Dennis W. Leas" <dennis@mdbs.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: John Cage recordings and what's in a name...
Date: Tue, 8 Jun 1999 11:52:46 -0500
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>Would that be Waterloo Records?

Bingo!

Dennis Leas
-----------------------------
dennis@mdbs.com


From Loopers-Delight-request@annihilist.com  Tue Jun  8 14:25:41 1999
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Date: Tue, 08 Jun 1999 19:24:48 +0200
From: Claude Voit <c.voit@vtx.ch>
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To: Loopers-Delight@annihilist.com, haeusle@aon.at
Subject: Re: waldorf miniworks filter upgrade?
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haeusle wrote:
> 
> hi!
> guess what:
> talked to a guy at our local music store and he told me that there should
> come out an upgrade-chip for waldorf's miniworks 4-pole filter (more wave
> forms, etc.).
> 
> does anybody know anything about that? or is this just a rumor?
> 
> lorenz

Lorenz

this could be a good news or a rumor....

there is a waldorf mailling list where you could ask the question

its at http://www.Waldorf-gmbh.de/user-forum.html

the list is actively followed by the waldorf guys so you should have an
answer


keep filtering

Claude

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From: "Future Perfect" <artmusic@gte.net>
To: <Loopers-Delight@annihilist.com>
Subject: RE: loop web sites
Date: Tue, 8 Jun 1999 13:52:09 -0400
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Well I have a few basic looping samples at my site, if that helps...

Dave Eichenberger- guitars.loops.devices
http://home1.gte.net/artmusic/dave
 

>
> hi to everyone.
> some time ago, i read a mail about web sites where download
> samples.... i lost that mail..... would you send it to me again?
> thank you....
>


From Loopers-Delight-request@annihilist.com  Tue Jun  8 16:30:05 1999
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Date: Tue, 08 Jun 1999 13:20:26 -0700
From: Matt Davignon <mdavig@sfsu.edu>
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I think there are two major problems with classifying all music.
1) There gets to be so many kinds of music that it's impossible for
anybody to know for sure what they all are. For example, It took me
about 7 years to figure out the difference between all of the 30 or so
classifications of techno. There are also misleading ones like "jungle"
and "alternative". Not to mention double-meaning ones like "ambient".

2) The biggest problem with this is that most major label music is
released to specifically fit snugly into a set genre. Can you tell your
country bands apart? How about alt-rock groups? The contributions that
they make are so similar that they're almost worthless. This inhibits
the amount of variety we get on the radio. If there weren't pre-existing
classifications for music, each new band would be encouraged to find
their own musical territory, rather than re-churn stuff that we've
already heard tons of times.

Sorry if I offended country or alt-rock fans. There is good country and
alt-rock---it's just not on the radio or mtv.

matt davignon

From Loopers-Delight-request@annihilist.com  Tue Jun  8 16:35:34 1999
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From: Sean Witters <seanwitters@hotmail.com>
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Date: Tue, 08 Jun 1999 12:57:55 PDT
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I'm trying to maintain a standard of decorum but with all this talk of 
Post-Modern music and dental floss I'm shocked nobody has mentioned Zappa's 
use of floss as a (well, how should I phrase this text in order to get it on 
television) a symbol for lonely auto-erotic type activities. "Raising my 
lonely dental floss...  Raisin' it up, Waxin' it down..., you get the 
picture.
If you mix this in with Johnny "Guitar" Watson's take on solo studio 
multitracking...Ahhhhh, these looping jokes are too obvious, forget it...  
If anyone wants to dig deeper into absurd Zappa scholar theories such as; 
Don't Eat the Yellow Snow and King Lear, or Montana and Freud, read "The 
Negative Dialectics of Poodle Play".  This dissertation gone wrong is an 
Hegelian/Marxist critique of Zappa's life and canon that makes a genuine 
(but strange) attempt to place him in context with the modern and 
post-modern era's other monster geniuses, Joyce, Freud, Stravinsky, 
Nancarrow...et al.  (Slave to the context) there are some comments on his 
use of looping with the 80's bands in the later chapters.


_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

From Loopers-Delight-request@annihilist.com  Tue Jun  8 17:17:14 1999
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On the other hand, classification of music at my record store is very
helpful. Each time I go shopping, I pick up a few clearance CD's for
under $5. I really have nothing to pick these CD's out by other than the
cover, group name, and track titles. For this, I'm really grateful that
Amoeba Records in SF has an "Experimental  Clearance" section where most
of the stuff I don't like is already taken out.



From Loopers-Delight-request@annihilist.com  Tue Jun  8 18:22:16 1999
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From: "Dennis W. Leas" <dennis@mdbs.com>
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Subject: Re: classifications--on the third hand
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I think music classifications can be useful when they serve to describe the
music.  Such descriptions help us talk about the music, select stuff, etc.
Too many times, however, the classification is used to define the music and
musician.  As if to say, "This music is X and nothing else."  and "All music
must be X or not-X (can't be both!)"  According to this narrow view, once a
rocker always a rocker, for example.

Contrary to this, most musicians I know enjoy a wider variety of music than
non-players.  So in reality, playing music broadens your viewpoint, not
narrows it.

Dennis Leas
-----------------------------
dennis@mdbs.com


From Loopers-Delight-request@annihilist.com  Tue Jun  8 19:32:50 1999
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From: Matthias Grob <matthias@grob.org>
Subject: Re: The Effects Of Looping...Or am I loopy?
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>I dont want to come across as some kind of flake...
>but...
>I may anyway.
>Have any of you loopers who are doing soundscaping noticed that your
>perception of time is altered during the soundscaping?
>I don't meditate in the Buddist or Yogi style, however I have heard of this
>effect from people who chant.  I've noticed it several times during live
>performances.

me too. People do not feel how much time passes. I have control on my DAT
counter, and I am amazed myself, often.
Does this mean that we are "off this time plain" during some time?
Then again, time perception is also altered in other intense experiences...



         ---> http://Matthias.Grob.org


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From: Matthias Grob <matthias@grob.org>
Subject: looper music
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>Dennis wrote:
>
>> It makes me wonder where looper music will be classified in fifty years.
>

I do not think so, its a tool that serves for too may styles.
There is no classification for MIDI music either.



         ---> http://Matthias.Grob.org


From Loopers-Delight-request@annihilist.com  Tue Jun  8 19:43:13 1999
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Recently, there has been much talk on the list about classifying loop music, 
John Cage, etc.  I started to think about a genre of music where looping is a 
common practice: Hip-Hop.  I have not seen rap music discussed on the list 
and I was wondering what everyone thought.  I think it is pretty safe to say 
that everybody on this list is into looping.  What does everyone think of 
hip-hop?  I started to think about it this morning while listening to "It Was 
A Good Day" by Ice Cube.  I thought to myself: "That is a great little guitar 
loop."  I quickly realized why I like rap so much (other than for those fun 
rhymes and phat beats).  I'm just curious.

Sam Paterson

From Loopers-Delight-request@annihilist.com  Tue Jun  8 20:04:37 1999
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From: Matthias Grob <matthias@grob.org>
Subject: Re: It just goes...
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>>It takes a little effort to treat all of the sound
>>sources in such an environment as totally equal with no intrinsic meaning
>in
>>terms of language, etc., but the result is a very interesting and somewhat
>>exhilarating, "sound collage" experience.
>
>Yes!  Become a receiver (but not interpreter) of the sonic environment.
>It's kind of dis-embodying (is that a word?).

My last CD project is called "ouvir mais e pedir menos" = listen more and
ask (in the sense of demand, beg) less.

Still, to do your work (as artist and such) you will probably have to
translate (from channel to instrument) and end up interpreting :-)



         ---> http://Matthias.Grob.org


From Loopers-Delight-request@annihilist.com  Tue Jun  8 19:47:14 1999
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Date: Tue, 8 Jun 1999 19:27:27 -0300
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From: Matthias Grob <matthias@grob.org>
Subject: Re: John Cage recordings ("scientific"?)
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I think "Classical Music" has a lot to do with the social aceptance.
Its what Academy and University accepts as "art" and classifies.
This again, has a lot to do with the habits of the musician. If he is
connected to the institutions, chance that his work is accepted is much
bigger. If he considers himself "alternative" and plays "on the steet", he
is not classic but popular, right?

Maybe it also has to do with the ability of the musician to explain the
function of his work within the music history?

Similarely, a brilliant article of new tecniques is not "scientific" if its
not written in a scientific magazine or has no literature reference list at
the end.

I think I want to try what institutes think of my music, just to see...



         ---> http://Matthias.Grob.org


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From: Tim Nelson <tcn62@ici.net>
Subject: Re: John Cage recordings ("scientific"?)
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This reminds me; did anyone catch "Breakfast with the Arts" on A&E last week?

Laurie Anderson was being interviewed, and spoke about the use of new
instruments in new contexts, circuit bending, etc. She told of an
instrument she's recently built which she described as a stick along which
there are sliding sleeves which trigger various samples and loops, and
which can be "played" in a highly theatrical manner by the "dancers"
onstage as well as by the "musicians" (the quotation marks reflect the very
flexible and overlapping job descriptions of the artists involved in her
project...)

But the best part of it all was the blank stare the interviewer wore on his
face while Ms. Anderson enthusiastically talked tech; he was obviously much
more comfortable asking her questions about her popular acceptance, and
visibly fidgeted while she described the MIDI outs on her new instrument,
or her tape head violin, or anything from the perspective of CREATING the
music (as performer) as opposed to the CONSUMPTION of art (as audient).

Tim

At 07:27 PM 6/8/99 -0300, you wrote:
>I think "Classical Music" has a lot to do with the social aceptance.
>Its what Academy and University accepts as "art" and classifies.
>This again, has a lot to do with the habits of the musician. If he is
>connected to the institutions, chance that his work is accepted is much
>bigger. If he considers himself "alternative" and plays "on the steet", he
>is not classic but popular, right?
>
>Maybe it also has to do with the ability of the musician to explain the
>function of his work within the music history?

From Loopers-Delight-request@annihilist.com  Tue Jun  8 22:45:05 1999
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ld thomson wrote:

> Hey, now are you saying it is a PHYSICAL effect or a preceived effect?
>

in reply to:

>
> >
> >I am also drug-free, but can attest to time warps during soundscaping.
> >This
> >is indeed a physical phenomena, and applaud Thomson's bringing it up.  Pass
> >the tea, please.

maybe there is some physical basis for this time dilation effect... i could
swear that sometimes during extended loopage/scapeage that my *breathing* seems
to have synched with the loop.. (and of course as soon as you consciously
perceive this, the effect is lost)

what we need is a thorough scientific test of this phenomenon...  ;)

From Loopers-Delight-request@annihilist.com  Tue Jun  8 23:46:32 1999
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Date: Tue, 08 Jun 1999 22:59:22 -0400
Subject: Re: OPCODE & The EDP
From: "Daniel Orlansky" <orlans@earthlink.net>
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----------
>From: David Kirkdorffer <DKirkdorffer@exapps.com>
>To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
>Subject: OPCODE & The EDP
>Date: Mon, Jun 7, 1999, 7:50 PM
>

>My friend Daniel Orlansky tells me he received an e-mail from OPCODE saying
>they are not handling the EDP.  Interesting, no?
>
>Daniel, could you please send us a copy of the e-mail you received so we can
>all see it?
>
>David K
>
>
>Sorry, but I deleted the e-mail David. What it said in response to my query 
>about EDP
>availability, in capital letters, was "OPCODE DOES NOT CARRY THIS PRODUCT."
>
>If Opcode is supposed to handle future EDP distribution, I urge everyone to 
>beseige 
>Opcode with requests for the EDP distribution, as David urged in a previous 
>e-mail!!!
>
>
>Their e-mail address is: htpp://www.opcode.com/forms/feedback.html. Use 
>their form to
>send an e-mail to customer service. 
>
>I mean, let's get the message across: we want the EDP!
>
>Daniel

From Loopers-Delight-request@annihilist.com  Wed Jun  9 00:48:20 1999
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From: Nemoguitt@aol.com
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Date: Tue, 8 Jun 1999 23:35:34 EDT
Subject: Re: John Cage recordings ("scientific"?)
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In a message dated 6/9/99 1:36:31 AM Mid-Atlantic Daylight Time, 
tcn62@ici.net writes:

<< But the best part of it all was the blank stare the interviewer wore on his
 face while Ms. Anderson enthusiastically talked tech >>

i find this "blank stare" appear with 99% of the people who ask me what kind 
of music i play, there is a little excitement when i say i play guitar, but 
the second i bring up the idea of playing with "sounds", creating a sonic 
wallpaper, they all get a bit fuzzy and want me to go away or a least change 
the topic........perhaps its my inability to communicate what i do without 
getting into the "tech" aspect.........."are you in a band?" is always the 
question after "what do you play" and when i answer, "i am the band" they 
seldom, if ever say "tell me more"............thank goodness for 
LD...........michael

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What ever happened to good o'l psychedelic drug usage?

From Loopers-Delight-request@annihilist.com  Wed Jun  9 04:53:16 1999
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From: "Javier Miranda V." <gnominus@earthling.net>
To: <Loopers-Delight@annihilist.com>
Subject: RE: The Effects Of Looping...Or am I loopy?
Date: Wed, 9 Jun 1999 00:41:06 -0700
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	I'm saying it is "indeed a physical phenomena."  What is time?  What is
reality?  We know from A. Einstein, may he rest in peace, even if we don't
fully understand, that time is different whether you're standing still or
moving at very fast speeds.  Just what does it mean to move "close to the
speed of light"?  Can't our spirits fly out at the speed of light and come
back?  I've heard too many stories about people who die and float away from
their bodies, listen to conversations going on in other rooms, etc., and
come back to their bodies because it's "not their time."  I've also heard
too many folkloric stories about holy or otherwise blessed men who "leave
their bodies" and travel to other places, whatever.  I hold that when we
loop and get attuned to this dimensional door, we actually enter another
level of existence and therefore time is physically different for us during
those periods.  You can wait as long as you want for "science" to catch up
and offer some "real" proof for this, but my experience is good enough for
me.  I hold that your experience ought to be good enough for you.  We at
Loopers' Delight know what I'm talking about — the "zone," "trance,"
"meditation," whatever you want to call it.  When we come to, we know we've
been gone and have just come back.  I've known for a long time that looping
is more than just trying to exploit the most I can from my cheap and
not-so-cheap electronic equipment, that music is more than mere organized
sounds.
	And tea helps, especially when spiked with something.  Somebody just
mentioned the drugs, good old drugs.  Our minds (spirits) are more than mere
brains flashing biochemical signals.  The sum of the molecules doesn't add
up to the product.  Some of us loopers are here only part time.  OK, back to
looping.

  | -----Original Message-----
  | From: ld thomson [mailto:heatshrink@hotmail.com]
  | Sent: Tuesday 08 June 1999 6:55 AM
  | To: Loopers-Delight@annihilist.com
  | Subject: RE: The Effects Of Looping...Or am I loopy?
  |
  |
  | Hey, now are you saying it is a PHYSICAL effect or a preceived effect?
  | >I am also drug-free, but can attest to time warps during
  | soundscaping.
  | >This
  | >is indeed a physical phenomena, and applaud Thomson's bringing
  | it up.  Pass
  | >the tea, please.
  | >

From Loopers-Delight-request@annihilist.com  Wed Jun  9 06:13:05 1999
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To: ambient@hyperreal.com
From: Hans Stoeve <nadabrahma@mail.bigpond.com>
Subject: cd sale
Cc: powerspot@onelist.com, ElectronicMusic@onelist.com,
        Loopers-Delight@annihilist.com
Date: Wed, 9 Jun 1999 19:32:22 +0900
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I have a couple of hundred cd's I'm selling. Lots of ECM, ambient and
experimental. Prices range from Australian 13 onwards not including
postage. If you buy four or more I'll pay for the postage. If interested e
mail me and I'll send you the list. Sorry about any cross postings.

Best wishes

Hans Stoeve
c/o Power Spot 89.7FM
Sydney, Australia

http://www.users.bigpond.com/nadabrahma
reviews / interviews / cd's for sale / the ultimate Jon Hassell webpage

subscribe to the Jon Hassell discussion group
http://www.onelist.com/subscribe.cgi/powerspot
subscribe to the Extreme discussion group
http://www.onelist.com/subscribe.cgi/extrememusic



We always welcome new material for review and airplay. If interested

please forward on to:

3 / 12 Murdoch St
Cremorne NSW 2090

*** the further one goes
the less one knows ***



From Loopers-Delight-request@annihilist.com  Wed Jun  9 06:47:52 1999
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From: Kim Flint <kflint@annihilist.com>
Subject: Re: Looping genres
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At 3:30 PM -0700 6/8/99, Greyseason@aol.com wrote:
>Recently, there has been much talk on the list about classifying loop music,
>John Cage, etc.  I started to think about a genre of music where looping is a
>common practice: Hip-Hop.  I have not seen rap music discussed on the list
>and I was wondering what everyone thought.  I think it is pretty safe to say
>that everybody on this list is into looping.  What does everyone think of
>hip-hop?  I started to think about it this morning while listening to "It Was
>A Good Day" by Ice Cube.  I thought to myself: "That is a great little guitar
>loop."  I quickly realized why I like rap so much (other than for those fun
>rhymes and phat beats).  I'm just curious.

Hey, kinda busy but I wanted to pop up and say "right on" here! I've loved
hip hop for years, it's a big part of why I got interested in looping. I
remember listening to "planet rock" on the AM radio when I was a kid, and
later Public Enemy blew my mind. The groove loops those guys created were
just amazing, I couldn't get "don't believe the hype" out of my head for
days after I first heard it....it still gives me goose bumps.  I haven't
been following hip hop much the past few years, other than some of the more
adventurous dj/turntablists. I really like Qbert's "wave twisters" album.
Mix Master Mike's album was alright too. And the Automator on the Dr.
Octagon album from last year, wow....

anyway, yeah, hip hop is the genre that has really brought this loop
oriented music into the popular conscious. It's not necessarily the stuff
everybody does, musically, but I think there is a whole generation of
people now who won't be sitting there saying "dude, his fingers aren't
moving...."

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


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Date: Wed, 09 Jun 1999 12:39:58 +0200
To: Loopers-Delight@annihilist.com
From: Pierre LIONNET <pierre.lionnet@eurospace.francenet.fr>
Subject: Loops and Hip Hop (was Looping genres)
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I've been an avid list reader but would never have dared a contribution cuz
I felt so worthless.
What I like in this list is  the high intellectual approach and the
numerous references to musicians I highly praise (but would never dare
comparing myself to) such as JohnCage and mostly Frank Zappa (I was 15 when
I saw that Zapa was touring Italy with three gigs planned in Rome, I bought
a ticket for the first concert three weeks in advance and all my monthly
allowance went into it, then I heard on  the radion that FZ announced the
three dates in Rome to be three distinct concerts... I invested my monthly
allowance of thge two following months to buy two more tickets: the
experience was absolutely enthrancing, probbaly the richest musical
experience I had in my life - well I was 15 you know...).

Nevertheless I never knew, not being a musician myself, that these
musicians made extensive use of looping gear and techniques.

This is Off topic, I'm sorry, it's a reminiscence.

All this to say that I came to loping BECAUSE of hip hop.

I used to listen to hip hop music a lot (in France, where I live now, the
Hip hop scene is really big thus you have choice and variety and also
QUALITY) and gradualy got my ear used to the sampling approach and the
loops used to catch most of my attention.
This is when I got myself a sampler (an Akai s20) and a sequencer to
produce those loops and started creating music very hip hop oriented.

What I like is the raw essentilalness (is this english?) of the old school
hip hop bands but I also appreciate the fullness and richness of some
underground bands.

For those who are not into hip hop but who'd ike to introduce themselves to
it I would suggets those better than average records:
 First and foremost: House of Pain (2 albums: *same as it ever was* and
*shamrocks and sheningans*) here you'll hear DJ Muggs (from Cypress Hill)
cutting and looping in the most essential way: sometimes songs are built
upon 2 (when not one!) samples of a duration less than 2 secs. This is a
true exploit, it's low res. music with high energy packed in. Truly amazing.
Then I'd suggest the COMPANY FLOW (one album only) and Total devastation
(Legalize It) for their underground approach and their incredible beats,
obvious and puzzling (how do they do that?) at the same time.
In France one of the best band for the musical part (the flow is not
exceptional) is La Fonky Family (album: Si dieu le veut) with loops so full
of meaning and feeling... you have to listen to it. bUt then there's a lot
more, like 2 Bal 2 NEG, and of course NTM and IAM.
Also if you have a chance to see a live Cypress Hill gig: don't hesitate
(but bring some weed along...).

Sorry if I took much of bandwidth for these maybe irrelevant topics. I grab
the occasion to tell you how much reading the posts on this list has
brought to me and expanded my horizon (and hope it will continue).

Thanks you all.

and Peace.

PiR (aka FreezerMan)

  

From Loopers-Delight-request@annihilist.com  Wed Jun  9 08:58:01 1999
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Date: Wed, 09 Jun 1999 07:26:34 +0000
From: Bobdog <psbuddha@texas.net>
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i'm interested in seeing that list.

bobdog

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From: "andre" <andre@monmouth.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: Floss...snicker,snicker, Might I inject some irony?
Date: Wed, 9 Jun 1999 09:46:37 -0400
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> Post-Modern music and dental floss I'm shocked nobody has mentioned
Zappa's 
> use of floss as a (well, how should I phrase this text in order to get it
on 
> If anyone wants to dig deeper into absurd Zappa scholar theories such as;

> Don't Eat the Yellow Snow and King Lear, or Montana and Freud, read "The 
> Negative Dialectics of Poodle Play".  This dissertation gone wrong is an 
> Hegelian/Marxist critique of Zappa's life and canon that makes a genuine 


hey... all this zappa talk makes we wanna remind you all..

i'm starting 12 shows tonight - performing the music of Frank Zappa- with
longtime band member - Ike Willis!! details at the site>>>


peace,hope to meet some loopers

-andre'
> 

ON TOUR Jun 9-20
Project Object with IKE WILLIS
performing the MUSIC of FRANK ZAPPA
details>> http://projectobject.com

http://www.monmouth.com/~andre
more Band Info, Articles, Health Links
JFK's LSD UFO and HIDDEN AGENDA

From Loopers-Delight-request@annihilist.com  Wed Jun  9 10:50:28 1999
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From: "andre" <andre@monmouth.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: John Cage recordings and what's in a name...
Date: Wed, 9 Jun 1999 09:40:48 -0400
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does anyone here know there's a character on 'ally mcbeal' TV show named
John Cage???


really weird, funny guy, who's kinda loopy, actually

such a unique name - i wonder if the writers are hip to the other one???


andre'

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Date: Wed, 9 Jun 1999 09:52:04 EDT
Subject: Re: OPCODE & The EDP
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Kim,

	Was ist ist
	Was nicht ist ist moglich?

	I thought that Opcode was to be handling the Oberheim product line 
since Oberheim has been "sacked" by Gibson...  Any news as to whether they 
are simply not handling the EDP because they are not going to keep it's name 
and give it a new one?  I remember that we were chatting about this in the 
past...  Guess Opcode'll let us know in due (way too late) time, like normal.

	Lee-ohki.
	

From Loopers-Delight-request@annihilist.com  Wed Jun  9 11:24:26 1999
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Dear all,

	Pretty much I keep my discs in alphabetical order by the Artist, 
rather than try to sub-catagorize what's going on within the small 
collection, ... hey, I'm just down to 1500 discs now!  Movie music and 
tributes are the only ones that I tend to move around a little bit, mostly it 
matters for me if I have more of that artist's work, if it was various 
people, or an anime series, which tends to have LOTS of disks to it, check 
out the series "Tenchi Muyo," to see what I mean on that one.

	Have to say that with places like Tower Records out there it does 
make things a bit on the interesting side to try and suss out if they are out 
of a disc or if I am simply looking in the wrong area...  "Tangerine Dream" 
was a great example, as I seriously doubt that anyone would classify their 
earlier albums as "New Age."  Then we can start talking about groups who go 
to other countries to press their discs, because of a lack-o interest here in 
the 'States.

	All in all, it is a matter of sussing out what works best for you at 
home and then trying to apply that knowledge with the retail folks, eh?

	Back to yutzing around with the 2100...  
	Tchau,

		Lee-ohki.

From Loopers-Delight-request@annihilist.com  Wed Jun  9 12:53:42 1999
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Date: Wed, 09 Jun 1999 09:09:34 -0700
From: scott kungha drengsen <kungha@earthlink.net>
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I must say I'm with Javier on this one.And,one only needs to look
towards the traditions of Kashmir Shavism,Sufism and Tantric Buddhism
for more"collective"reasoning on the subject.Sound IS physical.The
universe is a collection of interpenatrating vibrations creating a
fabric of form and light over a vast plane of emptiness.Music is a
reflection of this ongoing creation,and it IS this ongoing creation.
The architecture of Music exists entirely in the listeners consciousness
and body.The architecture of the body is also an ordered collection of
vibrations.And when the music has once again returned to silence as it's
dominant vibration.It's vibrations still working on our nervous system
as part of an ongoing evolution.(I hold silence as all sounds
implicitly,thats why it supports all sounds and appearance.
 I dislike the term "altered state" because the ego with all it's
agendas,sociatal conditioing ,efforts at self definition,etc,etc.is more
of a alteration of reality then the attitudes of openess and creativity
that we can find when looping.(and other forms of reality testing).
 I think drugs are a way of turning up the volume but not nessessarily
the content. The "cosmic radio"is always playing.Most of our efforts are
spent deciding which channel is the "REAL" one.

                              PEACE  kungha

From Loopers-Delight-request@annihilist.com  Wed Jun  9 12:56:28 1999
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From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'Daniel Orlansky'" <orlans@earthlink.net>, Loopers-Delight@annihilist.com
Subject: RE: OPCODE & The EDP
Date: Wed, 9 Jun 1999 11:23:06 -0400 
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I spoke with Customer Service at OPCODE on Tuesday evening (Boston time).  I
was told by OPCODE Customer Service that they do not carry the EDP.  

At this time, there can be many reasons why they're saying this.  We cannot
hope to guess at the internal politics.  However, one reason could very well
be because don't want to carry the EDP / will not be carrying the EDP
afterall.

I think it's time to start at the top, and talk to people at Gibson.

David Kirkdorffer


-----Original Message-----
From: Daniel Orlansky [mailto:orlans@earthlink.net]
Sent: Tuesday, June 08, 1999 10:59 PM
To: Loopers-Delight@annihilist.com
Subject: Re: OPCODE & The EDP


----------
>From: David Kirkdorffer <DKirkdorffer@exapps.com>
>To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
>Subject: OPCODE & The EDP
>Date: Mon, Jun 7, 1999, 7:50 PM
>

>My friend Daniel Orlansky tells me he received an e-mail from OPCODE saying
>they are not handling the EDP.  Interesting, no?
>
>Daniel, could you please send us a copy of the e-mail you received so we
can
>all see it?
>
>David K
>
>
>Sorry, but I deleted the e-mail David. What it said in response to my query

>about EDP
>availability, in capital letters, was "OPCODE DOES NOT CARRY THIS PRODUCT."
>
>If Opcode is supposed to handle future EDP distribution, I urge everyone to

>beseige 
>Opcode with requests for the EDP distribution, as David urged in a previous

>e-mail!!!
>
>
>Their e-mail address is: htpp://www.opcode.com/forms/feedback.html. Use 
>their form to
>send an e-mail to customer service. 
>
>I mean, let's get the message across: we want the EDP!
>
>Daniel

From Loopers-Delight-request@annihilist.com  Wed Jun  9 14:04:36 1999
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From: Mike.Biffle@wj.com (Mike Biffle)
Subject: Re[2]: OPCODE & The EDP
To: "'Daniel Orlansky'" <orlans@earthlink.net>,
        David Kirkdorffer <DKirkdorffer@exapps.com>
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     Hello all...
     
     It's my belief that ANY company isn't going to say they carry a 
     product which they haven't put into production. There's a product move 
     taking place... you're not getting any new EDP's from their production 
     source until they're finished relocating and back in production mode. 
     
     You'll either have to find one used, or on a shelf at a store 
     somewhere, cause none are shipping. Hassling Opcode customer service 
     is probably going to have a negative effect if any...
     
     Michael Ayers with Gibson customer service was the contact for my 
     recent EDP repair, and he mentioned the move to Opcode. You can reach 
     him at 1-800-444-2766, extension 382. He may be receptive to questions 
     concerning future availability of the EDP... 
     
     (Michael: Sorry about sending the swarming hordes your way, but it's 
     Gibson's own fault for not somehow communicating with their KNOWN 
     customer network... Loopers Delight included... you guys should keep 
     in touch here!)
     
     -m


______________________________ Reply Separator _________________________________
Subject: RE: OPCODE & The EDP
Author:  David Kirkdorffer <DKirkdorffer@exapps.com> at INTERNET
Date:    6/9/99 12:55 PM


I spoke with Customer Service at OPCODE on Tuesday evening (Boston time).  I
was told by OPCODE Customer Service that they do not carry the EDP.  

At this time, there can be many reasons why they're saying this.  We cannot
hope to guess at the internal politics.  However, one reason could very well
be because don't want to carry the EDP / will not be carrying the EDP
afterall.

I think it's time to start at the top, and talk to people at Gibson.

David Kirkdorffer


-----Original Message-----
From: Daniel Orlansky [mailto:orlans@earthlink.net]
Sent: Tuesday, June 08, 1999 10:59 PM
To: Loopers-Delight@annihilist.com
Subject: Re: OPCODE & The EDP


From Loopers-Delight-request@annihilist.com  Wed Jun  9 14:04:39 1999
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Date: Wed, 09 Jun 1999 10:52:40 -0600
From: "James Lanpheer" <jlanphe@uswest.com>
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WHO CARES how stores classify music?  Browsing for CD's is (for me) one of life's
simple pleasures.  I don't mind stores classifying their CD's.  It keeps me from
actually having to accidently browse thru any "new country" cds!  lol.  Same
thing with toodling around a bookstore.  I could (and often do) spend hours at a
time in either place...

JMHO,
Jim.



Phaedebk@aol.com wrote:

> Dear all,
>
>         Pretty much I keep my discs in alphabetical order by the Artist,
> rather than try to sub-catagorize what's going on within the small
> collection, ... hey, I'm just down to 1500 discs now!  Movie music and
> tributes are the only ones that I tend to move around a little bit, mostly it
> matters for me if I have more of that artist's work, if it was various
> people, or an anime series, which tends to have LOTS of disks to it, check
> out the series "Tenchi Muyo," to see what I mean on that one.
>
>         Have to say that with places like Tower Records out there it does
> make things a bit on the interesting side to try and suss out if they are out
> of a disc or if I am simply looking in the wrong area...  "Tangerine Dream"
> was a great example, as I seriously doubt that anyone would classify their
> earlier albums as "New Age."  Then we can start talking about groups who go
> to other countries to press their discs, because of a lack-o interest here in
> the 'States.
>
>         All in all, it is a matter of sussing out what works best for you at
> home and then trying to apply that knowledge with the retail folks, eh?
>
>         Back to yutzing around with the 2100...
>         Tchau,
>
>                 Lee-ohki.



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From: "K. Douglas Baldwin" <dbaldwin@suffolk.lib.ny.us>
To: "Mark Sottilaro" <msottila@mailbox.syr.edu>,
        <Loopers-Delight@annihilist.com>
Subject: Re: I am loopy
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-----Original Message-----
From: Mark Sottilaro <msottila@mailbox.syr.edu>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Wednesday, June 09, 1999 2:07 AM
Subject: I am loopy


>What ever happened to good o'l psychedelic drug usage?
>
This is an oxymoron in our culture. Anyone who has experienced psychedelic
drug usage (and I would refer to the strong, clean hallucinogens like LSD or
organics like peyote or mescaline, not PCP or "Angel Dust" which are far
worse) would either realize that such states are incompatible with creative
functioning, or moved on to other substances, probably for their abusive
qualities (and therefore either be dead and incapable of referring to
anything as "old" or be so useless as to be far away from this discussion)
or not realized the extent of their own mental dullness and consequently
miss the misplacement of the apostrophe in "ol'" (not o'l) or spend
inordinate amounts of time writing run-on sentences to loop-based
newsgroups.

From Loopers-Delight-request@annihilist.com  Wed Jun  9 16:31:03 1999
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From: ld thomson <heatshrink@hotmail.com>
To: Loopers-Delight@annihilist.com
Subject: RE: The Effects Of Looping...Mr Crushers' time warp effects unit
Date: Wed, 09 Jun 1999 12:15:03 PDT
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Hmmmm.
I'm not sure what to say.  I like the idea - love the idea - that by 
creating loops I can somehow alter time...but..I have no actual physical 
evidence of this. I know about "missing time" because I have had many 
experiences with it, but how can I measure the effect of soundscaping on 
time?  And does this only effect time with in ear shot of the loop?  Or 
what.
I'm not convinced.  BUT...I am open to the idea.  MORE DATA NEEDED!!
I tend to think that our "western" idea of time is just some man made thing 
that really has little more purpose than to coordinate "where" we are in the 
sea of eternity. Its a perception like lines on a map.
I cross a certain point and I'm in the USA, my health care doesn't work and 
I can buy a handgun.  Nothing physically has changed its just that I'd no 
longer be in Canada.  I think our idea of time is similar.  For most its 
just a way of knowing when to be at work, and how long to be there for.
Are there any aboriginals Looping?  What would that take on this topic be??
As for not always being here...my day-job boss complains about that aspect 
of me continuously...

Lorne Thomson
Toronto, Canada


>From: "Javier Miranda V." <gnominus@earthling.net>
>Reply-To: Loopers-Delight@annihilist.com
>To: <Loopers-Delight@annihilist.com>
>Subject: RE: The Effects Of Looping...Or am I loopy?
>Date: Wed, 9 Jun 1999 00:41:06 -0700
>
>	I'm saying it is "indeed a physical phenomena."  What is time?  What is
>reality?  We know from A. Einstein, may he rest in peace, even if we don't
>fully understand, that time is different whether you're standing still or
>moving at very fast speeds.  Just what does it mean to move "close to the
>speed of light"?  Can't our spirits fly out at the speed of light and come
>back?  I've heard too many stories about people who die and float away from
>their bodies, listen to conversations going on in other rooms, etc., and
>come back to their bodies because it's "not their time."  I've also heard
>too many folkloric stories about holy or otherwise blessed men who "leave
>their bodies" and travel to other places, whatever.  I hold that when we
>loop and get attuned to this dimensional door, we actually enter another
>level of existence and therefore time is physically different for us during
>those periods.  You can wait as long as you want for "science" to catch up
>and offer some "real" proof for this, but my experience is good enough for
>me.  I hold that your experience ought to be good enough for you.  We at
>Loopers' Delight know what I'm talking about — the "zone," "trance,"
>"meditation," whatever you want to call it.  When we come to, we know we've
>been gone and have just come back.  I've known for a long time that looping
>is more than just trying to exploit the most I can from my cheap and
>not-so-cheap electronic equipment, that music is more than mere organized
>sounds.
>	And tea helps, especially when spiked with something.  Somebody just
>mentioned the drugs, good old drugs.  Our minds (spirits) are more than 
>mere
>brains flashing biochemical signals.  The sum of the molecules doesn't add
>up to the product.  Some of us loopers are here only part time.  OK, back 
>to
>looping.
>
>   | -----Original Message-----
>   | From: ld thomson [mailto:heatshrink@hotmail.com]
>   | Sent: Tuesday 08 June 1999 6:55 AM
>   | To: Loopers-Delight@annihilist.com
>   | Subject: RE: The Effects Of Looping...Or am I loopy?
>   |
>   |
>   | Hey, now are you saying it is a PHYSICAL effect or a preceived effect?
>   | >I am also drug-free, but can attest to time warps during
>   | soundscaping.
>   | >This
>   | >is indeed a physical phenomena, and applaud Thomson's bringing
>   | it up.  Pass
>   | >the tea, please.
>   | >
>


______________________________________________________
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From Loopers-Delight-request@annihilist.com  Wed Jun  9 16:44:59 1999
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Reply-To: "Trevor Hartsell" <pravda@introvert.org>
From: "Trevor Hartsell" <ingsoc@softhome.net>
To: <Loopers-Delight@annihilist.com>
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Date: Wed, 9 Jun 1999 13:15:02 -0700
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What is a reasonable price for the D12?  I see it at zzounds for $199
(http://www.zzounds.com/ilove.music?command=search&db=zZounds.db&eqskudata=D
ODDIM12&z=454145328818&view=Search).

And an unrelated question...
I'm just recently getting into looping and effects, and have purchased a few
effects pedals that I'm running various instruments (SH-101, a shitty bass
guitar, AM radio, microphone) through.  Right now I am short on patch
cabels, so it's basically a straightforward sequential chain of effects...
but I plan on picking up some more cabels at Radio Shack today, and was
going to do a bit of experimenting with the setup.
I have a Boss PS-2 pitch shifter/delay pedal as the last effect in the
chain.  I'm thinking of splitting the output of it so it goes not only to
the amp, but also back into itself (or the beginning of the effect chain) so
it creates an infinite loop.  When the delay is set to 2000ms, then, I
should hear a pretty loud feedback after playing a sound and waiting for a
few 2000ms increments, right?  I dunno for sure; I guess I'll just wait and
see.

Looking forward to further experimentation,
Trevor
<http://www.introvert.org/>

----- Original Message -----
From: ld thomson <heatshrink@hotmail.com>
To: <Loopers-Delight@annihilist.com>
Sent: Wednesday, June 09, 1999 12:20 PM
Subject: Re: New to the list


> Hey Canuck.
> Where abouts in Canada are you?
> As for devices...I love the DOD Dimension 12.  12 seconds of sound on
sound
> looping madness. and at Steve's music for a reasonable price.
>
> Lorne Thomson
> Toronto, Canada
>
> >From: d a v e <dpattee@magi.com>
> >Reply-To: Loopers-Delight@annihilist.com
> >To: "Loopers-Delight@annihilist.com" <Loopers-Delight@annihilist.com>
> >Subject: New to the list
> >Date: Wed, 09 Jun 1999 08:55:24 -0500
> >
> >Hi All,
> >
> >I just subbed yesterday after visiting the Looper's Delight website for
> >the first time. I had heard of it before but never actually visited.
> >
> >A little bit about myself:
> >I'm 30. male and I live in Canada. I have a dream job in a New Media
> >studio as a graphic/sound designer where I can indulge, to a large
> >extent, my whims and get paid for it. I've been creating music on the
> >side for years now which is a
> >techno/industrial/ambient/breakcore/experimental mix. I joined this list
> >because I want to introduce loops/drones into my repertoire.
> >
> >Of the tools of the trade listed on the loop site what would be the top
> >recommendation in the "bang for buck" category? I want to spend under
> >$300 for now and upgrade sometime in the next six months. I will be
> >building an analogue modular synth system over the winter and perhaps
> >this will prevent me from spending to freely so I will have some extra
> >cash to throw at a better looping tool. All I have now is a Boss SP-202.
> >
> >dave
> >
>
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
>
>


From Loopers-Delight-request@annihilist.com  Wed Jun  9 16:47:35 1999
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Hey Canuck.
Where abouts in Canada are you?
As for devices...I love the DOD Dimension 12.  12 seconds of sound on sound 
looping madness. and at Steve's music for a reasonable price.

Lorne Thomson
Toronto, Canada

>From: d a v e <dpattee@magi.com>
>Reply-To: Loopers-Delight@annihilist.com
>To: "Loopers-Delight@annihilist.com" <Loopers-Delight@annihilist.com>
>Subject: New to the list
>Date: Wed, 09 Jun 1999 08:55:24 -0500
>
>Hi All,
>
>I just subbed yesterday after visiting the Looper's Delight website for
>the first time. I had heard of it before but never actually visited.
>
>A little bit about myself:
>I'm 30. male and I live in Canada. I have a dream job in a New Media
>studio as a graphic/sound designer where I can indulge, to a large
>extent, my whims and get paid for it. I've been creating music on the
>side for years now which is a
>techno/industrial/ambient/breakcore/experimental mix. I joined this list
>because I want to introduce loops/drones into my repertoire.
>
>Of the tools of the trade listed on the loop site what would be the top
>recommendation in the "bang for buck" category? I want to spend under
>$300 for now and upgrade sometime in the next six months. I will be
>building an analogue modular synth system over the winter and perhaps
>this will prevent me from spending to freely so I will have some extra
>cash to throw at a better looping tool. All I have now is a Boss SP-202.
>
>dave
>


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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>From: "K. Douglas Baldwin" <dbaldwin@suffolk.lib.ny.us>
>Reply-To: Loopers-Delight@annihilist.com
>To: "Mark Sottilaro" <msottila@mailbox.syr.edu>,        
><Loopers-Delight@annihilist.com>
>Subject: Re: I am loopy
>Date: Wed, 9 Jun 1999 11:54:57 -0400
>
>
>-----Original Message-----
>From: Mark Sottilaro <msottila@mailbox.syr.edu>
>To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
>Date: Wednesday, June 09, 1999 2:07 AM
>Subject: I am loopy
>
>
> >What ever happened to good o'l psychedelic drug usage?
> >
>This is an oxymoron in our culture. Anyone who has experienced psychedelic
>drug usage (and I would refer to the strong, clean hallucinogens like LSD 
>or
>organics like peyote or mescaline, not PCP or "Angel Dust" which are far
>worse) would either realize that such states are incompatible with creative
>functioning, or moved on to other substances, probably for their abusive
>qualities (and therefore either be dead and incapable of referring to
>anything as "old" or be so useless as to be far away from this discussion)
>or not realized the extent of their own mental dullness and consequently
>miss the misplacement of the apostrophe in "ol'" (not o'l) or spend
>inordinate amounts of time writing run-on sentences to loop-based
>newsgroups.
>
>

wow.  Don't mess with Mark.  I have to say i agree though.  I live in a 
large city.  I can see the effects of all these "mind freeing" substances 
everytime I walk home from work.  People who could potentially be doing 
something other than laying in their own filth and trying to bum change from 
me.  People who made very poor life style choices in the 1970's. Its brutal.


______________________________________________________
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From Loopers-Delight-request@annihilist.com  Wed Jun  9 17:33:06 1999
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Date: Wed, 9 Jun 1999 13:03:12 -0700
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From: Mike.Biffle@wj.com (Mike Biffle)
Subject: Time stretching, Drugs and Mr. Baldwin..
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     Dear Mr. Baldwin,
     
     I'd prefer a one line sentence with a typo, to your self-rightous 
     rhetoric anyday...
     
     Your comment about the dullness and probable migration to more 
     "abusive" substances only point to your need to insult your intended 
     audience (I guess Mark, or anyone else referring to drugs). Your 
     inferences concerning perceived states of "dullness" or consciousness 
     are also mean spirited, self-righteous and serve no common good in 
     this newsgroup. 
     
     These drug related comments began with good humor, referencing a 
     thread concerning perceptions of time while practicing our looping 
     craft. Believe me... I guess you've pounded the last nail into that 
     particular thread for us... 
     
     -Miko Biffle

Mark Sottilaro wrote...
>>What ever happened to good o'l psychedelic drug usage?

K. Douglas Baldwin replies...
> This is an oxymoron in our culture. Anyone who has experienced psychedelic
> drug usage (and I would refer to the strong, clean hallucinogens like LSD or
> organics like peyote or mescaline, not PCP or "Angel Dust" which are far
> worse) would either realize that such states are incompatible with creative
> functioning, or moved on to other substances, probably for their abusive
> qualities (and therefore either be dead and incapable of referring to
> anything as "old" or be so useless as to be far away from this discussion)
> or not realized the extent of their own mental dullness and consequently
> miss the misplacement of the apostrophe in "ol'" (not o'l) or spend
> inordinate amounts of time writing run-on sentences to loop-based
> newsgroups.

From Loopers-Delight-request@annihilist.com  Wed Jun  9 19:21:29 1999
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Date: Wed, 09 Jun 1999 18:48:51 -0400
From: Jeff Duke <jmar@bellsouth.net>
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"K. Douglas Baldwin" wrote:

> -----Original Message-----
> From: Mark Sottilaro <msottila@mailbox.syr.edu>
> To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
> Date: Wednesday, June 09, 1999 2:07 AM
> Subject: I am loopy
>
> >What ever happened to good o'l psychedelic drug usage?
> >
>  Anyone who has experienced psychedelic
> drug usage (and I would refer to the strong, clean hallucinogens like LSD or
> organics like peyote or mescaline, not PCP or "Angel Dust" which are far
> worse) would either realize that such states are incompatible with creative
> functioning, or moved on to other substances, probably for their abusive
> qualities (and therefore either be dead and incapable of referring to
> anything as "old" or be so useless as to be far away from this discussion)
> or not realized the extent of their own mental dullness and consequently
> miss the misplacement of the apostrophe in "ol'" (not o'l) or spend
> inordinate amounts of time writing run-on sentences to loop-based
> newsgroups.

Wow, talk about a run on sentence. And by the way this is a mailing list and not
a newsgroup where people attack a simple comment like that.

sincerly,
jeff

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From: Chris Chovit <cho@newdream.net>
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>     Hello all...
>
>     It's my belief that ANY company isn't going to say they carry a
>     product which they haven't put into production.


lest we forget: VAPORWARE..........;-)

- chris


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From: Andreas Willers <AWillers@compuserve.com>
Subject: Ibanez DML-10
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-------------------- Begin Original Message --------------------

Message text written by INTERNET:Loopers-Delight@annihilist.com

" Using the modulation width control with a =

delay line allows you to create pitch cascades that sweep as designated b=
y =

the mod. rate knob.  This creates some hands free havoc, but if you start=
 =

tweaking the knobs while all this is going on it gets supernatural. The =

pitch range is great but its strength is on the low side were it gets
really =

deep and resonant (watch those speaker cones)."


-------------------- End Original Message --------------------

..sounds like the 'deep modulation' effect in the t.c.2290 I had mentione=
d
the other day

From Loopers-Delight-request@annihilist.com  Wed Jun  9 21:17:43 1999
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Message-ID: <375EB7CB.64A81268@magi.com>
Date: Wed, 09 Jun 1999 18:51:58 +0000
From: David Pattee <dpattee@magi.com>
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I'm in Ottawa. I should check out the Steve's here for a deal on the DOD. The
ZOOM seems to be reasonably priced.

dave

ld thomson wrote:
> 
> Hey Canuck.
> Where abouts in Canada are you?
> As for devices...I love the DOD Dimension 12.  12 seconds of sound on sound
> looping madness. and at Steve's music for a reasonable price.
> 
> Lorne Thomson
> Toronto, Canada
> 
> >From: d a v e <dpattee@magi.com>
> >Reply-To: Loopers-Delight@annihilist.com
> >To: "Loopers-Delight@annihilist.com" <Loopers-Delight@annihilist.com>
> >Subject: New to the list
> >Date: Wed, 09 Jun 1999 08:55:24 -0500
> >
> >Hi All,
> >
> >I just subbed yesterday after visiting the Looper's Delight website for
> >the first time. I had heard of it before but never actually visited.
> >
> >A little bit about myself:
> >I'm 30. male and I live in Canada. I have a dream job in a New Media
> >studio as a graphic/sound designer where I can indulge, to a large
> >extent, my whims and get paid for it. I've been creating music on the
> >side for years now which is a
> >techno/industrial/ambient/breakcore/experimental mix. I joined this list
> >because I want to introduce loops/drones into my repertoire.
> >
> >Of the tools of the trade listed on the loop site what would be the top
> >recommendation in the "bang for buck" category? I want to spend under
> >$300 for now and upgrade sometime in the next six months. I will be
> >building an analogue modular synth system over the winter and perhaps
> >this will prevent me from spending to freely so I will have some extra
> >cash to throw at a better looping tool. All I have now is a Boss SP-202.
> >
> >dave
> >
> 
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com

-- 
"In the end, there is no sense in faulting a poem because it fails as a sculpture."
	                                                                         
--Clement Mok--

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Date: Wed, 9 Jun 1999 16:34:21 -0700
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From: Mike.Biffle@wj.com (Mike Biffle)
Subject: Re[3]: OPCODE & The EDP
To: Loopers-Delight@annihilist.com, Chris Chovit <cho@newdream.net>
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     Umm... good point Chris. I'm not so sure Gibson's up to that big a 
     leap. That's why they have guys like Kim and Aurisis and Opcode to do 
     the hacking for them...
     
     -Miko


______________________________ Reply Separator _________________________________
Subject: Re[2]: OPCODE & The EDP
Author:  Chris Chovit <cho@newdream.net> at INTERNET
Date:    6/9/99 7:29 PM


>     Hello all...
>
>     It's my belief that ANY company isn't going to say they carry a
>     product which they haven't put into production.


lest we forget: VAPORWARE..........;-)

- chris


From Loopers-Delight-request@annihilist.com  Wed Jun  9 21:32:58 1999
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Date: Wed, 09 Jun 1999 19:38:44 -0500
Subject: Re: Time stretching, Drugs and Mr. Baldwin..
From: "Mike" <camuscar@globaldialog.com>
To: Loopers-Delight@annihilist.com
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You're absolutely right about this...it's hard to even tie yr shoes while yr
trippin' real hard....but...it's how you _reflect_ on what's happened to you
afterward that influences the creativity...

Just thought I'd add my two hits on this...even though I'd prefer three...  
;-)
----------
>From: Mike.Biffle@wj.com (Mike Biffle)
>To: "K. Douglas Baldwin" <dbaldwin@suffolk.lib.ny.us>,
loopers-delight@annihilist.com
>Subject: Time stretching, Drugs and Mr. Baldwin..
>Date: Wed, Jun 9, 1999, 3:03 PM
>

>such states are incompatible with creative
>> functioning, or moved on to other substances

From Loopers-Delight-request@annihilist.com  Wed Jun  9 22:04:03 1999
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Message-ID: <F5E9D47CE08ED21182C10000D11BB150A07581@bos-mail.exapps.com>
From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>,
        Loopers-Delight-d@annihilist.com
Subject: EDP  -- Group Buy II
Date: Wed, 9 Jun 1999 12:45:53 -0400 
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I cannot think of a better way to stimulate GIBSON into EDP production than
a long list of profitable orders waiting to be fulfilled.

With that in mind, I'm starting a list of people who really want to buy a
NEW EDP.  This list will be submitted to whoever picks up the production of
the EDP.

Clearly we can't KNOW the price of the unit at this time, so please assume
it will be in the same $650-$700 range as before.  
I will NOT be accepting any money.   I will not be a middleman.  

BUT, I WILL make sure this list is in the hands of people who can get the
EDP produced again.

I am providing two forms:  	

	A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP IF I CAN FIND ONE" ORDERS
FORM
	
	B. "ONLY 99% OR LESS COMMITED" ORDERS FORM


If you are ABSOLUTELY COMMITED and seriously want to buy an EDP, then use
FORM A.

If you're on the fence or uncommitted to paying $650-$700 for an NEW EDP,
then use FORM B.  

KIM -- would you feel it is appropriate to post this form to the LD
web-site?

David Kirkdorffer


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

FORM A
A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP IF I CAN FIND ONE" ORDERS FORM

Please provide the following details in the following format:

A. NAME:
A. MAILING ADDRESS:
A. DAY PHONE:
A. NIGHT PHONE:
A. E-MAIL:
A. NUMBER OF EDP'S YOU WANT TO ORDER:
A. DATE YOU SUBMIT YOUR REQUEST TO GROUP BUY II:

A. HOW MANY EDP'S DO YOU ALREADY OWN?

A. DO YOU ALREADY OWN ANOTHER "LOOPER"?

A. WHAT INSTRUMENT(S) DO YOU PLAY?

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


FORM B
B. "ONLY 99% OR LESS COMMITED" ORDERS FORM

Please provide the following details in the following format:

B. NAME:
B. MAILING ADDRESS:
B. DAY PHONE:
B. NIGHT PHONE:
B. E-MAIL:
B. NUMBER OF EDP'S YOU WANT TO ORDER:
B. DATE YOU SUBMIT YOUR REQUEST TO GROUP BUY II:

B. HOW MANY EDP'S DO YOU ALREADY OWN?

B. DO YOU ALREADY OWN ANOTHER "LOOPER"?

B. WHAT INSTRUMENT(S) DO YOU PLAY?

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

From Loopers-Delight-request@annihilist.com  Wed Jun  9 22:47:34 1999
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From: lance.arrendale@McKesson.com
To: "        -         (052)Loopers-Delight(a)annihilist.com" <Loopers-Delight@annihilist.com>
Subject: Fwd:Time stretching, Drugs and Mr. Baldwin..
Message-ID: <0011700006649574000002L042*@MHS>
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As long as we're still on the subject...I would like to add that many of my
"creative" counterparts all have six figure incomes.  I assure you that neither
these graduates nor I sleep in our own respective pukes.

la

____________________Forward Header_____________________
Subject:    Time stretching, Drugs and Mr. Baldwin..
Author: Mike.Biffle@wj.com (Mike Biffle)
Date:       6/9/99 8:03 PM





     Dear Mr. Baldwin,

     I'd prefer a one line sentence with a typo, to your self-rightous
     rhetoric anyday...

     Your comment about the dullness and probable migration to more
     "abusive" substances only point to your need to insult your intended
     audience (I guess Mark, or anyone else referring to drugs). Your
     inferences concerning perceived states of "dullness" or consciousness
     are also mean spirited, self-righteous and serve no common good in
     this newsgroup.

     These drug related comments began with good humor, referencing a
     thread concerning perceptions of time while practicing our looping
     craft. Believe me... I guess you've pounded the last nail into that
     particular thread for us...

     -Miko Biffle

Mark Sottilaro wrote...
>>What ever happened to good o'l psychedelic drug usage?

K. Douglas Baldwin replies...
> This is an oxymoron in our culture. Anyone who has experienced psychedelic
> drug usage (and I would refer to the strong, clean hallucinogens like LSD or
> organics like peyote or mescaline, not PCP or "Angel Dust" which are far
> worse) would either realize that such states are incompatible with creative
> functioning, or moved on to other substances, probably for their abusive
> qualities (and therefore either be dead and incapable of referring to
> anything as "old" or be so useless as to be far away from this discussion)
> or not realized the extent of their own mental dullness and consequently
> miss the misplacement of the apostrophe in "ol'" (not o'l) or spend
> inordinate amounts of time writing run-on sentences to loop-based
> newsgroups.

From Loopers-Delight-request@annihilist.com  Wed Jun  9 22:31:06 1999
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Message-ID: <19990610003702.27221.rocketmail@web105.yahoomail.com>
Date: Wed, 9 Jun 1999 17:37:02 -0700 (PDT)
From: dan sumner <permadan@yahoo.com>
Subject: Re: cd sale
To: Loopers-Delight@annihilist.com
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please send me the list.
permadan@yahoo.com
--- Hans Stoeve <nadabrahma@mail.bigpond.com> wrote:
> I have a couple of hundred cd's I'm selling. Lots of
> ECM, ambient and
> experimental. Prices range from Australian 13
> onwards not including
> postage. If you buy four or more I'll pay for the
> postage. If interested e
> mail me and I'll send you the list. Sorry about any
> cross postings.
> 
> Best wishes
> 
> Hans Stoeve
> c/o Power Spot 89.7FM
> Sydney, Australia
> 
> http://www.users.bigpond.com/nadabrahma
> reviews / interviews / cd's for sale / the ultimate
> Jon Hassell webpage
> 
> subscribe to the Jon Hassell discussion group
> http://www.onelist.com/subscribe.cgi/powerspot
> subscribe to the Extreme discussion group
> http://www.onelist.com/subscribe.cgi/extrememusic
> 
> 
> 
> We always welcome new material for review and
> airplay. If interested
> 
> please forward on to:
> 
> 3 / 12 Murdoch St
> Cremorne NSW 2090
> 
> *** the further one goes
> the less one knows ***
> 
> 
> 
> 

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com

From Loopers-Delight-request@annihilist.com  Wed Jun  9 22:30:16 1999
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From: "James Pokorny" <j.pokorny@worldnet.att.net>
To: <Loopers-Delight@annihilist.com>,
        "K. Douglas Baldwin" <dbaldwin@suffolk.lib.ny.us>
Subject: Re: Time stretching, Drugs and Mr. Baldwin..
Date: Wed, 9 Jun 1999 20:28:20 -0400
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Whoa -- Lighten up, everybody!  Did no one else get the tongue-in-cheek,
self-effacing humor of the "inordinate amounts of time writing run-on
sentences" ?  I.e., the entire response was just that?

James
-----Original Message-----
From: Mike Biffle <Mike.Biffle@wj.com>
To: K. Douglas Baldwin <dbaldwin@suffolk.lib.ny.us>;
loopers-delight@annihilist.com <loopers-delight@annihilist.com>
Date: Wednesday, June 09, 1999 6:18 PM
Subject: Time stretching, Drugs and Mr. Baldwin..


>     Dear Mr. Baldwin,
>
>     I'd prefer a one line sentence with a typo, to your self-rightous
>     rhetoric anyday...
>
>     Your comment about the dullness and probable migration to more
>     "abusive" substances only point to your need to insult your intended
>     audience (I guess Mark, or anyone else referring to drugs). Your
>     inferences concerning perceived states of "dullness" or consciousness
>     are also mean spirited, self-righteous and serve no common good in
>     this newsgroup.
>
>     These drug related comments began with good humor, referencing a
>     thread concerning perceptions of time while practicing our looping
>     craft. Believe me... I guess you've pounded the last nail into that
>     particular thread for us...
>
>     -Miko Biffle
>
>Mark Sottilaro wrote...
>>>What ever happened to good o'l psychedelic drug usage?
>
>K. Douglas Baldwin replies...
>> This is an oxymoron in our culture. Anyone who has experienced
psychedelic
>> drug usage (and I would refer to the strong, clean hallucinogens like LSD
or
>> organics like peyote or mescaline, not PCP or "Angel Dust" which are far
>> worse) would either realize that such states are incompatible with
creative
>> functioning, or moved on to other substances, probably for their abusive
>> qualities (and therefore either be dead and incapable of referring to
>> anything as "old" or be so useless as to be far away from this
discussion)
>> or not realized the extent of their own mental dullness and consequently
>> miss the misplacement of the apostrophe in "ol'" (not o'l) or spend
>> inordinate amounts of time writing run-on sentences to loop-based
>> newsgroups.
>
>

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From: "Jenni Leeds" <jennil@bellsouth.net>
To: "scott kungha drengsen" <kungha@earthlink.net>,
        <Loopers-Delight@annihilist.com>
Subject: Re: The Effects Of Looping...Or am I loopy?
Date: Wed, 9 Jun 1999 20:32:51 -0500
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    There is a good book entitled The Mysticism of Sound and Music by
the sufi teacher/musician Hazrat Inayat Khan. I suggest it to those who
are into deeper levels of awareness, creations, vibrations, and
spirituality. Some of the chapter titiles:
Esoteric Music
The Music of the Spheres
The Mystery of color and sound
The Divinity of Indian Music
The manifestation of Sound on the Physical sphere
The effect of sound on the physical body
The influence of music on the character of man
Healing Power/Spiritual attainment by music
The Magnetism of Beings and Objects
The value of repetition and Reflection
and much much more......
Aphorisms, prayers and chants, sounds, poetry, and lectures w/ phrases to be
repeated......
    It's put out by Shambhala Dragon Editions.....

Other cool books I've read lately on music are: The nature of Improvisation
by Derek Bailey, and Theatre of Mixed Means by Richard Kostelanetz (an old
1968 1st print from my school [MTSU} library) which has insightful
interviews with LaMonte Young and John Cage as well as others involved with
visual and music mixed media arts.
I've heard of a book by AMM's E. Prevost called No Sound Is Innocent which
is evidently a vital read on field recording and manipulating found sound.
By the way, if you don't know already, the newest Wire mag has a "fun"
interview with K. Stockhausen.  Knowledge is Power.
Oh yeah....I'm patiently waiting to pay off the EDP I have on lay away and
then I can get started looping!!! Peace Out.   -from Jamie Mash

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From: "Alan Imberg" <alan_i@sprynet.com>
To: <Loopers-Delight@annihilist.com>
References: <199906091343.JAA29630@shell.monmouth.com>
Subject: Re: John Cage recordings and what's in a name...
Date: Wed, 9 Jun 1999 19:27:03 -0700
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My kids were just playing a video game they borrowed from their friend. Its
that Mortal Combat. As I'm reading these e-mails about John Cage, I hear the
video game say "Johnny Cage". It turns out that one of the characters is
named Johnny Cage. Too weird. By the way, I'm not sure if I approve of this
video game. Lots of violence. Anyhow....


> does anyone here know there's a character on 'ally mcbeal' TV show named
> John Cage???
>
>
> really weird, funny guy, who's kinda loopy, actually
>
> such a unique name - i wonder if the writers are hip to the other one???
>
>
> andre'
>


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From: "Alan Imberg" <alan_i@sprynet.com>
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References: <19990608135453.42421.qmail@hotmail.com> <375DC77B.B0CD5F99@latrobe.edu.au> <375E04BD.48073C39@mailbox.syr.edu>
Subject: Re: I am loopy
Date: Wed, 9 Jun 1999 19:04:51 -0700
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I've spent the better part of this decade detoxing from the last. "Good o'l
psychedelic drug usage" is quite to contradictory phrase.



> What ever happened to good o'l psychedelic drug usage?
>


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From: "Alan Imberg" <alan_i@sprynet.com>
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Subject: Re: Looping genres
Date: Wed, 9 Jun 1999 18:50:23 -0700
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Actually, my forays into looping have raised my opinion of Hip-Hop. I used
to be very snobish towards Rap/Hip Hop but I've come to see common ground
between my own musical interests and Hip-Hop artists. I think some of the
more innovative production values in the 90's have come from Hip-Hop artist.
Dr. Dre has certainly left a distinct sonic mark on current music. I love
"Ill Comunication" from Beastie Boys. I have been paying close attention to
the local (Bay Area) Hip-Hop scene and have been fascinated by the growing
DJ/Turn-Tablist scene. Lots of looping there. From a business point of view,
I've been paying close attention to how local Hip-Hop artist release their
independent CD's and vinyl. I'm taking notes as I prepare to put together a
CD and distribute copies for sale.


----- Original Message -----
From: <Greyseason@aol.com>
To: <Loopers-Delight@annihilist.com>
Sent: Tuesday, June 08, 1999 3:30 PM
Subject: Looping genres


> Recently, there has been much talk on the list about classifying loop
music,
> John Cage, etc.  I started to think about a genre of music where looping
is a
> common practice: Hip-Hop.  I have not seen rap music discussed on the list
> and I was wondering what everyone thought.  I think it is pretty safe to
say
> that everybody on this list is into looping.  What does everyone think of
> hip-hop?  I started to think about it this morning while listening to "It
Was
> A Good Day" by Ice Cube.  I thought to myself: "That is a great little
guitar
> loop."  I quickly realized why I like rap so much (other than for those
fun
> rhymes and phat beats).  I'm just curious.
>
> Sam Paterson
>


From Loopers-Delight-request@annihilist.com  Wed Jun  9 23:52:16 1999
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From: Greg Meredith <gregmer@microsoft.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: RE: Looping genres
Date: Wed, 9 Jun 1999 19:00:59 -0700 
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All,

i have often thought that music might best be classified in terms of
recognizable compositional elements, instead of genres that seem arbitrary.
For example, music might be classified in terms of 

*	Rhythmic characteristics (e.g., number of beats per cycle,
relationship of beat to pulse)
*	Tonal characteristics (e.g., number of identifiable intervals
between octaves)
*	Harmonic characteristics (e.g., voices stay centered around a key or
mode; number of distinct voices)
*	Instrumentation
*	Timbral characteristics
*	Etc., etc.

This kind of classification system would be unambiguous. It is hard to argue
whether Brubeck's recording of Take 5 has piano in it or has a dominant
motif that has 5 beats per cycle. This is to be contrasted with endless
arguments of the form-"no, it's rock! no, it's jazz!"

It would provide utilitarian queries which might lead to interesting
surprises for people navigating databases of musical offerings. Imagine
walking up to a Tower Record service person and saying: "i'm throwing a
party. i need some music that's got about 200 bpm with 4 beats per cycle. i
want some electric bass and trap set in the instrumentation. i want the
music to evolve around a single tonal center." She might point you to a lot
more music than the latest techno or jungle releases.

--greg

	-----Original Message-----
	From:	Greyseason@aol.com [SMTP:Greyseason@aol.com]
	Sent:	Tuesday, June 08, 1999 3:31 PM
	To:	Loopers-Delight@annihilist.com
	Subject:	Looping genres

	Recently, there has been much talk on the list about classifying
loop music, 
	John Cage, etc.  I started to think about a genre of music where
looping is a 
	common practice: Hip-Hop.  I have not seen rap music discussed on
the list 
	and I was wondering what everyone thought.  I think it is pretty
safe to say 
	that everybody on this list is into looping.  What does everyone
think of 
	hip-hop?  I started to think about it this morning while listening
to "It Was 
	A Good Day" by Ice Cube.  I thought to myself: "That is a great
little guitar 
	loop."  I quickly realized why I like rap so much (other than for
those fun 
	rhymes and phat beats).  I'm just curious.

	Sam Paterson

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From: Hawkeye255@aol.com
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Date: Wed, 9 Jun 1999 23:45:04 EDT
Subject: Re: Time stretching, Drugs and Mr. Baldwin..
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<< Whoa -- Lighten up, everybody!  Did no one else get the tongue-in-cheek,
 self-effacing humor of the "inordinate amounts of time writing run-on
 sentences" ?  I.e., the entire response was just that? >>

Many of my acquaintances who've continued to smoke dope the last few decades 
don't seem to have much of a sense of humor either anymore.  Of course they 
don't know that.

Bill

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Date: Wed, 9 Jun 1999 23:30:37 EDT
Subject: Re: The Effects Of Looping...Or am I loopy?
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I agree with kungha and javier; the state of openness being discussed, is 
more our natural state than the Aristotelian never-ending classifier, 
cellphone weilding, steering wheel gripping, gas pedal pushing, horn honking, 
bill paying sob who has to earn a living and 'don't forget the milk and bread 
on the way home'...   The connection for me in looping music and sounds, is a 
a desire to return to my natural self (an insignificant speck of harmonically 
resonant stardust)...and perhaps take a few listeners with me.

Bill    

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Dave,

	I would easily recommend the Akai Headrush just out.  $200 U.S. or a 
little less.  And a decent looping tool.  Along with a sampler (which you 
already have), you'd be in business.   

Bill   

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Date: Wed, 09 Jun 1999 20:29:32 -0700
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ld thomson wrote:

> I can see the effects of all these "mind freeing" substances
> everytime I walk home from work.  People who could potentially be doing
> something other than laying in their own filth and trying to bum change from
> me.  People who made very poor life style choices in the 1970's.

there's a tendency to throw out the baby with the bathwater when it comes to
these kind of discussions. psychedelics aren't "bad" because a lot of people
abused (or misused) them.

if you look at the patterns of psychedelic drug usage in indigenous cultures
throughout the world (and many of these traditions certainly predate what we
think of as civilized society (now maybe that can be considered an oxymoron!)),
you will find that such drug use has played an extremely vital role in the
rituals that connect humans to the web of life in the environment around them.

because we have lost the resiliency of a holistic culture that humans have
enjoyed over the millenia, finding a place for these "psychic helpers" can be a
harrowing experience, leaving many casualties. but a world without
psychedelics? horrors!


lance g.

From Loopers-Delight-request@annihilist.com  Thu Jun 10 01:45:23 1999
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Message-ID: <014201beb2f9$b34b2600$7d5bdfc8@doutor>
From: "Julio Moreno" <juliomoreno@bahianet.com.br>
To: <Loopers-Delight@annihilist.com>
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Subject: what's life style?
Date: Thu, 10 Jun 1999 01:15:35 -0300
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Wich is the rich or correct life style this social enviroment offers? Work
everyday to sponsor a bunch of politics and militars and all this?...I don't
want to hurt anybody, just say that we must be carefull on these kind of
coments on drugs and life style. We know  we are not doing the same bad
choices now? We can't look other's bad trip life like an error...this people
want to be happy too and we are not such a good example of happy life style.
Sorry, i smoke a joint with my friends an hour ago and i feeling very
sensible now : ) drinking mate ( guarani indian's beberage with healthy
substitute of cafeine named mateine) very used in my country.Loopers-Delight
it's still the best in my mail box...thanks everybody for this daily time of
humour and good sense.
Julio



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Date: Thu, 10 Jun 1999 00:20:59 -0500
From: Mark Sottilaro <msottila@mailbox.syr.edu>
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--------------53E98549AD26A85844862B2E
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> > >What ever happened to good o'l psychedelic drug usage?
> > >
> >This is an oxymoron in our culture. Anyone who has experienced psychedelic
> >drug usage (and I would refer to the strong, clean hallucinogens like LSD
> >or
> >organics like peyote or mescaline, not PCP or "Angel Dust" which are far
> >worse) would either realize that such states are incompatible with creative
> >functioning, or moved on to other substances, probably for their abusive
> >qualities (and therefore either be dead and incapable of referring to
> >anything as "old" or be so useless as to be far away from this discussion)
> >or not realized the extent of their own mental dullness and consequently
> >miss the misplacement of the apostrophe in "ol'" (not o'l) or spend
> >inordinate amounts of time writing run-on sentences to loop-based
> >newsgroups.
> >
> >
>
> wow.  Don't mess with Mark.  I have to say i agree though.  I live in a
> large city.  I can see the effects of all these "mind freeing" substances
> everytime I walk home from work.  People who could potentially be doing
> something other than laying in their own filth and trying to bum change from
> me.  People who made very poor life style choices in the 1970's. Its brutal.
>
>
OH MY GOD.  Does anyone remember laughter?

No need to defend me, kids.  I can stand on my own, quite nicely.  I
just wasn't aware that my grandmother was on the list.

First, I'd like to apologize for my misplaced use of the apostrophe in
"o'l"  You see, ever since that one time... when my brother and I were
under the influence of mescaline, listening to the Bulgarian Woman's
Choir, and you see we all clearly saw that Nikki's pants had this
incredible celtic knot pattern on them, and of course we all came to
this conclusion independently (of course) and then we couldn't find the
refrigerator... no wait, we couldn't find the refrigerator AND THEN we
saw the celtic knot, only I also....

And ever since, I've never been quite able to put the apostrophe in the
right place when abbreviating "old."  Good thing I'm still able to write
concise sentences.

Second, the posting was meant to be humorous.  It did (as does a lot of
humor) have an element of truth, though.  I'd be lying if I said that I
didn't "partake" in psychedelics during one point of my life.  While
being past that now, I've never had a regret about anything I've done.
Small doses and safe environments have kept me safe.  Sure, they'll
always be the Jimi Hendrix's, but those people are obviously looking for
an exit.  There are always exits.  This may sound kooky, but I almost
never drink alcohol.  I believe that alcohol and pot are far, far more
evil than mescaline, peyote or good o'l (there is goes again) LSD.

So what do you think about shamanic cultures that use psychedelics, or
Sgt. Pepper's Lonely Heart's Club Band, for that matter?  Should we
ignore that part of our culture?

So, just lay off, OK?  Take a chill pill
duuuuuuuuuuuuuooooooooooooooode! ;-P

Sgt. Mark

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<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
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<blockquote TYPE=CITE>
<pre>> >What ever happened to good o'l psychedelic drug usage?
> >
>This is an oxymoron in our culture. Anyone who has experienced psychedelic
>drug usage (and I would refer to the strong, clean hallucinogens like LSD&nbsp;
>or
>organics like peyote or mescaline, not PCP or "Angel Dust" which are far
>worse) would either realize that such states are incompatible with creative
>functioning, or moved on to other substances, probably for their abusive
>qualities (and therefore either be dead and incapable of referring to
>anything as "old" or be so useless as to be far away from this discussion)
>or not realized the extent of their own mental dullness and consequently
>miss the misplacement of the apostrophe in "ol'" (not o'l) or spend
>inordinate amounts of time writing run-on sentences to loop-based
>newsgroups.
>
>

wow.&nbsp; Don't mess with Mark.&nbsp; I have to say i agree though.&nbsp; I live in a&nbsp;
large city.&nbsp; I can see the effects of all these "mind freeing" substances&nbsp;
everytime I walk home from work.&nbsp; People who could potentially be doing&nbsp;
something other than laying in their own filth and trying to bum change from&nbsp;
me.&nbsp; People who made very poor life style choices in the 1970's. Its brutal.

</pre>
</blockquote>
OH MY GOD.&nbsp; Does anyone remember laughter?
<p>No need to defend me, kids.&nbsp; I can stand on my own, quite nicely.&nbsp;
I just wasn't aware that my grandmother was on the list.
<p>First, I'd like to apologize for my misplaced use of the apostrophe
in "o'l"&nbsp; You see, ever since that one time... when my brother and
I were under the influence of mescaline, listening to the Bulgarian Woman's
Choir, and you see we all clearly saw that Nikki's pants had this incredible
celtic knot pattern on them, and of course we all came to this conclusion
independently (of course) and then we couldn't find the refrigerator...
no wait, we couldn't find the refrigerator AND THEN we saw the celtic knot,
only I also....
<p>And ever since, I've never been quite able to put the apostrophe in
the right place when abbreviating "old."&nbsp; Good thing I'm still able
to write concise sentences.
<p>Second, the posting was meant to be humorous.&nbsp; It did (as does
a lot of humor) have an element of truth, though.&nbsp; I'd be lying if
I said that I didn't "partake" in psychedelics during one point of my life.&nbsp;
While being past that now, I've never had a regret about anything I've
done.&nbsp; Small doses and safe environments have kept me safe.&nbsp;
Sure, they'll always be the Jimi Hendrix's, but those people are obviously
looking for an exit.&nbsp; There are always exits.&nbsp; This may sound
kooky, but I almost never drink alcohol.&nbsp; I believe that alcohol and
pot are far, far more evil than mescaline, peyote or good o'l (there is
goes again) LSD.
<p>So what do you think about shamanic cultures that use psychedelics,
or Sgt. Pepper's Lonely Heart's Club Band, for that matter?&nbsp; Should
we ignore that part of our culture?
<p>So, just lay off, OK?&nbsp; Take a chill pill duuuuuuuuuuuuuooooooooooooooode!
;-P
<p>Sgt. Mark</html>

--------------53E98549AD26A85844862B2E--

From Loopers-Delight-request@annihilist.com  Thu Jun 10 02:44:07 1999
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Reply-To: "Stephen P. Goodman" <sgoodman@earthlight.net>
From: "Stephen P. Goodman" <sgoodman@earthlight.net>
To: <Loopers-Delight@annihilist.com>
References: <947dc2cb.249086f5@aol.com>
Subject: 7.6 Time Machines...?
Date: Wed, 9 Jun 1999 23:09:02 -0700
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Over the recent past there've been several folks on this list who were
offering up some of these babies - one I recall using the phrase "still in
box".  As I'm about to actually take a vacation (!) for the next two weeks,
it's obviously a goner in the near future - but are any of these still out
there?

Stephen Goodman * It's the Loop of the Week!
EarthLight Productions * http://www.earthlight.net

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To: <Loopers-Delight@annihilist.com>
References: <19990609193022.56318.qmail@hotmail.com>
Subject: Re: OUCH!
Date: Wed, 9 Jun 1999 22:40:16 -0700
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If this list is going to become clogged with D.A.R.E. recruits (who continue
to get tax dollars for far-reaching, forward-thinking acts like persuading
Ralph's Supermarkets not to carry INCENSE when D.A.R.E. does a promotion,
and telling your children in school how many beers their parents shouldn't
be drinking), count me out.

If we can return to a discussion about something musical without retracting
into THIS area of severe disinformation, I'll stay.  Whatever anyone has to
say about drugs' good or bad influences, such will always be a
singular-perspective issue, in which only the individual has his or her
personal experience to go by.  This can never have more than fleeting
relevance to the same on the part of others, and it is one of the least
understood reasons why one can't use generalizations on the subject, or its
users.

In short, I pay greater attention to the lumber in my own eye, before
pointing out the splinters in everyone elses'.

Stephen Goodman * It's the Loop of the Week!
EarthLight Productions * http://www.earthlight.net


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From: Michael Peters <mpeters@csi.com>
To: "'Loopers Delight'" <Loopers-Delight@annihilist.com>
Subject: offtopic drug discussion
Date: Thu, 10 Jun 1999 08:32:42 +0200
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> Anyone who has experienced psychedelic drug usage
> (and I would refer to the strong, clean hallucinogens
> like LSD or organics like peyote or mescaline
> would (...) realize that such states are incompatible
> with creative functioning

I did some LSD and mushrooms 15 years ago - these trips haven't done any 
damage as far as I can see, and they clearly belong to the most valuable 
experiences in my life in terms of creativity and insight. I wouldn't want 
to miss them.

For some people, psychedelic drugs were good, for some, they were bad. 
Generally, they provide deep experiences and should be treated with 
respect.

So, let's lighten up, and better bury this subject. This is a loop 
discussion group.

*	Michael Peters:		mpeters@csi.com
*	escape veloopity:		electronic guitar loop music
*	hop - fractals in motion: 	strange attractors
*	http://ourworld.compuserve.com/homepages/Mpeters




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I guess that John Cage is a common name in the media. It's been coming up in all
sorts of places.

Did you guys know that there's even a composer named John Cage?

:)

sorry, I just couldn't resist.

Alan Imberg wrote:

> My kids were just playing a video game they borrowed from their friend. Its
> that Mortal Combat. As I'm reading these e-mails about John Cage, I hear the
> video game say "Johnny Cage". It turns out that one of the characters is
> named Johnny Cage. Too weird. By the way, I'm not sure if I approve of this
> video game. Lots of violence. Anyhow....
>
> > does anyone here know there's a character on 'ally mcbeal' TV show named
> > John Cage???
> >
> >
> > really weird, funny guy, who's kinda loopy, actually
> >
> > such a unique name - i wonder if the writers are hip to the other one???
> >
> >
> > andre'
> >

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From: Todd Madson <crash@waste.org>
To: Loopers-Delight@annihilist.com
Subject: Of DRUGULA and other chemicals
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My two cents on the drug talk:

It was never for me - I was weird enough all by myself...and I was
always upset that music I'd hear never quite went far enough in the
direction I wanted it to.

For instance, when I was 7 or 8:

Me:  Can you show me where I can find the weird music?
Librarian:  Huh?
Me:  Nevermind, I'll find it myself.

So consequently I was listening to stuff like Mahavishnu at very
early age.  It got way worse after that.  Drugs would have made me
more normal.  Ick.

I participate in a mountain biking discussion group and there were many
varying opinions.  Some felt that a true athlete should never do this, and
still others felt that they should do it, but keep flammables off the 
trail for fear of setting the brush on fire, and still others were a bit
more open minded.  I don't know.  It's probably not good to be drooling 
on oneself when mountain biking lest you go head on into a tree or another
rider.  At least in music the collisions could produce pretty patterns on
tape and not cause injuries.

Like the other poster, I've seen friends whose heavy involvement in this
resulted in a lot of wasted potential.  Others may be able to exercise 
in moderation.  I wouldn't know.

Frankly, I'd rather spend my time creating dense, swirling soundscapes.

Todd Madson
Musician, Mountain Biker, Stunt Kite Flyer, BeOS/MacOS/Linux/WinNt user.
http://www.waste.org/~crash/index.html

From Loopers-Delight-request@annihilist.com  Thu Jun 10 10:21:32 1999
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From: "Dennis W. Leas" <dennis@mdbs.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: The Effects Of Looping...Or am I loopy?
Date: Thu, 10 Jun 1999 08:50:45 -0500
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Thanks, Jamie,  for the reading suggestions!  I just got the Bailey book on
improvisation but haven't read it yet.

The loop is:  ... --> open eyes --> open ears --> open mind --> open
eyes --> ... (etc)
Enter loop at any point.

Dennis Leas
-----------------------------
dennis@mdbs.com


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From: "Dennis W. Leas" <dennis@mdbs.com>
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Subject: Re: The Effects Of Looping...Or am I loopy?
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Hey, Bill, that phrase pretty much sums it up!  You should put it to song.
Something called, perhaps

"I Got Dem Aristotelian never-ending classifier, cellphone weilding,
steering wheel gripping, gas pedal pushing, horn honking, bill paying sob
who has to earn a living and 'don't forget the milk and bread on the way
home' Blues Agin, Baby"

Just a thought... :)

Dennis Leas
-----------------------------
dennis@mdbs.com


From Loopers-Delight-request@annihilist.com  Thu Jun 10 10:41:57 1999
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From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'Daniel Orlansky'" <orlans@earthlink.net>, Loopers-Delight@annihilist.com
Subject: RE: OPCODE & The EDP
Date: Thu, 10 Jun 1999 10:17:58 -0400
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I have spoken with a person, in a position to know, at Gibson about the
future of the EDP.  

The short answer is -- don't panic, there is every reason to believe the
Echoplex Digital Pro will be produced again this year.

I can say no more -- I'm sworn to secrecy.

Without revealing details that need to be kept under wraps, and without
promising anything to anyone, I can say there are all sorts of issues at
play -- BUT THE GOOD NEWS IS THE EDP IS N-O-T DEAD, JUST RESTING...

We'll all just have to wait.

In the meantime, if you are interested in buying an EDP use the form





-----Original Message-----
From: David Kirkdorffer 
Sent: Wednesday, June 09, 1999 11:23 AM
To: 'Daniel Orlansky'; Loopers-Delight@annihilist.com
Subject: RE: OPCODE & The EDP


I spoke with Customer Service at OPCODE on Tuesday evening (Boston time).  I
was told by OPCODE Customer Service that they do not carry the EDP.  

At this time, there can be many reasons why they're saying this.  We cannot
hope to guess at the internal politics.  However, one reason could very well
be because don't want to carry the EDP / will not be carrying the EDP
afterall.

I think it's time to start at the top, and talk to people at Gibson.

David Kirkdorffer


-----Original Message-----
From: Daniel Orlansky [mailto:orlans@earthlink.net]
Sent: Tuesday, June 08, 1999 10:59 PM
To: Loopers-Delight@annihilist.com
Subject: Re: OPCODE & The EDP


----------
>From: David Kirkdorffer <DKirkdorffer@exapps.com>
>To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
>Subject: OPCODE & The EDP
>Date: Mon, Jun 7, 1999, 7:50 PM
>

>My friend Daniel Orlansky tells me he received an e-mail from OPCODE saying
>they are not handling the EDP.  Interesting, no?
>
>Daniel, could you please send us a copy of the e-mail you received so we
can
>all see it?
>
>David K
>
>
>Sorry, but I deleted the e-mail David. What it said in response to my query

>about EDP
>availability, in capital letters, was "OPCODE DOES NOT CARRY THIS PRODUCT."
>
>If Opcode is supposed to handle future EDP distribution, I urge everyone to

>beseige 
>Opcode with requests for the EDP distribution, as David urged in a previous

>e-mail!!!
>
>
>Their e-mail address is: htpp://www.opcode.com/forms/feedback.html. Use 
>their form to
>send an e-mail to customer service. 
>
>I mean, let's get the message across: we want the EDP!
>
>Daniel

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From: ld thomson <heatshrink@hotmail.com>
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Subject: Re: drug time flame
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If I had know my question about time/soundscaping would have resulted in a 
flame war about drugs...I wouldn't have ever posted the question.


>From: Jeff Duke <jmar@bellsouth.net>
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: I am loopy
>Date: Wed, 09 Jun 1999 18:48:51 -0400
>
>
>
>"K. Douglas Baldwin" wrote:
>
> > -----Original Message-----
> > From: Mark Sottilaro <msottila@mailbox.syr.edu>
> > To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
> > Date: Wednesday, June 09, 1999 2:07 AM
> > Subject: I am loopy
> >
> > >What ever happened to good o'l psychedelic drug usage?
> > >
> >  Anyone who has experienced psychedelic
> > drug usage (and I would refer to the strong, clean hallucinogens like 
>LSD or
> > organics like peyote or mescaline, not PCP or "Angel Dust" which are far
> > worse) would either realize that such states are incompatible with 
>creative
> > functioning, or moved on to other substances, probably for their abusive
> > qualities (and therefore either be dead and incapable of referring to
> > anything as "old" or be so useless as to be far away from this 
>discussion)
> > or not realized the extent of their own mental dullness and consequently
> > miss the misplacement of the apostrophe in "ol'" (not o'l) or spend
> > inordinate amounts of time writing run-on sentences to loop-based
> > newsgroups.
>
>Wow, talk about a run on sentence. And by the way this is a mailing list 
>and not
>a newsgroup where people attack a simple comment like that.
>
>sincerly,
>jeff
>


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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For all recorded history there are tales of artists and drugs.  It seems
to be an indelible part of art "lore."  Should the list avoid the
topic?  Some feel uncomfortable with the topic, due to either bad
personal experience or bad press, but how can we avoid this topic.  The
stereotype of the drug addled musician didn't come from nowhere.

Back to the Bulgarians... I was actually tripping the first time I heard
the Bulgarian Woman's Choir.  It made me cry with joy.  If I had not
been tripping, my emotional response would probably not have been that
acute.  Why?  Internal social "noise" imprinted in most male humans
stifles such behavior.  What the LSD did was put my "filter" off-line
for a while and let it all stream out (in?) with out that little mental
traffic cop, I call Mr. Conscious, pointing the way.

Now, should I have been able to "go there" without LSD?  Of course.  But
how can one go to a place that one doesn't know exists?  The reason I
don't do drugs any longer is that they've served their purpose for me.
I can get there on my own.  Bizarre social constructs block most
creative free form thinking.  Face it, true artists are few and far
between.  We should not need to use any substance to access this
integral part of ourselves, but we also should not get scolded for
"coloring outside the lines."  I'm one generation away from a time when
nuns beat my father for writing with his left hand.

So how does one leapfrog over such social hurdles?  I used
psychedelics.  Now I cry like a baby when I see the episode where Snoopy
runs away...has anyone...  Oh, sorry.  I know I could have gotten to
where I am without drugs.  That's tough for a boy raised in the land of
Malls.  But I'm not sorry for wanting to see what inspired I Am The
Walrus.  Or the Giles, Giles and Fripp album, for that matter.  If
Robert Fripp wasn't tripping in those days, I'd be amazed.  And speaking
of our heroes, has anyone listened to Adrian Belew's "1967" on Mr. Music
Head?

Let's face it: a very large proportion of the music that we listen to
was created under the influence of some drug. (I include alcohol in that
list.)  Why is this?  I'd love to hear anyone else's theories.

Mark Sottilaro

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Date: Thu, 10 Jun 1999 11:20:00 EDT
Subject: Re: The Effects Of Looping...Or am I loopy?
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Dennis,
	thought it WAS a song!!

Bill ;-)

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From: ld thomson <heatshrink@hotmail.com>
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Ottawa, our nation's historic capital.
How many seconds delay does the Zoom have?
I would imagine there could be some amazing bargins in used music 
stores/pawn shops in Ottawa.  Toronto has two many musicians and things get 
scooped up pretty fast.




>From: David Pattee <dpattee@magi.com>
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: New to the list
>Date: Wed, 09 Jun 1999 18:51:58 +0000
>
>I'm in Ottawa. I should check out the Steve's here for a deal on the DOD. 
>The
>ZOOM seems to be reasonably priced.
>
>dave
>
>ld thomson wrote:
> >
> > Hey Canuck.
> > Where abouts in Canada are you?
> > As for devices...I love the DOD Dimension 12.  12 seconds of sound on 
>sound
> > looping madness. and at Steve's music for a reasonable price.
> >
> > Lorne Thomson
> > Toronto, Canada
> >
> > >From: d a v e <dpattee@magi.com>
> > >Reply-To: Loopers-Delight@annihilist.com
> > >To: "Loopers-Delight@annihilist.com" <Loopers-Delight@annihilist.com>
> > >Subject: New to the list
> > >Date: Wed, 09 Jun 1999 08:55:24 -0500
> > >
> > >Hi All,
> > >
> > >I just subbed yesterday after visiting the Looper's Delight website for
> > >the first time. I had heard of it before but never actually visited.
> > >
> > >A little bit about myself:
> > >I'm 30. male and I live in Canada. I have a dream job in a New Media
> > >studio as a graphic/sound designer where I can indulge, to a large
> > >extent, my whims and get paid for it. I've been creating music on the
> > >side for years now which is a
> > >techno/industrial/ambient/breakcore/experimental mix. I joined this 
>list
> > >because I want to introduce loops/drones into my repertoire.
> > >
> > >Of the tools of the trade listed on the loop site what would be the top
> > >recommendation in the "bang for buck" category? I want to spend under
> > >$300 for now and upgrade sometime in the next six months. I will be
> > >building an analogue modular synth system over the winter and perhaps
> > >this will prevent me from spending to freely so I will have some extra
> > >cash to throw at a better looping tool. All I have now is a Boss 
>SP-202.
> > >
> > >dave
> > >
> >
> > ______________________________________________________
> > Get Your Private, Free Email at http://www.hotmail.com
>
>--
>"In the end, there is no sense in faulting a poem because it fails as a 
>sculpture."
>
>--Clement Mok--
>


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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From: "Jonathan El-Bizri" <jbiz@linkexchange.com>
To: "Loopers-Delight" <Loopers-Delight@annihilist.com>
Subject: RE: OPCODE & The EDP
Date: Wed, 9 Jun 1999 11:52:18 -0700
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Could it also be that customer service are clueless? It would not be a
precedent...

bIz

-----Original Message-----
From: David Kirkdorffer [mailto:DKirkdorffer@exapps.com]
Sent: Wednesday, June 09, 1999 8:23 AM
To: 'Daniel Orlansky'; Loopers-Delight@annihilist.com
Subject: RE: OPCODE & The EDP


I spoke with Customer Service at OPCODE on Tuesday evening (Boston time).  I
was told by OPCODE Customer Service that they do not carry the EDP.

At this time, there can be many reasons why they're saying this.  We cannot
hope to guess at the internal politics.  However, one reason could very well
be because don't want to carry the EDP / will not be carrying the EDP
afterall.

I think it's time to start at the top, and talk to people at Gibson.

David Kirkdorffer


-----Original Message-----
From: Daniel Orlansky [mailto:orlans@earthlink.net]
Sent: Tuesday, June 08, 1999 10:59 PM
To: Loopers-Delight@annihilist.com
Subject: Re: OPCODE & The EDP


----------
>From: David Kirkdorffer <DKirkdorffer@exapps.com>
>To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
>Subject: OPCODE & The EDP
>Date: Mon, Jun 7, 1999, 7:50 PM
>

>My friend Daniel Orlansky tells me he received an e-mail from OPCODE saying
>they are not handling the EDP.  Interesting, no?
>
>Daniel, could you please send us a copy of the e-mail you received so we
can
>all see it?
>
>David K
>
>
>Sorry, but I deleted the e-mail David. What it said in response to my query

>about EDP
>availability, in capital letters, was "OPCODE DOES NOT CARRY THIS PRODUCT."
>
>If Opcode is supposed to handle future EDP distribution, I urge everyone to

>beseige
>Opcode with requests for the EDP distribution, as David urged in a previous

>e-mail!!!
>
>
>Their e-mail address is: htpp://www.opcode.com/forms/feedback.html. Use
>their form to
>send an e-mail to customer service.
>
>I mean, let's get the message across: we want the EDP!
>
>Daniel




From Loopers-Delight-request@annihilist.com  Thu Jun 10 12:44:03 1999
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To: Loopers-Delight@annihilist.com
From: Michael Tuminello <m1cha3l@earthlink.net>
Subject: zzzounds and edp
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Last I checked, zzounds still had the edp in stock.  Are they selling an
older version, or is there something I don't know about them, since I want
to buy one, but everyone seems to always talk as if the edp is never
available, whereas it seems to have been in stock there for the last few
months. 

anyone?

MT

PS:  I'm sure as a result of my posting this, they will  now sell out
before I place my order...

From Loopers-Delight-request@annihilist.com  Thu Jun 10 13:14:47 1999
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Date: Thu, 10 Jun 1999 18:36:04 +0200
From: mark <mark.francombe@in2win.com>
Organization: in2win Interactive Learning Systems
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References: <19990609193022.56318.qmail@hotmail.com> <014201beb2f9$b34b2600$7d5bdfc8@doutor> <375FE774.F0229692@mailbox.syr.edu>
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I very much agree with Mark,
...and the fact that what binds us freaks together is the interest in
loops, in some bizarre love/interest in repetion/hypnosis, in the making
of music and/or sounds that by their very nature produce a trancelike
(or mind altered) state. Of course the aim of all music is to produce an
emotional response, and the particular response that we loopers are
looking for is some shortcut to our unconscious. That said are we not
the very same bunch of people who, while not necessarily taking drugs,
should embrace and empathise with those artists who do, for they
themselves are using drugs to reach a place where their inspiration is
pure emotion in a primal way, and therfore continue to push the
boundaries of art/music to evermore meaningfull heights.
I myself have used drugs on some occasions and have stopped now (mostly)
I care a little too much for my health/bank balance and the crappy
feeling the next day. There are risks of course, and I suspect that many
addict musicians get to that position but taking drugs as a replacement
for the adrenalin high that one experiences from playing live, and that
is a shame, but inspirational careful non abusive use, I can see many
benefits.

DOPE TALE #1
I once played a gig completely left handed after taking acid, I didnt do
it for some kind of intellectual experiment, I just forgot that I was
right handed, the result? Well... I guess you could say that an
industrial indie band became kinda... um....jazz?


MArk Francombe Red

Mark Sottilaro wrote:
> 
> For all recorded history there are tales of artists and drugs.  It seems
> to be an indelible part of art "lore."  Should the list avoid the
> topic?  Some feel uncomfortable with the topic, due to either bad
> personal experience or bad press, but how can we avoid this topic.  The
> stereotype of the drug addled musician didn't come from nowhere.
> 
> Back to the Bulgarians... I was actually tripping the first time I heard
> the Bulgarian Woman's Choir.  It made me cry with joy.  If I had not
> been tripping, my emotional response would probably not have been that
> acute.  Why?  Internal social "noise" imprinted in most male humans
> stifles such behavior.  What the LSD did was put my "filter" off-line
> for a while and let it all stream out (in?) with out that little mental
> traffic cop, I call Mr. Conscious, pointing the way.
> 
> Now, should I have been able to "go there" without LSD?  Of course.  But
> how can one go to a place that one doesn't know exists?  The reason I
> don't do drugs any longer is that they've served their purpose for me.
> I can get there on my own.  Bizarre social constructs block most
> creative free form thinking.  Face it, true artists are few and far
> between.  We should not need to use any substance to access this
> integral part of ourselves, but we also should not get scolded for
> "coloring outside the lines."  I'm one generation away from a time when
> nuns beat my father for writing with his left hand.
> 
> So how does one leapfrog over such social hurdles?  I used
> psychedelics.  Now I cry like a baby when I see the episode where Snoopy
> runs away...has anyone...  Oh, sorry.  I know I could have gotten to
> where I am without drugs.  That's tough for a boy raised in the land of
> Malls.  But I'm not sorry for wanting to see what inspired I Am The
> Walrus.  Or the Giles, Giles and Fripp album, for that matter.  If
> Robert Fripp wasn't tripping in those days, I'd be amazed.  And speaking
> of our heroes, has anyone listened to Adrian Belew's "1967" on Mr. Music
> Head?
> 
> Let's face it: a very large proportion of the music that we listen to
> was created under the influence of some drug. (I include alcohol in that
> list.)  Why is this?  I'd love to hear anyone else's theories.
> 
> Mark Sottilaro

-- 
\
-\
--\
---\
----\
-----\
------\
-------\
--------\
---------\
----------\
-----------\
------------\
mark-red-----\
--------------\
---------------\
work------------\
-----------------\
in2win------------\
-------------------\
multimedia-designer-\
ovre-slottsgate-5----\
0157-oslo-------------\
tlf.--22-40-29-94------\
fax--22-42-14-24--------\
e-mail--mark@in2win.com--\
web--http-//www.in2win.com\
---------------------------\
----------------------------\
personal---------------------\
tlf.-22-43-10-79--------------\
mob.-91-56-99-88---------------\
mark@8day.com-------------------\
christine@8day.com---------------\
----------------------------------\
-----------------------------------\
redweb------------------------------\
http-//www.8day.com/redweb-----------\
--------------------------------------\
---------------------------------------\
icq-4531031-----------------------------\
-----------------------------------------\

From Loopers-Delight-request@annihilist.com  Thu Jun 10 13:13:53 1999
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From: Mike.Biffle@wj.com (Mike Biffle)
Subject: Re: Drugs+music: Off topic?
To: Loopers-Delight@annihilist.com, Mark Sottilaro <msottila@mailbox.syr.edu>
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Author:  Mark Sottilaro <msottila@mailbox.syr.edu> at INTERNET
> For all recorded history there are tales of artists and drugs.  It seems to be
> an indelible part of art "lore."  Should the list avoid the topic?... 

I don't have a problem when the issue of drugs comes up... I just don't like 
presumptuous statements about "how people end up" after their usage.

> Let's face it: a very large proportion of the music that we listen to was 
> created under the influence of some drug. (I include alcohol in that list.)  
> Why is this?  I'd love to hear anyone else's theories.

I believe anything which relaxes the restrictive inhibitions of self criticism 
and doubt, including drugs, alcohol, meditation and other mental disciplines, 
will have a positive effect on music making. Artists have utilized this general 
principle to allow them to access sublime concepts either naturally or 
chemically, at the very least throughout this century.

In Derek Bailey's book "Improvisation", he ruminates about the influence of the 
audience and recording on the act of creating music, and, (to paraphrase), 
states that an audience and/or the act of recording interject a (mostly) 
negative influence on the creative process. 

This points to the influence these elements have on the performer as well as 
their contextual effects. Relaxation techniques and a certain disregard for both
the audience and the recording process might help one to peform with more 
in-the-moment abandon. Whether chemicals or mental discipline are the conduit 
for this, I believe this to be true.

-Miko


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Date: Thu, 10 Jun 1999 12:58:43 -0400
From: Jeff Duke <jmar@bellsouth.net>
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I have a question for some of you tech guys. I have two 7.6'rs but one
is real strong ; if I set it to 50% mix its even. It has great feedback
9-10 repeats at full and a bit more delay time than 7.6.
The other one is weak on all these points. The question; is there a way
to obtain and replace the memory and could this be the problem; weak
chip?

tanx,
jeff
http://members.xoom.com/echo17/tbl.html

From Loopers-Delight-request@annihilist.com  Thu Jun 10 13:32:57 1999
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I apologize for my contribution to this to all. I was out of line on my part and
ill- informed; I didn't catch the humor.

onward through the fog,

jeff

ld thomson wrote:

> If I had know my question about time/soundscaping would have resulted in a
> flame war about drugs...I wouldn't have ever posted the question.
>
> >From: Jeff Duke <jmar@bellsouth.net>
> >Reply-To: Loopers-Delight@annihilist.com
> >To: Loopers-Delight@annihilist.com
> >Subject: Re: I am loopy
> >Date: Wed, 09 Jun 1999 18:48:51 -0400
> >
> >
> >
> >"K. Douglas Baldwin" wrote:
> >
> > > -----Original Message-----
> > > From: Mark Sottilaro <msottila@mailbox.syr.edu>
> > > To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
> > > Date: Wednesday, June 09, 1999 2:07 AM
> > > Subject: I am loopy
> > >
> > > >What ever happened to good o'l psychedelic drug usage?
> > > >
> > >  Anyone who has experienced psychedelic
> > > drug usage (and I would refer to the strong, clean hallucinogens like
> >LSD or
> > > organics like peyote or mescaline, not PCP or "Angel Dust" which are far
> > > worse) would either realize that such states are incompatible with
> etc.
> >
> >Wow, talk about a run on sentence. And by the way this is a mailing list
> >and not
> >a newsgroup where people attack a simple comment like that.
> >
> >sincerly,
> >jeff
> >
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com

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To: <Loopers-Delight@annihilist.com>
Subject: effects of looping, and field recording
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Jamie had wrote;

>I've heard of a book by AMM's E. Prevost called No Sound Is Innocent which
>is evidently a vital read on field recording and manipulating found sound.
>By the way, if you don't know already, the newest Wire mag has a "fun"
>interview with K. Stockhausen.  Knowledge is Power.
>Oh yeah....I'm patiently waiting to pay off the EDP I have on lay away and
>then I can get started looping!!! Peace Out.   -from Jamie Mash


I just went and ordered it from Borders. Amazon said they didn't make them
anymore. But B had them and said they were shipped very quickly. It seems
like it's going to be an amazing read. Lot's of things about field
recording, doing strange things to your instruments...AND even preparing
your guitars (for all you maniacs out there). I can't wait to get it.

Jeff Collins

A Strange View of Music

Showcasing the music of
Jeffrey Collins and Ken Rubenstein

www.geocities.com/SunsetStrip/Stadium/1429/STRANGETONES.html

"I TRUST IMPULSE, CREATIVE INTUITION, AND UNMOTIVATED
SPONTANEITY, BUT ABOVE ALL RESPONSIVE ACTION WITH
AS MANY FILTERS THAT ONE CAN AVOID." Robert Rauschenberg

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From: Kriist@aol.com
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Date: Thu, 10 Jun 1999 11:54:55 EDT
Subject: bailey book
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is this derek bailey?
ive been seeing his name about lately
is the book anygood?
is it technical(i.e.modes etc....)
or is it philosophical(approaches etc...)

rodrigo

In a message dated 6/10/99 10:21:31 AM Eastern Daylight Time, dennis@mdbs.com 
writes:

> Thanks, Jamie,  for the reading suggestions!  I just got the Bailey book on
>  improvisation but haven't read it yet.

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Mark at zzounds wrote to me a month ago with the following:

--------
Thanks for your inquiry. We have a large number of Echoplexes on order
as this is one of our most popular products; unfortunately Oberheim
has been able to deliver only a handful of them to us this year.

We would love your business but we would not be able to fill your
order promptly. Being on our backorder list may be your best bet to
get one, though, as I haven't seen them anywhere else either.
--------



Michael Tuminello wrote:

> Last I checked, zzounds still had the edp in stock.  Are they selling an
> older version, or is there something I don't know about them, since I want
> to buy one, but everyone seems to always talk as if the edp is never
> available, whereas it seems to have been in stock there for the last few
> months.
>
> anyone?
>
> MT
>
> PS:  I'm sure as a result of my posting this, they will  now sell out
> before I place my order...


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Mark-

That was a nice post!  By that i mean, that my experiences closely mirror
yours....

My first experience with hallucinogenics was amongst the top 3 experiences
of my life thus far.  It was a HUGE door-opener to a whole side of myself
that family/society/government had insisted wasn't there and that i should
repress.  For me, it was a life-changing event that i'm glad that i stumbed
onto.  Since then, my interests have veered into meditation, shamanism,
"primitive" cultures, out-of-body travel, LOOPING, etc.  Those interests
would've likely remained dormant without some HELP.

That being said, the experience surely ain't for everyone, not everyone's
nervous systems can handle the experience safely.  Nor does "everyone" end
up in a gutter.  BEWARE of words like "true" and "always" and "everyone",
every single being is going thru their own thing and needs different
things.  Those who lost their way, many times will have lost the original
meaning of what drew them to the experience initially, and are drawn to the
"escape from reality" factor of drugs.  Others can neither confirm nor deny,
because theirs is a different experience.

Today, drugs rarely factor in.  As Mark said, once you know the road is
there, its easier to get there without a bushwacker!  My life is richer and
fuller for being made aware of those other dimensions.  However, even
recently, i re-stumbled onto the psychedelic experience, after a long
layoff, and the experience was quite similar (in terms of impact) to the
original one.  Years spent day-gigging and being polite, and sitting in
meetings has a dulling effect for me, which an evening on the "other side"
can reverse and re-orient oneself in a hurry!

As to why a large portion of music was made under the influence of a drug,
here's my take:
For me "good music" means "timeless music".  It means that its music that i
can go back to years later and have it still mean something (other than a
reconnection with the "good ol' days").  Drugs can lift you out of time, so
you can relate to the cosmos in a more intimate way, with fewer inhibitions
and a whole different view.  You can "see" connections that you couldn't see
before, play things you "couldn't" play before and relate to yourself and
others in a way that's outside your "normal" setting.  You can essentially
go out of the normal frame, uncover something, find some meaning in it and
bring these revelations back into time. (words aren't very good for this,
email even less so...)  I'd liken it to the Hero's Journey from Joseph
Campbell.  To me, the creation of music is the "bringing back to society"
part of that Hero's Journey.  You've made important discoveries and
connections "out there" and now that you've made them, its your job to
translate them into the everyday realm.  Good music does this for me.  It
carries me outside of myself, brings forth the ecstatic experience with me,
and then, drops me back in the everyday.  The best music and musicians, i
believe, are intimately aware of those "other realms".

To me, the "best" music reveals itself to me over time.  First, it might be
the lyrics.  Then, after a few listenings, the interaction between the
bassline and the lyrics might be what grabs me...  Suddenly, the whole
bassline/drums interaction is "the thing".  And so on...  Its the same with
looping.  As you all have described, leaving a "well-constructed" loop run
for hours is a cool thing...  At different times, your awareness will find
different connections and/or synchronicities between different voices in the
loop.  And then, "that" awareness will fade... and ANOTHER will emerge. And
so on...  These kinds of connections between things become more apparent to
some musicians via trance, meditation, and the ectstatic experience.

I'm rambling.  Hope i made sense....  Your "mall" comments really cracked me
up!

Regards.



Mark Sottilaro wrote:

> For all recorded history there are tales of artists and drugs.  It seems
> to be an indelible part of art "lore."  Should the list avoid the
> topic?  Some feel uncomfortable with the topic, due to either bad
> personal experience or bad press, but how can we avoid this topic.  The
> stereotype of the drug addled musician didn't come from nowhere.
>
> Back to the Bulgarians... I was actually tripping the first time I heard
> the Bulgarian Woman's Choir.  It made me cry with joy.  If I had not
> been tripping, my emotional response would probably not have been that
> acute.  Why?  Internal social "noise" imprinted in most male humans
> stifles such behavior.  What the LSD did was put my "filter" off-line
> for a while and let it all stream out (in?) with out that little mental
> traffic cop, I call Mr. Conscious, pointing the way.
>
> Now, should I have been able to "go there" without LSD?  Of course.  But
> how can one go to a place that one doesn't know exists?  The reason I
> don't do drugs any longer is that they've served their purpose for me.
> I can get there on my own.  Bizarre social constructs block most
> creative free form thinking.  Face it, true artists are few and far
> between.  We should not need to use any substance to access this
> integral part of ourselves, but we also should not get scolded for
> "coloring outside the lines."  I'm one generation away from a time when
> nuns beat my father for writing with his left hand.
>
> So how does one leapfrog over such social hurdles?  I used
> psychedelics.  Now I cry like a baby when I see the episode where Snoopy
> runs away...has anyone...  Oh, sorry.  I know I could have gotten to
> where I am without drugs.  That's tough for a boy raised in the land of
> Malls.  But I'm not sorry for wanting to see what inspired I Am The
> Walrus.  Or the Giles, Giles and Fripp album, for that matter.  If
> Robert Fripp wasn't tripping in those days, I'd be amazed.  And speaking
> of our heroes, has anyone listened to Adrian Belew's "1967" on Mr. Music
> Head?
>
> Let's face it: a very large proportion of the music that we listen to
> was created under the influence of some drug. (I include alcohol in that
> list.)  Why is this?  I'd love to hear anyone else's theories.
>
> Mark Sottilaro



From Loopers-Delight-request@annihilist.com  Thu Jun 10 15:34:51 1999
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It's a very good book.  I just read it a couple weeks ago.
It covers improvisation from the musicians's point
of view, and in various contexts (East Indian music, jazz,
etc).  I wouldn't consider that it covers everything
about improv that one would want to know, and I disagree
with some of the view of the book (particularly regarding
recording), but it is a very interesting read.  Much
easier to get into than my other recent choice:
_Formalized Music_ by Iannis Xenakis.

(yes, it's Derek Bailey, jazz guitarist)
It's cheap too, ~12$ from amazon.com

Jim

Kriist@aol.com wrote:
> 
> is this derek bailey?
> ive been seeing his name about lately
> is the book anygood?
> is it technical(i.e.modes etc....)
> or is it philosophical(approaches etc...)
> 
> rodrigo
> 
> In a message dated 6/10/99 10:21:31 AM Eastern Daylight Time, dennis@mdbs.com
> writes:
> 
> > Thanks, Jamie,  for the reading suggestions!  I just got the Bailey book on
> >  improvisation but haven't read it yet.

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I got a quote from Steve's here in Ottawa. They have them at their Montreal
location. They retail for $289 Canadian. Not bad huh? Supposed to be pretty
cool too.

dave

ld thomson wrote:

> what does the Headrush do??
> $200 US...mmmm in Canada, with tax, tariffs, exchange....500$? Well maybe
> more like $300 - $400.
>
> >From: Hawkeye255@aol.com
> >Reply-To: Loopers-Delight@annihilist.com
> >To: Loopers-Delight@annihilist.com
> >Subject: Re: New to the list
> >Date: Wed, 9 Jun 1999 23:11:49 EDT
> >
> >Dave,
> >
> >       I would easily recommend the Akai Headrush just out.  $200 U.S. or a
> >little less.  And a decent looping tool.  Along with a sampler (which you
> >already have), you'd be in business.
> >
> >Bill
> >
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com

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Date: 	Thu, 10 Jun 1999 13:52:56 -0500 (CDT)
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From: Todd Madson <crash@waste.org>
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In my opinion, a lot of it has to do with relaxation.  Fripp always said
lots of his guitar craft students were "stiff as boards" and I can totally
identify with that.

Years ago was a young pod, I played in several groups with people who were
better than I was (at that time anyway).  These people knew it and would 
always try to find ways to HUMILIATE and that served to CONSTRICT me.  A 
real bad thing to get into is criticizing people who you play with in a 
non-constructive manner.  It makes them tighten up and shrug themselves
until their head dissappears between their shoulder blades.

For the longest time, I would always play with my jaws clenched, so much
so that I nearly gave myself TMJ.  I would always play really hard too,
and eventually it got to the point where the day after a practice or a 
gig I'd need to take a day to recover.  My teeth and jaw hurt so much that
I practically gave myself TMJ and my hands and fingers hurt for days 
after.

Then, later, a friend made an observation and said "you're playing guitar,
not rowing a boat."  From there I began to modify my approach.  I went
from staccato Al DiMeola of doom sounding to a more smoother, flowing kind
of player.  But I still didn't quite get it.

Once I stopped clenching my jaws I was able to relax a little more - the
more I relaxed the better I seemed to play and the better tha band played.
We swung and flowed more as opposed to stridently blasting along.  This 
was especially noticeable when we had a long day job to do before we 
went onstage or whatever.  If we were tired, we listened to each other 
better and we also weren't afraid to try little things and be open to 
what the music wanted to do....I have tapes before and after with the 
proof that it made a huge difference.

This is what I think is going on with the droog infestors...relaxing the
patient so they can better respond to the musical power.  Not an ideal 
situation but it works for some of them.

In fact, one of the best guitar solos I ever played was when I was dog
tired, just exhausted.  I was just about to go to bed and I got an idea
for a part on a tune I was working on.  I cued up the tape (in my pajamas)
and played the part and went to bed.  The next day I listened to the tape
and I could scarcely believe it was me.  The playing was so relaxed it 
made J.J. Cale's efforts sound like death metal extravaganzas.  Big on 
mood and feel, lots of space between the notes and just so there...

So, some get to the ZONE thru chemical modifications, some get there 
through relaxation/meditation, and some get there through excessive
lack of sleep.

For me, a loop can be hypnotic.  Like the lovely Vortex 16 preset - I
had my wife sing a several octave arpeggio and after about two hours
of looping that it was bouncing around the room amazingly.  It made up
the drone (or root) of a new tune....really cool..

I'll shut up now.

Todd Madson
Musician, Mountain Biker, Stunt Kite Flyer, BeOS/MacOS/Linux/WinNt user.
http://www.waste.org/~crash/index.html

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I guess the drug thing is a touchy subject for me.  Personal experiences 
being both good and bad.  My only LSD experience was having some jerk put it 
in my wine at a party.  They put in a lot.
It was not fun.  I had no idea what was happening or why and it was like 
having someone pull every self doubt/highschool low self opinion that rested 
in my skull  out and hand them to me.  That was four years ago, and I feel 
I've been healing since.

Soundscaping has been a big part of that healing.


>From: mark <mark.francombe@in2win.com>
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: Drugs+music: Off topic?
>Date: Thu, 10 Jun 1999 18:36:04 +0200
>
>I very much agree with Mark,
>....and the fact that what binds us freaks together is the interest in
>loops, in some bizarre love/interest in repetion/hypnosis, in the making
>of music and/or sounds that by their very nature produce a trancelike
>(or mind altered) state. Of course the aim of all music is to produce an
>emotional response, and the particular response that we loopers are
>looking for is some shortcut to our unconscious. That said are we not
>the very same bunch of people who, while not necessarily taking drugs,
>should embrace and empathise with those artists who do, for they
>themselves are using drugs to reach a place where their inspiration is
>pure emotion in a primal way, and therfore continue to push the
>boundaries of art/music to evermore meaningfull heights.
>I myself have used drugs on some occasions and have stopped now (mostly)
>I care a little too much for my health/bank balance and the crappy
>feeling the next day. There are risks of course, and I suspect that many
>addict musicians get to that position but taking drugs as a replacement
>for the adrenalin high that one experiences from playing live, and that
>is a shame, but inspirational careful non abusive use, I can see many
>benefits.
>
>DOPE TALE #1
>I once played a gig completely left handed after taking acid, I didnt do
>it for some kind of intellectual experiment, I just forgot that I was
>right handed, the result? Well... I guess you could say that an
>industrial indie band became kinda... um....jazz?
>
>
>MArk Francombe Red
>
>Mark Sottilaro wrote:
> >
> > For all recorded history there are tales of artists and drugs.  It seems
> > to be an indelible part of art "lore."  Should the list avoid the
> > topic?  Some feel uncomfortable with the topic, due to either bad
> > personal experience or bad press, but how can we avoid this topic.  The
> > stereotype of the drug addled musician didn't come from nowhere.
> >
> > Back to the Bulgarians... I was actually tripping the first time I heard
> > the Bulgarian Woman's Choir.  It made me cry with joy.  If I had not
> > been tripping, my emotional response would probably not have been that
> > acute.  Why?  Internal social "noise" imprinted in most male humans
> > stifles such behavior.  What the LSD did was put my "filter" off-line
> > for a while and let it all stream out (in?) with out that little mental
> > traffic cop, I call Mr. Conscious, pointing the way.
> >
> > Now, should I have been able to "go there" without LSD?  Of course.  But
> > how can one go to a place that one doesn't know exists?  The reason I
> > don't do drugs any longer is that they've served their purpose for me.
> > I can get there on my own.  Bizarre social constructs block most
> > creative free form thinking.  Face it, true artists are few and far
> > between.  We should not need to use any substance to access this
> > integral part of ourselves, but we also should not get scolded for
> > "coloring outside the lines."  I'm one generation away from a time when
> > nuns beat my father for writing with his left hand.
> >
> > So how does one leapfrog over such social hurdles?  I used
> > psychedelics.  Now I cry like a baby when I see the episode where Snoopy
> > runs away...has anyone...  Oh, sorry.  I know I could have gotten to
> > where I am without drugs.  That's tough for a boy raised in the land of
> > Malls.  But I'm not sorry for wanting to see what inspired I Am The
> > Walrus.  Or the Giles, Giles and Fripp album, for that matter.  If
> > Robert Fripp wasn't tripping in those days, I'd be amazed.  And speaking
> > of our heroes, has anyone listened to Adrian Belew's "1967" on Mr. Music
> > Head?
> >
> > Let's face it: a very large proportion of the music that we listen to
> > was created under the influence of some drug. (I include alcohol in that
> > list.)  Why is this?  I'd love to hear anyone else's theories.
> >
> > Mark Sottilaro
>
>--
>\
>-\
>--\
>---\
>----\
>-----\
>------\
>-------\
>--------\
>---------\
>----------\
>-----------\
>------------\
>mark-red-----\
>--------------\
>---------------\
>work------------\
>-----------------\
>in2win------------\
>-------------------\
>multimedia-designer-\
>ovre-slottsgate-5----\
>0157-oslo-------------\
>tlf.--22-40-29-94------\
>fax--22-42-14-24--------\
>e-mail--mark@in2win.com--\
>web--http-//www.in2win.com\
>---------------------------\
>----------------------------\
>personal---------------------\
>tlf.-22-43-10-79--------------\
>mob.-91-56-99-88---------------\
>mark@8day.com-------------------\
>christine@8day.com---------------\
>----------------------------------\
>-----------------------------------\
>redweb------------------------------\
>http-//www.8day.com/redweb-----------\
>--------------------------------------\
>---------------------------------------\
>icq-4531031-----------------------------\
>-----------------------------------------\
>


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

From Loopers-Delight-request@annihilist.com  Thu Jun 10 16:32:46 1999
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From: Steve Han <curbfeeler@transworld-lax.com>
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To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Cc: "'DKirkdorffer@exapps.com'" <DKirkdorffer@exapps.com>
Subject: RE: EDP  -- Group Buy II
Date: Thu, 10 Jun 1999 12:15:08 -0700
Organization: Transworld Freight Systems
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David,

Great idea.  Upon consolidating the orders,
I propose we discuss improvements to be made
for the newly produced EDPs.
My comments are as follows:

******

"EDPs Input and Output levels are extremely sensitive
and difficult to set visually as each individual EDPs
I/O level settings are at different positions from eachother
to reach the same level setting."

"This is from reviewing 6 different EDPs consisting
of my 2 EDPs and 4 others owned by friends."

"BrotherSync is a myth and does not work, showing
'error' message, even with Master to Slave settings."
"This maybe in part my fault from not knowing the
intricacy in manipulating the EDP Sync system but
I can't figure it out from the manual or on a EDP e-group."

"Sync-ing with Midi In/Out/Thru works but the sync
falls out of unison after approximately 8 minutes,
fully discernable after about 12 to 13 minutes."

"Foot Controller is very fragile and temperamental."

"The Buttons (red) of the pedal are made of circuitry
of the cheapest kinds and with the precise timing
the EDP requires for performance, they are difficult to
control with these cheap red buttons which behave
unpredictably at times."

"The maximum EDP capability of 198 seconds
should be Standard for all newly produced units."

"Most local Music Stores want to charge arm and a leg
for a unit of EDP and if you want the pedal with it, they'll
try to milk you for another $100 to $125."

"Taking minimum 3 months to receive one from Gibson,
only the true, dedicated loopers will order EDP while
the EDP's capability can be marketed to the general
musician and when advertised smartly, it can become
a must have for every serious musician."

"The price of Echoplex Digital Pro are prohibitive."
"Mid $500.00 to mid $600.00 seems reasonable,
which should include the pedal as part of the unit."

"This is my opinion and experience and does not represent
any other persons, groups, or identity."

***********

I hope someone at Opcode / Gibson will give the above points
some thought.
The more popular the EDP, the more accessible to us
the price and availability.
Perhaps we should be promoting the EDP to every musicians,
magazines, and music stores we know.

I know some of us are already trying to promote EDPs
but think of it...
A pair of EDPs in every musician's garage...

Thanks for the effort David.

Curbie

-----Original Message-----
From:	David Kirkdorffer [SMTP:DKirkdorffer@exapps.com]
Sent:	Wednesday, June 09, 1999 9:46 AM
To:	'Loopers-Delight@annihilist.com'; Loopers-Delight-d@annihilist.com
Subject:	EDP  -- Group Buy II

I cannot think of a better way to stimulate GIBSON into EDP production than
a long list of profitable orders waiting to be fulfilled.

With that in mind, I'm starting a list of people who really want to buy a
NEW EDP.  This list will be submitted to whoever picks up the production of
the EDP.

Clearly we can't KNOW the price of the unit at this time, so please assume
it will be in the same $650-$700 range as before.  
I will NOT be accepting any money.   I will not be a middleman.  

BUT, I WILL make sure this list is in the hands of people who can get the
EDP produced again.

I am providing two forms:  	

	A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP IF I CAN FIND ONE" ORDERS
FORM
	
	B. "ONLY 99% OR LESS COMMITED" ORDERS FORM


If you are ABSOLUTELY COMMITED and seriously want to buy an EDP, then use
FORM A.

If you're on the fence or uncommitted to paying $650-$700 for an NEW EDP,
then use FORM B.  

KIM -- would you feel it is appropriate to post this form to the LD
web-site?

David Kirkdorffer


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

FORM A
A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP IF I CAN FIND ONE" ORDERS FORM

Please provide the following details in the following format:

A. NAME:
A. MAILING ADDRESS:
A. DAY PHONE:
A. NIGHT PHONE:
A. E-MAIL:
A. NUMBER OF EDP'S YOU WANT TO ORDER:
A. DATE YOU SUBMIT YOUR REQUEST TO GROUP BUY II:

A. HOW MANY EDP'S DO YOU ALREADY OWN?

A. DO YOU ALREADY OWN ANOTHER "LOOPER"?

A. WHAT INSTRUMENT(S) DO YOU PLAY?

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


FORM B
B. "ONLY 99% OR LESS COMMITED" ORDERS FORM

Please provide the following details in the following format:

B. NAME:
B. MAILING ADDRESS:
B. DAY PHONE:
B. NIGHT PHONE:
B. E-MAIL:
B. NUMBER OF EDP'S YOU WANT TO ORDER:
B. DATE YOU SUBMIT YOUR REQUEST TO GROUP BUY II:

B. HOW MANY EDP'S DO YOU ALREADY OWN?

B. DO YOU ALREADY OWN ANOTHER "LOOPER"?

B. WHAT INSTRUMENT(S) DO YOU PLAY?

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

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From: Hawkeye255@aol.com
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Date: Thu, 10 Jun 1999 15:16:17 EDT
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Dave,
       Maximum time is 23.8 seconds in nornal mode or loop mode.  In loop 
mode, if you use half of the time (11.9 seconds), you can overdub ad 
infinitum or you can kill all the obverdubs, just keeping the original loop.  
Normal delay mode is very interesting, since feedback  works in the Headrush 
very much ike the EDP.  A MINI EDP!!!! (sort of).  And only two switches.  
Clean sound, nice unit.  I like so much, I might get another one.  Then 
there's tape echo mode with four outputs.

good luck,
                 Bill 'hawkeye'

From Loopers-Delight-request@annihilist.com  Thu Jun 10 16:38:09 1999
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From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>,
        Loopers-Delight-d@annihilist.com
Subject: EDP - again... Group Buy II
Date: Thu, 10 Jun 1999 15:09:37 -0400
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Because of the time delay (er, um loop-like isn't it?) of e-mail...I just
repeat that based on what I've heard from my Gibson "deep throat" -- the EDP
will come back once various issues are worked out.

There will be a ready supply by Christmas to be sure!

David Kirkdorffer



Again, I cannot think of a better way to stimulate GIBSON into faster EDP
production than a long list of profitable orders waiting to be fulfilled.

With that in mind, I'm starting a list of people who really want to buy a
NEW EDP.  This list will be submitted to whoever picks up the production of
the EDP.

Clearly we can't KNOW the price of the unit at this time, so please assume
it will be in the same $650-$700 range as before.  
I will NOT be accepting any money.   I will not be a middleman.  

BUT, I WILL make sure this list is in the hands of people who can get the
EDP produced again.

I am providing two forms:  	

	A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP IF I CAN FIND ONE" ORDERS
FORM
	
	B. "ONLY 99% OR LESS COMMITED" ORDERS FORM


If you are ABSOLUTELY COMMITED and seriously want to buy an EDP, then use
FORM A.

If you're on the fence or uncommitted to paying $650-$700 for an NEW EDP,
then use FORM B.  

KIM -- would you feel it is appropriate to post this form to the LD
web-site?

David Kirkdorffer


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

FORM A
A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP IF I CAN FIND ONE" ORDERS FORM

Please provide the following details in the following format:

A. NAME:
A. MAILING ADDRESS:
A. DAY PHONE:
A. NIGHT PHONE:
A. E-MAIL:
A. NUMBER OF EDP'S YOU WANT TO ORDER:
A. DATE YOU SUBMIT YOUR REQUEST TO GROUP BUY II:

A. HOW MANY EDP'S DO YOU ALREADY OWN?

A. DO YOU ALREADY OWN ANOTHER "LOOPER"?

A. WHAT INSTRUMENT(S) DO YOU PLAY?

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


FORM B
B. "ONLY 99% OR LESS COMMITED" ORDERS FORM

Please provide the following details in the following format:

B. NAME:
B. MAILING ADDRESS:
B. DAY PHONE:
B. NIGHT PHONE:
B. E-MAIL:
B. NUMBER OF EDP'S YOU WANT TO ORDER:
B. DATE YOU SUBMIT YOUR REQUEST TO GROUP BUY II:

B. HOW MANY EDP'S DO YOU ALREADY OWN?

B. DO YOU ALREADY OWN ANOTHER "LOOPER"?

B. WHAT INSTRUMENT(S) DO YOU PLAY?

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



From Loopers-Delight-request@annihilist.com  Thu Jun 10 16:57:19 1999
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Date: Thu, 10 Jun 1999 12:20:23 -0700
From: lance glover <baumhaus@earthlink.net>
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Organization: treehouse
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Greg Meredith wrote:

> ...It would provide utilitarian queries which might lead to interesting
> surprises for people navigating databases of musical offerings. Imagine
> walking up to a Tower Record service person and saying: "i'm throwing a
> party. i need some music that's got about 200 bpm with 4 beats per cycle. i
> want some electric bass and trap set in the instrumentation. i want the
> music to evolve around a single tonal center." She might point you to a lot
> more music than the latest techno or jungle releases...

sounds good on paper, but at the tower store near me, a far more likely
response would be: "...say wha?"

;-)

lance g.



From Loopers-Delight-request@annihilist.com  Thu Jun 10 17:21:01 1999
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Date: Thu, 10 Jun 1999 15:32:07 -0400 (EDT)
From: Adam Levin <alevin@DarkAether.Net>
X-Sender: alevin@red
To: loopers-delight@annihilist.com
Subject: Dark Aether Project June Concerts in NJ/MD/PA/DC
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Hi folks, 

We have four concerts coming up in the next two weeks. You'll find
directions to each venue on our website at http://www.darkaether.net/

- Sat Jun 12 11pm -Live in the studios of WBZC 88.9 FM - Pemberton NJ

  WBZC can be heard in the Southern NJ/Philadelphia/Delaware area. For 
  those going to see Gong at the TLA in Philadelphia, be sure to tune in
  on your way home. If you'd like to be in the studio audience, email
  info@darkaether.net and we'll reserve you a spot if there's still room.

- Thu Jun 17 9pm - Cafe Tattoo - 4825 Belair Road - Baltimore MD
                   with Chaos Code and Winston's Dog

  Chaos Code grew out of the group "The Web" - a prog rock cover band
  which Yaman was a member of before joining DAP. Now writing and
  performing originals, Chaos Code's music is a mix of classic and more
  modern melodic prog with many dynamic changes featuring vocals,
  flute, keys, guitar, bass guitar, stick, and drums. They'll perform
  their originals as well as a possible cover or two (they recently
  performed Genesis' "Musical Box"). Winston's Dog is a modern rock band
  from PA who DAP vocalist Ray Weston will be playing bass with.

-  Sat Jun 19 8pm - W. Hare American Legion Hall - 2nd/Walnut - Lansdale PA
                    with Uncle Gut

  Uncle Gut is a heavy fusion power trio from the Baltimore area who have
  just released an excellent debut CD.

- Fri Jun 25 8pm - Phantasmagoria - 11319 Elkin St - Wheaton MD (near DC)
                   with Solaris

  Solaris is a highly acclaimed six-piece classic progressive rock band
  from Hungary. This will be their first US east coast performance. Their
  unique musical identity is based on a dynamic blend of virtuoso flute,
  guitar and keyboards balanced by a driving rhythm section (with two bass
  players!) woven into dynamic compositions that blur the lines between
  classical, jazz and rock music. Solaris will be performing in support of
  their new release _Nostradamus_ - their first studio album of new
  material in nearly a decade.

Many other shows on the way including the 5th annual Progday outdoor
international music festival in Chapel Hill NC Labor Day weekend with
Thinking Plague, Discipline, Tenn Jinn (US), NeBeLNeST (France), Tribe of
Cro (Belgium), Consorzio Acqua Potabile (Italy), Equinox (Panama),
Apocalypse (Brazil) and others TBA. Stay tuned to the website at
http://www.DarkAether.Net/

-Adam

---
       "...if one strives at hearing for the sake of constant virtue,
       out of seeking liberation from cyclic existence, gradually one 
                           becomes a Hearer."
                           - Chandrakirti

              T h e   D a r k   A e t h e r   P r o j e c t
                       http://www.darkaether.net/



From Loopers-Delight-request@annihilist.com  Thu Jun 10 17:35:16 1999
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From:  Kriist@aol.com[SMTP:Kriist@aol.com]
Sent:  Thursday, June 10, 1999 11:54 AM

>is this derek bailey?

Yes, it is. Nothing to do with me (sorry to say). Nor is it my four-year-old nephew, who shares the same name as that illustrious guitarist.

Just thought I'd point that out, incase it needed to be said. (BTW, I'm no relation either - AFAIK)

Jim Bailey

p.s.: Kim, how did I get unsubscribed from the list? I've tried posting a couple of times now, and was told that I'm not a subscriber - even though I still get the digest sent to me.

----------------------------------------------------------
Get your FREE personalized e-mail at http://www.canada.com

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My Aikido instructor of 7 years, spent most of his time during class yelling 
"rewax...rewax...Noooo...Thomson...must rewax..."
After an hour of having the shit pounded out of you and being totally 
exausted...you WOULD HAVE NO CHOICE but relax. Then he'd say in a deep 
baritone
"Yes!...That's the way...Smoothly!"

what does this have to do with looping?   I don't really know.  Except I 
wish I had recording of him saying that.  I did do a little ditty a few 
years ago called "heartgrinder" with samples from my answering  machine of 
10 different females breaking dates/canceling on me.  There bogus excuses 
sounding SO obviously phony over the grinding music beneath.  Very funny 
listening...and very empowering.

>From: Todd Madson <crash@waste.org>
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Why they DRUG OUT [a story]
>Date: Thu, 10 Jun 1999 13:52:56 -0500 (CDT)
>
>In my opinion, a lot of it has to do with relaxation.  Fripp always said
>lots of his guitar craft students were "stiff as boards" and I can totally
>identify with that.
>
>Years ago was a young pod, I played in several groups with people who were
>better than I was (at that time anyway).  These people knew it and would
>always try to find ways to HUMILIATE and that served to CONSTRICT me.  A
>real bad thing to get into is criticizing people who you play with in a
>non-constructive manner.  It makes them tighten up and shrug themselves
>until their head dissappears between their shoulder blades.
>
>For the longest time, I would always play with my jaws clenched, so much
>so that I nearly gave myself TMJ.  I would always play really hard too,
>and eventually it got to the point where the day after a practice or a
>gig I'd need to take a day to recover.  My teeth and jaw hurt so much that
>I practically gave myself TMJ and my hands and fingers hurt for days
>after.
>
>Then, later, a friend made an observation and said "you're playing guitar,
>not rowing a boat."  From there I began to modify my approach.  I went
>from staccato Al DiMeola of doom sounding to a more smoother, flowing kind
>of player.  But I still didn't quite get it.
>
>Once I stopped clenching my jaws I was able to relax a little more - the
>more I relaxed the better I seemed to play and the better tha band played.
>We swung and flowed more as opposed to stridently blasting along.  This
>was especially noticeable when we had a long day job to do before we
>went onstage or whatever.  If we were tired, we listened to each other
>better and we also weren't afraid to try little things and be open to
>what the music wanted to do....I have tapes before and after with the
>proof that it made a huge difference.
>
>This is what I think is going on with the droog infestors...relaxing the
>patient so they can better respond to the musical power.  Not an ideal
>situation but it works for some of them.
>
>In fact, one of the best guitar solos I ever played was when I was dog
>tired, just exhausted.  I was just about to go to bed and I got an idea
>for a part on a tune I was working on.  I cued up the tape (in my pajamas)
>and played the part and went to bed.  The next day I listened to the tape
>and I could scarcely believe it was me.  The playing was so relaxed it
>made J.J. Cale's efforts sound like death metal extravaganzas.  Big on
>mood and feel, lots of space between the notes and just so there...
>
>So, some get to the ZONE thru chemical modifications, some get there
>through relaxation/meditation, and some get there through excessive
>lack of sleep.
>
>For me, a loop can be hypnotic.  Like the lovely Vortex 16 preset - I
>had my wife sing a several octave arpeggio and after about two hours
>of looping that it was bouncing around the room amazingly.  It made up
>the drone (or root) of a new tune....really cool..
>
>I'll shut up now.
>
>Todd Madson
>Musician, Mountain Biker, Stunt Kite Flyer, BeOS/MacOS/Linux/WinNt user.
>http://www.waste.org/~crash/index.html
>
>


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From Loopers-Delight-request@annihilist.com  Thu Jun 10 17:57:01 1999
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From: ld thomson <heatshrink@hotmail.com>
To: Loopers-Delight@annihilist.com
Subject: Re: New to the list - HEADRUSH what does it do??
Date: Thu, 10 Jun 1999 13:12:15 PDT
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that's not a bad price at all.  I should check out if Steve's here in TO can 
get them in.  I still want to know what functions they have.
Is it a delay or a processor?  A filter or what?
I've seen some weird filters that Bob Moog is making on his own.  Envelope 
Filters, and one has a Ring Modulator. Has anyone tried these babies??

Lorne Thomson
Toronto, Canada


>From: d a v e <dpattee@magi.com>
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: New to the list
>Date: Thu, 10 Jun 1999 14:47:40 -0500
>
>I got a quote from Steve's here in Ottawa. They have them at their Montreal
>location. They retail for $289 Canadian. Not bad huh? Supposed to be pretty
>cool too.
>
>dave
>
>ld thomson wrote:
>
> > what does the Headrush do??
> > $200 US...mmmm in Canada, with tax, tariffs, exchange....500$? Well 
>maybe
> > more like $300 - $400.
> >
> > >From: Hawkeye255@aol.com
> > >Reply-To: Loopers-Delight@annihilist.com
> > >To: Loopers-Delight@annihilist.com
> > >Subject: Re: New to the list
> > >Date: Wed, 9 Jun 1999 23:11:49 EDT
> > >
> > >Dave,
> > >
> > >       I would easily recommend the Akai Headrush just out.  $200 U.S. 
>or a
> > >little less.  And a decent looping tool.  Along with a sampler (which 
>you
> > >already have), you'd be in business.
> > >
> > >Bill
> > >
> >
> > ______________________________________________________
> > Get Your Private, Free Email at http://www.hotmail.com
>


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From Loopers-Delight-request@annihilist.com  Thu Jun 10 18:18:07 1999
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From: ld thomson <heatshrink@hotmail.com>
To: Loopers-Delight@annihilist.com
Subject: Adrian Belew's Loops
Date: Thu, 10 Jun 1999 13:58:04 PDT
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I pulled this off the Adrian Belew web site, thought it might be of some 
interest to you all.

Q- So the sound inspires a musical counterpoint, as opposed to you writing a 
song and then searching for some sounds to make it work.

Belew - "Actually, I do both things. But it’s very convenient for me if, 
when I find a new sound, generally I’m playing something and think "This is 
cool, I ought to write a song with this." But if I’ve already written a song 
and I know I want to take the guitar in a certain direction, then I can sit 
down and design that sound for it.

Right now, I’m using a new amplifier called the Johnson Millennium. It has 
wonderful built-in effects, which are going to be very helpful for me to 
create the next generation of guitar sounds I’ll work from. A recent 
discovery that I made, which is really helping me a lot, is ways to use 
loops, which I comically call "Belewps." And the loops systems I’ve been 
doing have been ones that are not static. Normally you think of a loop and 
you play something into it and it plays that back internally. I’ve been 
trying to work with loops you can interact with—add to, interrupt, and 
constantly change—while you’re playing. This is all done with an expression 
pedal: Every time you bring the expression pedal in, you’re tapping into the 
loop, turning it on or off, or adding to it."

Q - Do you ever do something where you might use some kind of distortion or 
other modulation effects into the loop and play over the loop with a 
different kind of sound?

Belew - "That’s what I am doing. The Johnson Millennium comes with a 
pedalboard, and you can determine whether or nor something is being turned 
on or off by manner of a normal footswitch, by manner of a momentary switch, 
so that it’s just being turned on as you’re stepping on it, or by hooking it 
to an expression pedal. Now, the loop is already on the expression pedal. On 
the other footswitches, I usually have something like another delay, 
distortion, and perhaps a very interesting-sounding chorus. Because I’ve 
found it helps to separate. Once you have a loop you want to play something 
to, you can either sound like you’re doubling it, or you can play against 
it, almost like Robert Fripp and I play sometimes—the same lines a little 
out of synch with each other—or you can choose a sound that’s so different 
from it that it really does sound like two completely independent guitar 
players."


______________________________________________________
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From Loopers-Delight-request@annihilist.com  Thu Jun 10 18:18:45 1999
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Date: Thu, 10 Jun 1999 17:04:12 EDT
Subject: Re: Of DRUGULA and other chemicals (mega offtopic!!)
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hallucinating down the mountain at 40 or 50 mph doesn't sound like safe 
recreation to me for some reason. "the brake is turning into a giant leach!!! 
noooo!!!!"  =-) PJ

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the zoom has 4 seconds though with a lot of feedback that can go for a long 
time. it also has treble roll-off so you can get those really lo-fi sounds 
happening if you like. i like this unit a lot. =-) PJ

From Loopers-Delight-request@annihilist.com  Thu Jun 10 18:23:43 1999
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From: ld thomson <heatshrink@hotmail.com>
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Subject: Adrian Belew's Loops
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I pulled this off the Adrian Belew web site, thought it might be of some 
interest to you all.

Q- So the sound inspires a musical counterpoint, as opposed to you writing a 
song and then searching for some sounds to make it work.

Belew - "Actually, I do both things. But it’s very convenient for me if, 
when I find a new sound, generally I’m playing something and think "This is 
cool, I ought to write a song with this." But if I’ve already written a song 
and I know I want to take the guitar in a certain direction, then I can sit 
down and design that sound for it.

Right now, I’m using a new amplifier called the Johnson Millennium. It has 
wonderful built-in effects, which are going to be very helpful for me to 
create the next generation of guitar sounds I’ll work from. A recent 
discovery that I made, which is really helping me a lot, is ways to use 
loops, which I comically call "Belewps." And the loops systems I’ve been 
doing have been ones that are not static. Normally you think of a loop and 
you play something into it and it plays that back internally. I’ve been 
trying to work with loops you can interact with—add to, interrupt, and 
constantly change—while you’re playing. This is all done with an expression 
pedal: Every time you bring the expression pedal in, you’re tapping into the 
loop, turning it on or off, or adding to it."

Q - Do you ever do something where you might use some kind of distortion or 
other modulation effects into the loop and play over the loop with a 
different kind of sound?

Belew - "That’s what I am doing. The Johnson Millennium comes with a 
pedalboard, and you can determine whether or nor something is being turned 
on or off by manner of a normal footswitch, by manner of a momentary switch, 
so that it’s just being turned on as you’re stepping on it, or by hooking it 
to an expression pedal. Now, the loop is already on the expression pedal. On 
the other footswitches, I usually have something like another delay, 
distortion, and perhaps a very interesting-sounding chorus. Because I’ve 
found it helps to separate. Once you have a loop you want to play something 
to, you can either sound like you’re doubling it, or you can play against 
it, almost like Robert Fripp and I play sometimes—the same lines a little 
out of synch with each other—or you can choose a sound that’s so different 
from it that it really does sound like two completely independent guitar 
players."


______________________________________________________
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you might try contacting digitech? =-) PJ

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Maximum time is 23.8 seconds !! Wow.  That is a nice story.  Perhaps I 
should get a second paper route and start saving now.

Lorne Thomson
Toronto, Canada


>From: Hawkeye255@aol.com
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: New to the list
>Date: Thu, 10 Jun 1999 15:16:17 EDT
>
>Dave,
>        Maximum time is 23.8 seconds in nornal mode or loop mode.  In loop
>mode, if you use half of the time (11.9 seconds), you can overdub ad
>infinitum or you can kill all the obverdubs, just keeping the original 
>loop.
>Normal delay mode is very interesting, since feedback  works in the 
>Headrush
>very much ike the EDP.  A MINI EDP!!!! (sort of).  And only two switches.
>Clean sound, nice unit.  I like so much, I might get another one.  Then
>there's tape echo mode with four outputs.
>
>good luck,
>                  Bill 'hawkeye'
>


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Date: Thu, 10 Jun 1999 13:54:06 -0700
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At 12:39 PM -0700 5/25/99, Kim Flint wrote:
>PCB design is a bit of an artistic talent. Takes a certain type of
>creativity to visualize the best ways for all the traces to route around
>the board. On the complicated stuff I do these days, practically all of the
>PCB gets hand routed (instead of autorouted). The layout designers we use
>do seem to be a bit arty, and have this great intuition for sorting a lot
>of it out in their mind as they go. I've heard many say it's a lot like
>doing a painting. It's all done on software programs, of course, but
>without the human involvement it's a disaster. the autorouters are no
>substitute...

Auto-routing works great for simple-to-medium digital boards. For boards with any sensitive analog stuff, forget it. For complex digital boards, they might get as far as 95% of the way with auto routing, before giving up and leaving the last 5% for humans. The problem here is that, by this time, the auto router has made such a mess of it that the last 5% is just plain impossible. The only thing left is to start from scratch with a human in the driver's seat, or for a human to peel back the auto routed design to about 50% done, and take it from there.

In this era of grand master chess programs, it's nice that there are still some things that we lowly humans can cling to to prove our superiority.

Chris 

____________________________________________________________
Chris Muir     |     cbm@well.com      |     got moloko?

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From: "James Pokorny" <j.pokorny@worldnet.att.net>
To: <Loopers-Delight@annihilist.com>
Subject: The Mysticism of Sound
Date: Thu, 10 Jun 1999 18:13:16 -0400
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Great recommendation, Jamie!  "The Mysticism of Sound" by Hazrat Inayat Khan
is one of the best books I've ever read on music, musical perception, etc.
I consider it a "must-read" for every musician, no matter what style of
music or level of playing.  I'll admit that a lot of the content may provoke
reactions ranging from "Too woo-woo!" to "This is so blatantly obvious why
even mention it?"  But I've passed this book along to beginners and masters
alike in various musical fields (Jazz, Rock, Avant-Garde, Western classical,
Indian classical, etc.) and I know that everyone got something out of it.
Hazrat Inayat Khan was a famous Sufi ("mystical" branch of Islam) from India
who lived in the late nineteenth/early twentieth century and was known for
bringing Sufism to the West.  He was an accomplished poet, translator,
author and musician (but not to be confused with his contemporary of the
same name, Ustad Inayat Khan -- the great sitar player).  This book had been
recommended to me and it took about 5 years to find a copy, but was well
worth the wait.  I'm glad to see that it's widely available again.

Another book along the same lines that I'd recommend to the group is
"Through Music to the Self" by Peter Michael Hamel.  My copy was published
in 1979 by Shambala Publications in Boulder, Colorado.  I don't know whether
this is still in print, but it's worth looking up.  It deals mostly with the
"intuitive" side of music making, touching on various points in musical
history from a variety of musical traditions.  There are also some good
discussions of modern experimental music, minimalism, etc.  It too can get a
bit murky on the "mystical" side, but it's definitely worth a read.

James

>    There is a good book entitled The Mysticism of Sound and Music by
>the sufi teacher/musician Hazrat Inayat Khan. I suggest it to those who
>are into deeper levels of awareness, creations, vibrations, and
>spirituality. Some of the chapter titiles:
>Esoteric Music
>The Music of the Spheres
>The Mystery of color and sound
>The Divinity of Indian Music
>The manifestation of Sound on the Physical sphere
>The effect of sound on the physical body
>The influence of music on the character of man
>Healing Power/Spiritual attainment by music
>The Magnetism of Beings and Objects
>The value of repetition and Reflection
>and much much more......
>Aphorisms, prayers and chants, sounds, poetry, and lectures w/ phrases to
be
>repeated......
>    It's put out by Shambhala Dragon Editions.....
>
>Other cool books I've read lately on music are: The nature of Improvisation
>by Derek Bailey, and Theatre of Mixed Means by Richard Kostelanetz (an old
>1968 1st print from my school [MTSU} library) which has insightful
>interviews with LaMonte Young and John Cage as well as others involved with
>visual and music mixed media arts.
>I've heard of a book by AMM's E. Prevost called No Sound Is Innocent which
>is evidently a vital read on field recording and manipulating found sound.
>By the way, if you don't know already, the newest Wire mag has a "fun"
>interview with K. Stockhausen.  Knowledge is Power.
>Oh yeah....I'm patiently waiting to pay off the EDP I have on lay away and
>then I can get started looping!!! Peace Out.   -from Jamie Mash
>
>

From Loopers-Delight-request@annihilist.com  Thu Jun 10 19:37:43 1999
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Date: Thu, 10 Jun 1999 15:16:12 -0700 (PDT)
From: Bret <echoplex@yahoo.com>
Subject: myths
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--- Steve Han <curbfeeler@transworld-lax.com> wrote:
> 
> "BrotherSync is a myth and does not work, showing
> 'error' message, even with Master to Slave
> settings."
Steve,

I saw a picture of BrotherSync in the National
Enquirer, so I know that he exists. He was riding a
Unicorn :-)

As an owner of 3 EDP, and a user of Brother sync, I
can 
 assure you that brother sync does indeed work.  The
only times I have gotten "error" message is when I
tried to use a 2 conductor cable (and plug) instead of
a 3 conductor TRS (tip, ring, sleeve) cable/plug, or
when I tried to use a defective trs cable.   I will
try to dig up some old articles about brother sync and
forward them to you.  Make sure you have the latest
firmware, and if it is a very old EDP that the brother
sync resistors (internal to the EDP) are the correct
value.  

> "Sync-ing with Midi In/Out/Thru works but the sync
> falls out of unison after approximately 8 minutes,
> fully discernable after about 12 to 13 minutes."

I have also done syncing with Midi, and it does
maintain sync over time.  I don't recall if I used the
midi through on the EDP, or the other midi devices.  I
have connected, an alesis drum machine, an oberheim
drummer, or an oberheim cyclone.  Using these devices
I have maintained sync for more than 30 minutes. 
Again, I will find some old email on the subject and
forward them to you.  You may want to search the email
archives, or re-read the FAQ on EDP at the LD website.

It may be tought to figure out these sync methods the
first time or two, but don't give up.  They work, and
are a blast to use.

bret 

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com

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From: "Tim Walker" <tawalker@dircon.co.uk>
To: "Loopers-Delight@annihilist.com" <Loopers-Delight@annihilist.com>
Date: Thu, 10 Jun 1999 23:06:14 +0100
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Rodrigo wrote:

"is this derek bailey?
ive been seeing his name about lately
is the book anygood?
is it technical(i.e.modes etc....)
or is it philosophical(approaches etc...)"

I've got it, and it's more philosophical than musical. Still
fascinating, though, and DB makes no secret of his distaste for
classical music - in his view, slavishly regurgitating notes on a page
isn't really music...

Best wishes,
Tim.

*************Tim Walker - Staines, Middlesex, UK************
tawalker@dircon.co.uk      http://www.tawalker.dircon.co.uk/
"You can't always wait for a composer to write the music you
                 want to play." (Derek Bailey)
************************************************************


From Loopers-Delight-request@annihilist.com  Thu Jun 10 19:54:30 1999
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Date: Thu, 10 Jun 1999 15:53:43 -0700
From: Roland Eberle <eb@jps.net>
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Hello again...

Anyone out there needing a set upgrade chips for the Jam Man?
I've got a few sets sitting around that I bought a year or so ago that I
won't be needing. Set of 4 chips (1m x 4bit zip IC's...80 nano sec
Micron brand)
for the low low price of only $30...that includes shipping (US Mail
priority)
to your specified address in the USA.
If your Jammin' at a piddling 8 seconds here's your inexpensive
opportunity to quadruple your capacity.
Please respond privately to me at eb@jps.net
Thanks

From Loopers-Delight-request@annihilist.com  Thu Jun 10 20:05:39 1999
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From: Kim Flint <kflint@annihilist.com>
Subject: Re: 7.6 Time machine
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At 9:58 AM -0700 6/10/99, Jeff Duke wrote:
>I have a question for some of you tech guys. I have two 7.6'rs but one
>is real strong ; if I set it to 50% mix its even. It has great feedback
>9-10 repeats at full and a bit more delay time than 7.6.
>The other one is weak on all these points. The question; is there a way
>to obtain and replace the memory and could this be the problem; weak
>chip?

something like this wouldn't be memory. I don't know the digitech circuit,
so I can't tell you what to do. But I'm guessing it does feedback in
analog, so there is some amplifier circuit that sets this feedback gain.
Somehow, the gain in the one unit is off, and it can't reach it's max
value. It probably even has a small potentiometer on the board used to
calibrate this, and the pot in your unit has gotten off from the proper
setting. You might try getting a service manual from digitech, or try
adjusting them yourself to see if anything fixes the problem. I know
somebody else on the list had tweaked some pots in the 7.6 to get a longer
delay time, so maybe that person knows how to fix the feedback too. (can't
remember who it was right now, sorry...)

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


From Loopers-Delight-request@annihilist.com  Thu Jun 10 20:13:03 1999
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From: Roland Eberle <eb@jps.net>
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Hi Folks,

My Jam Man is up for sale on ebay...mint condition, 32 sec upgrade,
manual,power supply,Lexicon foot pedal...if you are the winning bidder
and mention Loopers-Delight when you contact me AFTER winning the
auction, I'll give you a $25 discount.
Follow the link straight to the item up for auction or just go to
www.ebay.com and enter Jam Man in the search box...don't be put off if
you're new to ebay...it's all pretty simple once you figure out the
basic ground rules. Seller (that's me) pays all listing fees and
commisions...buyer pays
whatever he or she bids plus any shipping etc as outlined in the item
description. Give it a shot if you're looking for virtually ANY kind of
gear.
Thanks and good luck...Here's the url:
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=113221439

From Loopers-Delight-request@annihilist.com  Thu Jun 10 20:27:12 1999
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From: Kim Flint <kflint@annihilist.com>
Subject: Re: zzzounds and edp
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At 8:50 AM -0700 6/10/99, Michael Tuminello wrote:
>Last I checked, zzounds still had the edp in stock.  Are they selling an
>older version, or is there something I don't know about them, since I want
>to buy one, but everyone seems to always talk as if the edp is never
>available, whereas it seems to have been in stock there for the last few
>months.

It wouldn't be an "older version" (there isn't one....).  If they actually
do have one in stock, and you haven't already ordered it, you better get on
the phone quick after posting this! :-)

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


From Loopers-Delight-request@annihilist.com  Thu Jun 10 21:25:37 1999
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Date: Thu, 10 Jun 1999 17:26:37 -0700
From: Neil Goldstein <ngold@home.com>
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<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
Just was cruising Ebay and saw an EDP and footpedal for auction. Its at
$255 with 5 days left.
<br>&nbsp;
<p>&nbsp;<a href="http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=115930151">http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&amp;item=115930151</a>
<br>&nbsp;
<p>--
<br>Neil Goldstein
<br>ngold@home.com
<br>Portland, Oregon USA
<br>&nbsp;<a href="http://www.mp3.com/artists/14/ng.html">My Music on MP3.com</a>
<br>&nbsp;
<br>&nbsp;</html>

From Loopers-Delight-request@annihilist.com  Thu Jun 10 21:42:07 1999
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>
>
> Subject: RE: OPCODE & The EDP
> Date: Wed, 9 Jun 1999 11:52:18 -0700
> From: "Jonathan El-Bizri" <jbiz@linkexchange.com>
> To: "Loopers-Delight" <Loopers-Delight@annihilist.com>
>
> Could it also be that customer service are clueless? It would not be a
> precedent...
> bIz
>
>

Boy Howdy, Ive been dealing with another guitar company's customer service(where my
'new' guitar has been for the last month), got about 30 e-zings I've kept and they
keep contradicting themselves..you're right__not a clue  JscottD__now back I go
again into the vast reaches of inner space..

From Loopers-Delight-request@annihilist.com  Thu Jun 10 21:41:42 1999
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Subject: RE: EDP  -- Group Buy II
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At 12:15 PM -0700 6/10/99, Steve Han wrote:
>David,
>
>Great idea.  Upon consolidating the orders,
>I propose we discuss improvements to be made
>for the newly produced EDPs.
>My comments are as follows:

Probably they have plenty to do just getting everything moved and set up in
a new division. Making a whole bunch of changes at the same time would just
slow things down! The last thing that needs to happen right now is for them
to spend lots of time and money trying to redesign something that is
popular and works fine just the way it is, then you would surely never see
it again!  (or at least not for a really long time....)

What David K. is proposing right now is exactly the right thing to do. If
you are thinking about getting an Echoplex now or someday in the future, or
if you have one on backorder and are waiting for it, now is a great time to
let Gibson/Opcode/whoever know about it. If they see customers out there
waiting, they will move a lot faster to get echoplexes on the shelf. Money
talks, right? Organizing together in a group like this is a great idea, too
- you'll definitely get attention that way. I'd say, get yourself on
David's list for this group-buy, if you haven't already. I think there's a
pretty good chance that this would secure you a unit much sooner and at a
much better price than otherwise! In the past, Gibson (or their dealers)
have given some priority to people coming through this list, and we can
probably convince them to do the same this time.


But I thought I'd try to comment on some of these ideas to help you out and
clarify some things:

>******
>
>"EDPs Input and Output levels are extremely sensitive
>and difficult to set visually as each individual EDPs
>I/O level settings are at different positions from eachother
>to reach the same level setting."
>
>"This is from reviewing 6 different EDPs consisting
>of my 2 EDPs and 4 others owned by friends."

The Input/Output gain in the echoplex was changed a while back, because it
was originally too sensitive. So this is already done. New units are all
done with the same I/O gain as is described for a mod on the Looper's
website. It's much easier to set now. So if you have a mix of older units
and newer units, the knobs might be in different spots for the same gain.
If you do the mod on the website for the older ones, they should be much
more consistent.



>"BrotherSync is a myth and does not work, showing
>'error' message, even with Master to Slave settings."
>"This maybe in part my fault from not knowing the
>intricacy in manipulating the EDP Sync system but
>I can't figure it out from the manual or on a EDP e-group."

Are you using the proper cable? 95% of the time people have a BrotherSync
problem, it is because they are using a mono cable instead of a stereo
(TRS) cable. There is a whole section in the echoplex FAQ about brother
sync, which has this and lots of other helpful tips:

FAQ main page - http://www.annihilist.com/loop/tools/echoplex/FAQ.html
Brother FAQ page - http://www.annihilist.com/loop/tools/echoplex/FAQ7.html

also, if you have older units, some of the early ones tended to give that
ERR message if you had 4 or more of them connected with BrotherSync. New
ones shouldn't have this problem. Even with the old ones, you can usually
just flip it off and on and its ok.


>
>"Sync-ing with Midi In/Out/Thru works but the sync
>falls out of unison after approximately 8 minutes,
>fully discernable after about 12 to 13 minutes."

Are you using the LoopIIIv5.0 software? All reports I've heard are that
midi sync is rock solid with this release, and that's been my experience.
You are syncing the echoplex to another device, like a sequencer, right? Is
that device's clock drifting a lot? If the other device has it's tempo
drift far enough, the echoplex will quit trying to sync to it. But that
usually takes quite a bit of drift. Also, do you have the sync parameter
set right? Are you seeing the green dot on the display flash when the sync
point comes?


>
>"Foot Controller is very fragile and temperamental."
>
>"The Buttons (red) of the pedal are made of circuitry
>of the cheapest kinds and with the precise timing
>the EDP requires for performance, they are difficult to
>control with these cheap red buttons which behave
>unpredictably at times."

I actually tried about 30 different switches around the time we designed
this, and found I liked these cheap red ones the best as far as accurate
tapping goes. The force required to press them wasn't too much or too
little, and I could tell when it contacted. Also, being red made them easy
to see. The trouble is, if you stomp hard on them a lot, you can break
them. Go easy on it, and it will last a long time. (In fact, you will be
much more accurate in tapping if you use a lighter touch....)  My pedal has
lasted 5 years now, with no trouble. If you do break one of them, they are
available from Mouser Electronics (www.mouser.com) and are very easy to
replace yourself.

With the heavy-duty industrial switches, I found they were often difficult
to tap with accuracy, because most required a fairly large amount of force
to press them. A lot of them also make loud click sounds when they contact,
which I find unnacceptable. And in general, they cost $3-6 each, so if you
think the pedal is expensive now, boy would you cry then! If you really
don't like the switches used in the production model, you can try some
other switches and replace them with ones you like. As I said, it's very
easy to do this modification. Also, it's very easy to make your own pedal,
the instructions are on the LD web site.

Otherwise, the pedal is made with good sheet metal construction and
point-to-point wiring. It should be quite rugged.


>
>"The maximum EDP capability of 198 seconds
>should be Standard for all newly produced units."

Now that the cost difference between a 4MB simm and a 1MB simm is pretty
small, I imagine they would do this. Such a thing already happened
once...the echoplex originally shipped with 12.5 seconds installed, with a
50 sec version for quite a bit more money. (and of course, you could
upgrade it yourself to the full 198.)  When the memory prices dropped, they
just sold it with 50 seconds installed at the price where they had sold the
12.5sec version. It's probably at a good point to make such an adjustment
again, and I would guess that they will do that sooner or later.


>"Most local Music Stores want to charge arm and a leg
>for a unit of EDP and if you want the pedal with it, they'll
>try to milk you for another $100 to $125."

that's called capitalism.... I'm pretty sure Gibson didn't invent that
one...:-)


>
>"Taking minimum 3 months to receive one from Gibson,
>only the true, dedicated loopers will order EDP while
>the EDP's capability can be marketed to the general
>musician and when advertised smartly, it can become
>a must have for every serious musician."

that I think is a true statement! they just need to make them consistently,
and everything will follow, peace will reign, etc....



>"The price of Echoplex Digital Pro are prohibitive."
>"Mid $500.00 to mid $600.00 seems reasonable,
>which should include the pedal as part of the unit."

again, capitalism..... Demand is much higher than supply, so I wouldn't
expect any dramatic price reductions to happen. Although, street price for
the echoplex usually seems to be in that $600 range (not including the
pedal), which I think is a pretty good deal.

Besides, given that low-end samplers and good effects units are around
$1200, the echoplex price doesn't seem high at all given the extensive
capabilities and the unique set of features.



>The more popular the EDP, the more accessible to us
>the price and availability.
>Perhaps we should be promoting the EDP to every musicians,
>magazines, and music stores we know.
>
>I know some of us are already trying to promote EDPs
>but think of it...
>A pair of EDPs in every musician's garage...


Good luck to you guys, keep poking those Gibson folks, and they'll do what
you want!

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


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>
> Subject: Why they DRUG OUT [a story]
> Date: Thu, 10 Jun 1999 13:52:56 -0500 (CDT)
> From: Todd Madson <crash@waste.org>
> To: Loopers-Delight@annihilist.com

>
> .  My teeth and jaw hurt so much that
> I practically gave myself TMJ
>
> Todd Madson
> Musician, Mountain Biker, Stunt Kite Flyer, BeOS/MacOS/Linux/WinNt user.
> http://www.waste.org/~crash/index.html
>
>   ------------------------------------------------------------------------
>

good post, enjoyed yours and others, too..
    watch yourself, a guitar buddy of mine in his mid 40's , after years of
clinching teeth..ended up with a 5 figure doctor's bill and a reconstructed mouth,
full of metal...now won't that set off the detectors at airports..ok_-----_____old
loop content in music.(warning old silly song when the world was young and naive)
here we go loopty lu, here we go loopty li, here we go loopty lu, all on a Saturday
Night..drug content now______can't remember who did it, short term memory loss..now
where did i set that Jolt cola?????? Into the mist again <jscottd>

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Date: Thu, 10 Jun 1999 22:45:26 -0500
To: Loopers-Delight@annihilist.com
From: Patrick Smith <patrick@his.com>
Subject: Fwd: FW: [dc-improv-announce] 6/11 - Henry Kaiser
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Hey druggies and non-druggies....if you need something to do tommorrow
night, I'll see you there...

patrick


>> -----Original Message-----
>> From:	Vincent Kargatis [SMTP:lartis@pressroom.com]
>> Sent:	Monday, June 07, 1999 17:09
>> To:	dc-improv-announce@wnur.org
>> Subject:	[dc-improv-announce] 6/11 - Henry Kaiser
>>
>> Press release for Henry Kaiser concert this Friday:
>> --
>>                  "A rare appearance by one of the
>>                   great American free improvisers"
>>
>>
>>                   Jackaldog Uncorporated presents
>>
>>                          FRI, 11 JUN 1999
>>
>>
>>                        HENRY KAISER - guitar
>>
>>
>>                                with
>>                           JEAN COOK - violin
>>                         JOHN MCCAIN - guitar
>>
>>                                  @
>>                 Music Program Recital Hal, Bldg 46-W
>>                  University of District of Columbia
>>                  4200 Conn. Ave NW (@ Van Ness), DC
>>                      Metro: Van Ness/UDC (red)
>>
>>
>>                               8 pm  $5
>>
>>
>> Widely recognized as one of the most creative and innovative guitarists,
>> improvisers, and producers in the fields of rock, jazz and experimental
>> music, California-based musician Henry Kaiser is one of the most
>> extensively recorded as well, having appeared on more than 140 different
>> albums.  A restless collaborator who constantly seeks the most diverse
>> and personally challenging contexts for his music, Mr. Kaiser not only
>> produces and contributes to a staggering number of recorded projects, he
>> performs frequently throughout the USA, Europe and Japan, with several
>> regular groupings as well as solo guitar concerts and concerts of freely
>> improvised music with a host of diverse instrumentalists.  Evidence of
>> his exceptional musical breadth and versatility can be found in a (very)
>> abbreviated list of the extraordinary artists he's collaborated with:
>> David Lindley, Rova, Elliot Sharp, John "Drumbo" French, Bill Laswell,
>> Steve Lacy, Fred Frith, John Abercrombie, Leo Smith, Negativland,
>> Michael Stipe, Terry Riley, Jim O'Rourke, Diamanda Galas, Sonny
>> Sharrock, Hans Reichel, Chris Cutler, Henry Cow, John Zorn, David Torn,
>> Bill Frisell, Joey Baron, George Lewis, Peter Brotzmann, Greg Allman,
>> Jerry Garcia, Miya Masaoka, Cecil Taylor, and many, many more.
>>
>> As one of the "first generation" of American free improvisers, born in
>> Oakland CA in 1952, Mr. Kaiser has helped unfetter the guitar from the
>> conventions of genre-bound techniques, but his instrumental virtuosity
>> and technological breakthroughs are always deployed in the service of
>> deep and immediate personal expression.  Likewise, he has developed a
>> highly individual, inimitable style from an uncommonly varied range of
>> influences.  Some of his musical sources include traditional blues, East
>> Asian, Classical North Indian and Hawaiian music, free jazz, free
>> improvisation, American steel-string concert guitar, and 20th century
>> classical, but like any probing artist he also draws creatively from
>> other abiding interests, which for Mr. Kaiser include Information
>> Theory, experimental cinema, mathematics, experimental literature and
>> SCUBA diving.
>>
>> He will be performing in DC with local improvisors John McCain on guitar
>> and Jean Cook on violin in an all-acoustic, unrehearsed free-improvised
>> concert, the first meeting for this trio.  All proceeds go directly to
>> the artists.  Mr. Kaiser is *rarely* in this area, so don't miss this
>> opportunity to see and hear him live!
>>
>> The concert is held in the music building at the far end of the campus
>> (away from the corner of Conn./Van Ness).  Go as far as you can into the
>> campus and you'll find it.
>>
>> Audio sample available at
>> http://www.pressroom.com/~lartis/transparent/AllSched.html
>

From Loopers-Delight-request@annihilist.com  Thu Jun 10 23:36:34 1999
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I've had a Digitech RPS 8000 for a verry long time, 3 Jam Men, and two
Echoplexes, one Vortex....none of them have found it neccessary to do any
drugs...let's get back to gear....

:)

patrick


                    http://www.fingerpaint.net


oops, I nearly forgot the 3 or 4 Jam Men that were bought and sold on the
black market...all sober....

From Loopers-Delight-request@annihilist.com  Thu Jun 10 23:36:35 1999
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>
>
> Subject: RE: EDP -- Group Buy II
> Date: Thu, 10 Jun 1999 12:15:08 -0700
> From: Steve Han <curbfeeler@transworld-lax.com>
> To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
> CC: "'DKirkdorffer@exapps.com'" <DKirkdorffer@exapps.com>
>
> David,
>
> Great idea.
>
> "The maximum EDP capability of 198 seconds
> should be Standard for all newly produced units."

<jsd> yes it should, mine wasn't and I added that later, like within the week..

>
>
> "Most local Music Stores want to charge arm and a leg
> for a unit of EDP and if you want the pedal with it, they'll
> try to milk you for another $100 to $125."

<jsd> ahh yes, capitalism, isn't it wonderful?

>
>
> "Taking minimum 3 months to receive one from Gibson,
> only the true, dedicated loopers will order EDP while
> the EDP's capability can be marketed to the general
> musician and when advertised smartly, it can become
> a must have for every serious musician."

<jsd>It took me almost 1/2 a year to get mine about 3 or 4 years ago, prepaid

>
>
> "The price of Echoplex Digital Pro are prohibitive."
> "Mid $500.00 to mid $600.00 seems reasonable,
> which should include the pedal as part of the unit."

<jsd>Mine cost $900 with a break__ the pedal was the above price you stated__I
don't think you will ever see it at that price you would like, hopefully you will
see them again though. Now, IF it is at that price, some corners will have to be
cut, that's for sure..

>
>
> "This is my opinion and experience and does not represent
> any other persons, groups, or identity."
>
> ***********
>
> I hope someone at Opcode / Gibson will give the above points
> some thought.
> The more popular the EDP, the more accessible to us
> the price and availability.
> Perhaps we should be promoting the EDP to every musicians,
> magazines, and music stores we know.

<jsd> yes you should...it all goes back to supply and demand..most times when
something is discontinued, it is because there is not enough of a demand to warrant
keeping it in line, I had found out about Gibson doing away with Oberheim about 1
year or so ago from someone that I know who works there...Sorry about the delayed
message, But I just found you guys..I'm slloowww.

>
>
> I know some of us are already trying to promote EDPs
> but think of it...
> A pair of EDPs in every musician's garage...

<jsd>THAT would be nice!!!!! for now I guess I will have to make due with my jamman
and vortex

(ps thanks for the tips on it_Andy Butler __
Subject: Vortex loop mangler (patch)
   Date: Fri, 4 Jun 1999 12:48:55 EDT
   From: SoundFNR@aol.com )

..bought new many years ago...it's a nice compliment to  the EDP..and to think I
tried to sell the jamman for $200 a while back and now I find it's worth , what was
that? $6,,,8 hundred dollars on e-bay...whooooo

>

>
>
> Thanks for the effort David.
>
> Curbie
>
> -----Original Message-----
> From:   David Kirkdorffer [SMTP:DKirkdorffer@exapps.com]
> Sent:   Wednesday, June 09, 1999 9:46 AM
> To:     'Loopers-Delight@annihilist.com'; Loopers-Delight-d@annihilist.com
> Subject:        EDP  -- Group Buy II
>
>

<jsd>And in all seriousness guys and gals__good luck in your endeavors..now it's
back into the ozone again

From Loopers-Delight-request@annihilist.com  Fri Jun 11 00:31:16 1999
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Reply-To: "Tom Lambrecht" <hideo@concentric.net>
From: "Tom Lambrecht" <hideo@concentric.net>
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Subject: Re: RDS 4000
Date: Thu, 10 Jun 1999 23:25:07 -0500
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just saw one . . . 

http://www.billsmusic.com/keyboards.html

$159  "or reasonable offer"

4 secs. of warpable, modumutant rack mount

Tom Lambrecht
hideo@concentric.net
-----Original Message-----
From: Patrick Smith <patrick@his.com>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Thursday, June 10, 1999 10:55 PM
Subject: My Loop Boxes


>I've had a Digitech RPS 8000 for a verry long time, 3 Jam Men, and two
>Echoplexes, one Vortex....none of them have found it neccessary to do any
>drugs...let's get back to gear....
>
>:)
>
>patrick
>
>
>                    http://www.fingerpaint.net
>
>
>oops, I nearly forgot the 3 or 4 Jam Men that were bought and sold on the
>black market...all sober....
>
>

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To: <Loopers-Delight@annihilist.com>
Subject: Re: FW: [dc-improv-announce] 6/11 - Henry Kaiser
Date: Fri, 11 Jun 1999 00:39:18 -0400
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You got this message on Monday, but didn't let us know until today. What,
were you saving it for yourself. I would've loved to go. Too bad i didn't
know in advance.

Jeff Collins

A Strange View of Music

Showcasing the music of
Jeffrey Collins and Ken Rubenstein

www.geocities.com/SunsetStrip/Stadium/1429/STRANGETONES.html

"I TRUST IMPULSE, CREATIVE INTUITION, AND UNMOTIVATED
SPONTANEITY, BUT ABOVE ALL RESPONSIVE ACTION WITH
AS MANY FILTERS THAT ONE CAN AVOID." Robert Rauschenberg

-----Original Message-----
From: Patrick Smith <patrick@his.com>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Thursday, June 10, 1999 11:18 PM
Subject: Fwd: FW: [dc-improv-announce] 6/11 - Henry Kaiser


>Hey druggies and non-druggies....if you need something to do tommorrow
>night, I'll see you there...
>
>patrick
>
>
>>> -----Original Message-----
>>> From: Vincent Kargatis [SMTP:lartis@pressroom.com]
>>> Sent: Monday, June 07, 1999 17:09
>>> To: dc-improv-announce@wnur.org
>>> Subject: [dc-improv-announce] 6/11 - Henry Kaiser
>>>
>>> Press release for Henry Kaiser concert this Friday:
>>> --
>>>                  "A rare appearance by one of the
>>>                   great American free improvisers"


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From: "Alan Imberg" <alan_i@sprynet.com>
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Date: Thu, 10 Jun 1999 22:08:02 -0700
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 I wanted to tag on to Kim's mention of Q-bert and Mix Master Mike.
The Invisibl Skratch Piklz have a cool website I checked out to hear there
stuff. The have what they call Skratch Radio which is a RealPlayer radio
channel. Its fun to listen to while I get caught up on e-mails. Heres the
address if anyones interested:

http://www.skratchpiklz.com/

> >I really like Qbert's "wave twisters" album.
> > Mix Master Mike's album was alright too. And the Automator on the Dr.
> > Octagon album from last year, wow....
> >
>
> >
> > kim
> ______________________________________________________________________
> > Kim Flint                   | Looper's Delight
> > kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
> > http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com
> >
> >
>
>


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all this talk of looping stretching time.. how about time stretching
your loops!

in return for some great recent 'texter patches from Andy, thought i'd
share where i've been spending a number of hours recently (no drugs
involved apart from sleep deprivation):

A  :  reflexion A              B : deja vu B

mix            40                        64
output        64                        64
mod fx        1                        20
echo fx        ped                     64
morph        5                          50
env            64                        ped
echo1        3                           2
echo2        2                           2
fb1            60                         64
fb2            32                         1
rate1           8                          8
depth1        60                       28
res1            1                          45
rate2           50                        50
depth2        64                        48
res2            64                        28

really need the pedal to get the most out of this i guess...

start off in A... i like to avoid loud attacks and use the pedal very
slowly... a steady down press will bring in the echoes (echo fx controls
the inputs to the delays in the reflexion preset)... initially a
quivering atmospheric effect  resolving to a slightly pitch bent short
cycle delay... pedal toe-up lets the echo fade out naturally while you
play over the top.  keep the knob pointing at feedback 1 so you can be
ready to "loop" or "kill" the short delay... sustaining something and
varying its volume while the pedal is toe-down produces some interesting
quiet quivering flange type thingies embedded in the thick  echo...

various effects are possible when morphing to B, which is a looper with
the quivering rate 50 theme in the background... with the "straight" A
delay cycling away and no input signal present, morphing to B with the
pedal toe-up will (usually - according to the tap length) triple the
length of the loop---and half will be what was in echo 1, the other half
will be a "gap" (usually with some soft phasey sounding stuff in it)...
if there is material input during the morph with the pedal toe-down, a
mutated bent version of the input will occupy the second half of the B
loop... try input with toe-up etc (yeah.. like i need to tell you guys
to experiment ;) enjoy!

brad


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Date: Fri, 11 Jun 1999 10:35:29 +0200
From: mark <mark.francombe@in2win.com>
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muso

Patrick Smith wrote:
> 
> I've had a Digitech RPS 8000 for a verry long time, 3 Jam Men, and two
> Echoplexes, one Vortex....none of them have found it neccessary to do any
> drugs...let's get back to gear....
> 
> :)
> 
> patrick
> 
>                     http://www.fingerpaint.net
> 
> oops, I nearly forgot the 3 or 4 Jam Men that were bought and sold on the
> black market...all sober....

-- 
\
-\
--\
---\
----\
-----\
------\
-------\
--------\
---------\
----------\
-----------\
------------\
mark-red-----\
--------------\
---------------\
work------------\
-----------------\
in2win------------\
-------------------\
multimedia-designer-\
ovre-slottsgate-5----\
0157-oslo-------------\
tlf.--22-40-29-94------\
fax--22-42-14-24--------\
e-mail--mark@in2win.com--\
web--http-//www.in2win.com\
---------------------------\
----------------------------\
personal---------------------\
tlf.-22-43-10-79--------------\
mob.-91-56-99-88---------------\
mark@8day.com-------------------\
christine@8day.com---------------\
----------------------------------\
-----------------------------------\
redweb------------------------------\
http-//www.8day.com/redweb-----------\
--------------------------------------\
---------------------------------------\
icq-4531031-----------------------------\
-----------------------------------------\

From Loopers-Delight-request@annihilist.com  Fri Jun 11 05:42:02 1999
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Date: Fri, 11 Jun 1999 10:22:40 +0100 (BST)
From: Jim Carter <Jim.Carter@bristol.ac.uk>
To: list server loopers delight <loopers-delight@annihilist.com>
Subject: Eno Looooong time stretch
Message-ID: <Pine.SGI.3.95q.990611101318.1366A-100000@zeus.bris.ac.uk>
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Not loop related but ....

I Heard an interview with Brian Eno on Radio 4 (UK quality radio) 
this morning representing the Society for the Extended Present
(or something similar) who are deticated to increasing the
attention span. 
According to the interview he would like to build a clock which
ticks once a year and "bongs" once a century. 
Is this an example of preplanned silence? Will he sample it for
a composition? Is this just a means of building suspense?
Should I stop listening to interviews before I'm properly awake?


Jim Carter

e-mail jim.carter@bris.ac.uk

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You can read all about Eno's Millenium Clock commission at:
<http://www.newsweek.com/nw-srv/issue/05_99a/printed/us/st/ty0105_1.htm>

or if that doesn't take you there, you can find it (and read other related
pieces) through the NEWS section of the Eno Website at:
<http://www.hyperreal.org/music/artists/brian_eno/news.html>

Tim

ps: I notice your posting contains the word "bongs"; would this be a drug
reference in accordance with the previous altered-time thread?
Flamethrowers: hold your fire!!! :^)

At 10:22 AM 6/11/99 +0100, you wrote:
 
>According to the interview he [Brian Eno] would like to build a clock which
>ticks once a year and "bongs" once a century. 
>Is this an example of preplanned silence? Will he sample it for
>a composition? Is this just a means of building suspense?
>Should I stop listening to interviews before I'm properly awake?
>
>Jim Carter
>
>e-mail jim.carter@bris.ac.uk

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I read an article about that clock. The Clock of the Long Now or
something similar. It will only need winding every 10,000 years and
could withstand a hit from a nuclear missile.

The organization is promoting thinking way beyond our lifetime. Planning
for millennia way after we are gone. The clock is being built by the
Long Now Foundation and was dreamed up by Danny Hillis. The article was
in the January 1999 edition of WIRED.

dave

Jim Carter wrote:

> Not loop related but ....
>
> I Heard an interview with Brian Eno on Radio 4 (UK quality radio)
> this morning representing the Society for the Extended Present
> (or something similar) who are deticated to increasing the
> attention span.
> According to the interview he would like to build a clock which
> ticks once a year and "bongs" once a century.
> Is this an example of preplanned silence? Will he sample it for
> a composition? Is this just a means of building suspense?
> Should I stop listening to interviews before I'm properly awake?
>
> Jim Carter
>
> e-mail jim.carter@bris.ac.uk

From Loopers-Delight-request@annihilist.com  Fri Jun 11 07:47:16 1999
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Date: 	Fri, 11 Jun 1999 06:37:53 -0500 (CDT)
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From: Todd Madson <crash@waste.org>
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Subject: EDP Sighting...
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I got a catalog in the mail that indicates that Eastcoast Music Mall
has or recently had an Echoplex Digital Pro for $490 (!), I believe
the footswitch was somewhere in the low hundred dollar range.

Someone go grab it before it vanishes.

Re: TMJ - I learned to unlearn that habit of clenching my jaw.  
Eventually I just learned to play with my mouth hanging open,
drooling on my guitar and other equipment.  Seriously, it took
a long time to get over that one.  

Todd Madson
Musician, Mountain Biker, Stunt Kite Flyer, BeOS/MacOS/Linux/WinNt user.
http://www.waste.org/~crash/index.html

From Loopers-Delight-request@annihilist.com  Fri Jun 11 08:41:03 1999
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Date: Fri, 11 Jun 1999 08:22:19 -0400
Subject: Re: EDP  form A
From: "sandro" <sscoccia@ma.ultranet.com>
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hello David,
here we go with my form A, 100% committed...
please do not post personal data [address, phones and email] on any public
place

  FORM A
 A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP IF I CAN FIND ONE" ORDERS FORM

 Please provide the following details in the following format:

 A. NAME:sandro scoccia
 A. MAILING ADDRESS:122 calumet street #2, Boston, MA 02120
 A. DAY PHONE:617-747-2039
 A. NIGHT PHONE:617-989-0786
 A. E-MAIL:sscoccia@ma.ultranet.com
 A. NUMBER OF EDP'S YOU WANT TO ORDER:1 with footswitch
 A. DATE YOU SUBMIT YOUR REQUEST TO GROUP BUY II:6/11/99

 A. HOW MANY EDP'S DO YOU ALREADY OWN?0

 A. DO YOU ALREADY OWN ANOTHER "LOOPER"?akai headrush

 A. WHAT INSTRUMENT(S) DO YOU PLAY?electric bass

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

From Loopers-Delight-request@annihilist.com  Fri Jun 11 10:36:34 1999
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From: "Dennis W. Leas" <dennis@mdbs.com>
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>I've had a Digitech RPS 8000 for a verry long time, 3 Jam Men, and two
>Echoplexes, one Vortex....none of them have found it neccessary to do any
>drugs...let's get back to gear....

OK, Patrick, you've got my interest.  Can you please post a detailed
description of how your set-up is configured, i.e., a system diagram?  Also,
please describe how you find some real-estate to stand amongst all the
footpedals. :)

Dennis Leas
-----------------------------
dennis@mdbs.com


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From: haeusle <haeusle@aon.at>
Subject: sex, drugs & rock'n'roll ...probably off topic?
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hi everyone!
i followed this drug-thread and came (once again) to the conclusion that
everybody has to make up his own mind. yeah, some out there have had any
experiences with drugs, some still use 'em and most of us have a beer once
in a while...
a lot of people in my area take drugs (in fact my home town is on the top
of some kind of drug-statistics) and you can get them everywhere. 

every once in a while i ask myself why all these people around me use drugs
(including alcohol), but sometimes i even understand them. for my part i
found out that this stuff doesn'do any good inside my head. in fact music
is the best *drug* i found so far. every concert is a totally different
experience without any of these substances. it's just great when artists on
stage (or myself) have the ability to take my mind to other spheres, when
you don't think about all-days-problems anymore, when music just... you all
know what i mean...
it was really nice to hear that some people out there (hi Dennis!) made the
same experiences.

on the other hand there are a lot of artists (not just musicians) who (say
that they) need *something* to activate creativity, become more sensitiv or
whatever. can you imagine pink floyd's 'the wall' without lsd? what about
howie b. (what a great LOOPER!!!), tricky or massive attack? even the
beatles were known to be consumers of some type of green cigarets...

might be that my surounding made my blunted, but as long as others don't
get on my nerves with their habits (not just drugs) i don't care about it. 

lorenz









... i think that was off topic... sorry!

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Date: Fri, 11 Jun 1999 22:19:18 +0800
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From: trent1@iinet.net.au
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Hi everyone, Trent humphreys from Australia here,My god you have no idea
how hard it is to get an EDP in Australia at the moment!!!
     Could someone in the know please explain?!!!
    And this is an incredibly valuable site guys, I'm a looping busker
from Western Australia, and it's great to be connecting with likeminded 
people!  -www.imago.com.au/vrl/trent      Cheers!

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From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'Nathan Herrera'" <camdmg7@email.msn.com>, Loopers-Delight@annihilist.com
Subject: FW: Norton AntiVirus detected a virus in a message you received f
	rom  Nathan Herrera
Date: Fri, 11 Jun 1999 10:29:20 -0400
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Nathan, 

I must confess I don't understand why you sent me an e-mail with nothing in
it except this attachment for this virus-laden file.

It's as if you specifically were trying to give me this virus.

And then you sent me a "100%" request to buy an EDP.

Did you know you were sending me a virus file?




-----Original Message-----
From: NAV for Microsoft Exchange-BOS-MAIL 
Sent: Friday, June 11, 1999 10:17 AM
To: David Kirkdorffer
Subject: Norton AntiVirus detected a virus in a message you received.


Norton AntiVirus found the "Happy99.Worm" virus in the attachment
"Happy99.exe".
The file was Quarantined.

Sender of the infected attachment:  Nathan Herrera
Subject of the message:  Re: EDP  -- Group Buy II (form A)

From Loopers-Delight-request@annihilist.com  Fri Jun 11 11:38:27 1999
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From: "Trevor Hartsell" <pravda@introvert.org>
To: <Loopers-Delight@annihilist.com>
References: <F5E9D47CE08ED21182C10000D11BB150A075B2@bos-mail.exapps.com>
Subject: Re: Norton AntiVirus detected a virus in a message you received from  Nathan Herrera
Date: Fri, 11 Jun 1999 08:14:03 -0700
Organization: http://www.introvert.org/
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David, I believe Happy99.exe is the infamous "Melissa Virus" that you may
have heard about in the news last month.
It emails itself to people in the infectee's address book automatically, so
I seriously doubt that Nathan knew he sent it to you.

Regards,
Trevor
<http://www.introvert.org/>

----- Original Message -----
From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: 'Nathan Herrera' <camdmg7@email.msn.com>;
<Loopers-Delight@annihilist.com>
Sent: Friday, June 11, 1999 7:29 AM
Subject: FW: Norton AntiVirus detected a virus in a message you received
from Nathan Herrera


> Nathan,
>
> I must confess I don't understand why you sent me an e-mail with nothing
in
> it except this attachment for this virus-laden file.
>
> It's as if you specifically were trying to give me this virus.
>
> And then you sent me a "100%" request to buy an EDP.
>
> Did you know you were sending me a virus file?
>
>
>
>
> -----Original Message-----
> From: NAV for Microsoft Exchange-BOS-MAIL
> Sent: Friday, June 11, 1999 10:17 AM
> To: David Kirkdorffer
> Subject: Norton AntiVirus detected a virus in a message you received.
>
>
> Norton AntiVirus found the "Happy99.Worm" virus in the attachment
> "Happy99.exe".
> The file was Quarantined.
>
> Sender of the infected attachment:  Nathan Herrera
> Subject of the message:  Re: EDP  -- Group Buy II (form A)
>
>

From Loopers-Delight-request@annihilist.com  Fri Jun 11 11:41:55 1999
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From: Michael Peters <mpeters@csi.com>
To: "'Loopers Delight'" <Loopers-Delight@annihilist.com>
Subject: who's Robert Poss?
Date: Fri, 11 Jun 1999 17:21:52 +0200
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does anyone happen to know Robert Poss? He's a guitarist from NY and will 
do a concert here in Cologne/Germany tomorrow, as part of an avantgarde 
festival. Is it worth going?

-Michael

From Loopers-Delight-request@annihilist.com  Fri Jun 11 11:55:40 1999
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From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'ld thomson'" <heatshrink@hotmail.com>, Loopers-Delight@annihilist.com,
        "'newsletter@elephant-talk.com'" <newsletter@elephant-talk.com>
Subject: RE: Adrian Belew's Loops -- Review of show in Cambridge, MA -- Ju
	ne 10, 1999
Date: Fri, 11 Jun 1999 11:25:44 -0400
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I saw the Adrian Belew Show last night at The Middle East rock club in
Cambridge, MA.

To me the night displayed well Adrian's Hendix-meets-McCartney-on-Vaudeville
persona.  He's like an incandescant smile in a dark room.  Good lord he can
play guitar like no-one else.  When he solo's he's got all manner of
facility to what he plays.  

His peppy, chatty manner was very much in contrast to the standard fare
heard at The Middle East.  Sonically, the room is a hard one to balance and
to make sound good.  Indeed, every act I see that brings its own sound
person to this club sounds from bad to worse.  Last night was one of the
worst.  No low-end, soupy and WAY BRITE!  

Adrian had three guitar set-ups on stage.  Two acoustic (a dobro, and a
taylor) and one electric. Two Johnson Millennium amps, each with an
extension 2x12 cabinet, were arranged in a semi-circle behind Mr. B and on
top of a new black rug to keep Andrian's stuff clean and separated from
beaten stage-boards that will have seem all manner of wetness and wear.

Belewps were evidenced as Adrian played songs from his 20 years in Rock.
Belewps were not ambient at all, but rather riffs and chords which Adrian
could add to and use to support the songs he played.  No floaty tinklings
here.  I couldn't run down all the tunes, as many were unfamilar to me.  But
I can say the tunes from his first two records are dear to me and took me
back to a different time.  He also played Krimson songs including Neal &
Jack and Me and Dinosaur (which started on acoustic and ended on electric).
Pre-recorded drums supported a few tunes.

Adrian chatted between tunes.  He asked if anyone had questions. Unlike the
decorous assemblys at Robert Fripp's solo shows, this was a more rock and
rowdy crowd.  Adrian mentioned that he's involved in five different solo
projects, which when you think about it makes one smile.  The Bears will
have a new album.  Also, he promises that when Robert visits him next, they
will write a song together.  He mentioned his next big tour will be with
Krimson.

When asked, Adrian said his favorite guitarists in clude Hendrix and Jeff
Beck and Robert Fripp -- and that when he met Jeff Beck recently, Jeff
complimented him on his playing.  

The encore was a bit staged, as some of the room had started to clear out,
when lo! he was back and playing again.  

A few times we were reminded of the consession table and that he'd be out
after the show to chat and sign stuff.  

I was happy to shake his hand and ask if he would like to endorse the EDP.
He said yes.  I'll be following up on that with Stan, his management.

Overall, a unique and entertaining evening from a unique and entertaining
man.  

David Kirkdorffer
UNDO


-----Original Message-----
From: ld thomson [mailto:heatshrink@hotmail.com]
Sent: Thursday, June 10, 1999 4:58 PM
To: Loopers-Delight@annihilist.com
Subject: Adrian Belew's Loops


I pulled this off the Adrian Belew web site, thought it might be of some 
interest to you all.

Q- So the sound inspires a musical counterpoint, as opposed to you writing a

song and then searching for some sounds to make it work.

Belew - "Actually, I do both things. But it's very convenient for me if, 
when I find a new sound, generally I'm playing something and think "This is 
cool, I ought to write a song with this." But if I've already written a song

and I know I want to take the guitar in a certain direction, then I can sit 
down and design that sound for it.

Right now, I'm using a new amplifier called the Johnson Millennium. It has 
wonderful built-in effects, which are going to be very helpful for me to 
create the next generation of guitar sounds I'll work from. A recent 
discovery that I made, which is really helping me a lot, is ways to use 
loops, which I comically call "Belewps." And the loops systems I've been 
doing have been ones that are not static. Normally you think of a loop and 
you play something into it and it plays that back internally. I've been 
trying to work with loops you can interact with-add to, interrupt, and 
constantly change-while you're playing. This is all done with an expression 
pedal: Every time you bring the expression pedal in, you're tapping into the

loop, turning it on or off, or adding to it."

Q - Do you ever do something where you might use some kind of distortion or 
other modulation effects into the loop and play over the loop with a 
different kind of sound?

Belew - "That's what I am doing. The Johnson Millennium comes with a 
pedalboard, and you can determine whether or nor something is being turned 
on or off by manner of a normal footswitch, by manner of a momentary switch,

so that it's just being turned on as you're stepping on it, or by hooking it

to an expression pedal. Now, the loop is already on the expression pedal. On

the other footswitches, I usually have something like another delay, 
distortion, and perhaps a very interesting-sounding chorus. Because I've 
found it helps to separate. Once you have a loop you want to play something 
to, you can either sound like you're doubling it, or you can play against 
it, almost like Robert Fripp and I play sometimes-the same lines a little 
out of synch with each other-or you can choose a sound that's so different 
from it that it really does sound like two completely independent guitar 
players."

_____________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

From Loopers-Delight-request@annihilist.com  Fri Jun 11 12:07:52 1999
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Subject: Re: who's Robert Poss?
Date: Sat, 12 Jun 99 00:57:40 -0000
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I believe he's the guitar player from the Band of Susans.  Whether you 
should go would depend on what kind of music you're into...

If names like Thurston Moore, Bruce Gilbert, or Nicolas Collins come to 
mind, then his music may or may not interest you.  I can't be any more 
concrete than this since I have no idea what his set would be like.

>does anyone happen to know Robert Poss? He's a guitarist from NY and will 
>do a concert here in Cologne/Germany tomorrow, as part of an avantgarde 
>festival. Is it worth going?
>
>-Michael
>
>

From Loopers-Delight-request@annihilist.com  Fri Jun 11 12:10:35 1999
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Date: Fri, 11 Jun 1999 12:18:43 -0300
Message-ID: <0000FC33.C22133@poyry.com.br>
From: miguel.barella@poyry.com.br (MAT)
Subject: Re:"The Unbearable Lightness of Trying to Buy an EDP in Aust
To: trent1@iinet.net.au, Loopers-Delight@annihilist.com
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In 1997 I met an australian busker playing in Barcelona (Ramblas), his name was
Lindsay Buckland and he was using a JamMan and a lap dulcimer with a strap
(played like a guitar), magnetic pick up and Rolan GR somethig. 

Intresting coincidence with Trent's set up.

Miguel

____________________Separador de Resposta____________________
Assunto:    "The Unbearable Lightness of Trying to Buy an EDP in Austral
Autor:  trent1@iinet.net.au
Data:       11/06/1999 10:55

Hi everyone, Trent humphreys from Australia here,My god you have no idea
how hard it is to get an EDP in Australia at the moment!!!
     Could someone in the know please explain?!!!
    And this is an incredibly valuable site guys, I'm a looping busker
from Western Australia, and it's great to be connecting with likeminded 
people!  -www.imago.com.au/vrl/trent      Cheers!

From Loopers-Delight-request@annihilist.com  Fri Jun 11 12:33:24 1999
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Message-ID: <37613136.D66BA88@bellsouth.net>
Date: Fri, 11 Jun 1999 11:54:30 -0400
From: Jeff Duke <jmar@bellsouth.net>
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To: Loopers-Delight@annihilist.com
Subject: Re: Norton AntiVirus detected a virus in a message you received from  
 Nathan Herrera
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as a happy99 alumi I can report that it is not the melissia. I would recommend
that everyone thats online obtain and update their virus protection as there is
many new and more dangorous virus's out there now. Info on the happy99,exe can
be found at;
http://www.geocities.com/SiliconValley/Heights/3652/SKA.HTM

jd

Trevor Hartsell wrote:

> David, I believe Happy99.exe is the infamous "Melissa Virus" that you may
> have heard about in the news last month.
> It emails itself to people in the infectee's address book automatically, so
> I seriously doubt that Nathan knew he sent it to you.
>
> Regards,
> Trevor
> <http://www.introvert.org/>
>
> ----- Original Message -----
> From: David Kirkdorffer <DKirkdorffer@exapps.com>
> To: 'Nathan Herrera' <camdmg7@email.msn.com>;
> <Loopers-Delight@annihilist.com>
> Sent: Friday, June 11, 1999 7:29 AM
> Subject: FW: Norton AntiVirus detected a virus in a message you received
> from Nathan Herrera
>
> > Nathan,
> >
> > I must confess I don't understand why you sent me an e-mail with nothing
> in
> > it except this attachment for this virus-laden file.
> >
> > It's as if you specifically were trying to give me this virus.
> >
> > And then you sent me a "100%" request to buy an EDP.
> >
> > Did you know you were sending me a virus file?
> >
> >
> >
> >
> > -----Original Message-----
> > From: NAV for Microsoft Exchange-BOS-MAIL
> > Sent: Friday, June 11, 1999 10:17 AM
> > To: David Kirkdorffer
> > Subject: Norton AntiVirus detected a virus in a message you received.
> >
> >
> > Norton AntiVirus found the "Happy99.Worm" virus in the attachment
> > "Happy99.exe".
> > The file was Quarantined.
> >
> > Sender of the infected attachment:  Nathan Herrera
> > Subject of the message:  Re: EDP  -- Group Buy II (form A)
> >
> >

From Loopers-Delight-request@annihilist.com  Fri Jun 11 12:36:03 1999
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Date: Fri, 11 Jun 1999 11:59:47 -0400
To: Loopers-Delight@annihilist.com
From: Keenan Lawler <klaw@konstant.com>
Subject: Re: who's Robert Poss?
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Robert Poss -is best known as leader of semi obscure Band of Susans -based
in nyc in the mid eighties early nineties -most people describe them as
sort of more melodic -anti dissonant sonic youth 
he favors a interesting use of sustain -harmonic content in his guitar
playing composing -very rich with overtones -uses G&l axes & marshall or
park amps 
think he plyed with Branca -definetly has worked with Rhys Chatham-Phill
Niblock-Nicholas Collins 

saw him play here in Louisville with BOS around 94 -good show 

saw him play at Experimental Intermedia in NYC   in march -LOTS of looping
gear (at least 3 JM boomerrang etc),effects & modular electonics --


think hes recording other folks work as much as performing --


it should be interesting    K



At 05:21 PM 6/11/99 +0200, you wrote:
>does anyone happen to know Robert Poss? He's a guitarist from NY and will 
>do a concert here in Cologne/Germany tomorrow, as part of an avantgarde 
>festival. Is it worth going?
>
>-Michael
> 

From Loopers-Delight-request@annihilist.com  Fri Jun 11 12:41:06 1999
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Date: Fri, 11 Jun 1999 12:16:09 -0400
From: Jeff Duke <jmar@bellsouth.net>
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To: Loopers-Delight@annihilist.com
Subject: Re: Adrian Belew's Loops -- Review of show in Cambridge, MA -- June 10, 
 1999
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thank for the review. I am going to see him next Thursday. I have seen him solo
and with the Bears and man o man can that guy entertain or what?

jeff

David Kirkdorffer wrote:

> I saw the Adrian Belew Show last night at The Middle East rock club in
> Cambridge, MA.
>
> To me the night displayed well Adrian's Hendix-meets-McCartney-on-Vaudeville
> persona.  He's like an incandescant smile in a dark room.  Good lord he can
> play guitar like no-one else.  When he solo's he's got all manner of
> facility to what he plays.
>

From Loopers-Delight-request@annihilist.com  Fri Jun 11 13:21:51 1999
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> 
> David, I believe Happy99.exe is the infamous "Melissa Virus" that you may
> have heard about in the news last month.

No. Happy99.exe is the Happy99 worm.  It infects your computer when you
run the happy99.exe program.

Meliisa is a different but similar worm.  It infects your computer when you
open the Micro$oft Wrod .doc file that is attached to the message.  But it
will not infect your computer if you have virus protection option turned on
in your Word 97 program (i.e. the option to automatically run Word file
macros is turned off).

From Loopers-Delight-request@annihilist.com  Fri Jun 11 13:24:06 1999
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Message-ID: <70CA3F163AFED21197F100805FBB030F32C046@whi_exchange.malcolmpirnie.com>
From: "Wordsman, Lee" <LWordsman@PIRNIE.COM>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: RE: Adrian Belew's Loops -- Review of show in Cambridge, MA -- Ju
	ne 10,  1999
Date: Fri, 11 Jun 1999 13:17:58 -0400
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Does anyone know what/where to find Adrain's tour schedule.  I'm in NYC and
would love the chance to see him.  

> -----Original Message-----
> From: Jeff Duke [mailto:jmar@bellsouth.net]
> Sent: Friday, June 11, 1999 12:16 PM
> To: Loopers-Delight@annihilist.com
> Subject: Re: Adrian Belew's Loops -- Review of show in 
> Cambridge, MA --
> June 10, 1999
> 
> 
> thank for the review. I am going to see him next Thursday. I 
> have seen him solo
> and with the Bears and man o man can that guy entertain or what?
> 
> jeff
> 
> David Kirkdorffer wrote:
> 
> > I saw the Adrian Belew Show last night at The Middle East 
> rock club in
> > Cambridge, MA.
> >
> > To me the night displayed well Adrian's 
> Hendix-meets-McCartney-on-Vaudeville
> > persona.  He's like an incandescant smile in a dark room.  
> Good lord he can
> > play guitar like no-one else.  When he solo's he's got all manner of
> > facility to what he plays.
> >
> 

From Loopers-Delight-request@annihilist.com  Fri Jun 11 13:27:18 1999
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From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'Nathan Herrera'" <camdmg7@email.msn.com>,
        "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: RE: Norton AntiVirus detected a virus in a message you received f
	rom Nathan Herrera
Date: Fri, 11 Jun 1999 13:17:44 -0400
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Nathan -

My appologies to you.  I was not aware of how this virus "uses" a host
e-mail and propogates itself without the host knowing. 

Again, my apologies.

David Kirkdorffer


----------------------------------------------------------------------------
---
David:

we just came off a spate of Happy99 in the didgeridoo newsgroup and the
virus automatically mails itself  (in a separate message) to whoever the
infected party e-mails

was'nt Nathan's intent--just the blind desire of that little scrap of code
to LOOP

drone on~~~~~~~~~~~~
Tom Lambrecht
hideo@concentric.net
-----Original Message-----
From: David Kirkdorffer 
Sent: Friday, June 11, 1999 10:29 AM
To: 'Nathan Herrera'; Loopers-Delight@annihilist.com
Subject: FW: Norton AntiVirus detected a virus in a message you received
from Nathan Herrera


Nathan, 

I must confess I don't understand why you sent me an e-mail with nothing in
it except this attachment for this virus-laden file.

It's as if you specifically were trying to give me this virus.

And then you sent me a "100%" request to buy an EDP.

Did you know you were sending me a virus file?




-----Original Message-----
From: NAV for Microsoft Exchange-BOS-MAIL 
Sent: Friday, June 11, 1999 10:17 AM
To: David Kirkdorffer
Subject: Norton AntiVirus detected a virus in a message you received.


Norton AntiVirus found the "Happy99.Worm" virus in the attachment
"Happy99.exe".
The file was Quarantined.

Sender of the infected attachment:  Nathan Herrera
Subject of the message:  Re: EDP  -- Group Buy II (form A)

From Loopers-Delight-request@annihilist.com  Fri Jun 11 13:53:25 1999
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Date: Fri, 11 Jun 1999 13:31:26 -0400 (EDT)
From: billfox@lucent.com (William_B_Fox)
Message-Id: <199906111731.NAA01738@badboy.micro.lucent.com>
To: Loopers-Delight@annihilist.com
Subject: EMUSIC Playlist
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			Playlist for "EMUSIC"

"EMUSIC," an electronic, ambient, and space music show, airs each Thursday
at 11pm on WDIY 88.1 FM, Allentown and Bethlehem, PA and 93.9 FM in
Easton, PA and Phillipsburg, NJ.  http://www.wdiyfm.org/schedule/s_emusic.html

		Show #118		June 10, 1999.
		Host: Bill Fox		http://www.wdiyfm.org
		billfox@fast.net

On this show, I continued the month-long focus on Neu Harmony recording
group, AirSculpture.  Adrian Beasley, John Christian, and Peter Ruczynski
totally improvise their music!  The feature CD at midnight was Attrition
System.

	AirSculpture  :  http://www.softbase.co.uk/as
	Neu Harmony   :  http://www.neuharm.demon.co.uk
	EMUSIC Focus  :  http://www.wdiyfm.org/emusic/playlists/focus.html


ARTIST                  TRACK                    ALBUM (label)
======================= ======================== ==============================
11:00 pm
Ron Boots & Friends     Sonic Scenery part 2     Joie de Vivre (Groove)
Telomere                Timelapse                Astral Currents (Evenfall)
VA [Temps Perdu?]       Timepool                 Soundscape Gallery Volume 3
                                                   (Lektronic Soundscapes)
Deborah Martin          Deep Roots, Hidden Water Deep Roots, Hidden Water
                                                   (Spotted Peccary)
Bjorn Folgelberg        sixfiveoneoh             KarooshiPorn (Ninetysix Sounds)
VA [Vidna Obmana]       Closing Collage          Ambient Intimicy Volume 3
                                                   (EE Tapes)

12:00 am
AirSculpture            Amazonian Lepidoptera    Attrition System (Neu Harmony)
                          Theorise on Chaos
AirSculpture            Syzygy                   Attrition System (Neu Harmony)
AirSculpture            Slow Glass               Attrition System (Neu Harmony)
AirSculpture            Gegenschein              Attrition System (Neu Harmony)
AirSculpture            Void                     Attrition System (Neu Harmony)
AirSculpture            Attrition System         Attrition System (Neu Harmony)
AirSculpture            Malebranche *            Attrition System (Neu Harmony)

1:00 am

 * = exerpt
VA = Various Artists (compilation)

On the next EMUSIC, I will continue the month-long focus on the British
group AirSculpture.  The Feature CD at Midnight will be Europa on Neu
Harmony.

Please visit the WDIY web site and navigate through the schedule to the
EMUSIC pages.  Playlists for every show are there.  Hot links to artists
and labels can be found in the monthly focus section.

From Loopers-Delight-request@annihilist.com  Fri Jun 11 14:06:27 1999
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Date: Fri, 11 Jun 1999 13:33:07 -0400
From: Jeff Duke <jmar@bellsouth.net>
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To: Loopers-Delight@annihilist.com
Subject: Re: Adrian Belew's Loops -- Review of show in Cambridge, MA -- June 10,  
 1999
References: <70CA3F163AFED21197F100805FBB030F32C046@whi_exchange.malcolmpirnie.com>
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Its at his website. This should get you there.
http://www.murple.com/adrianbelew/tour.htm

jd

"Wordsman, Lee" wrote:

> Does anyone know what/where to find Adrain's tour schedule.  I'm in NYC and
> would love the chance to see him.
>
> > -----Original Message-----
> > From: Jeff Duke [mailto:jmar@bellsouth.net]
> > Sent: Friday, June 11, 1999 12:16 PM
> > To: Loopers-Delight@annihilist.com
> > Subject: Re: Adrian Belew's Loops -- Review of show in
> > Cambridge, MA --
> > June 10, 1999
> >
> >
> > thank for the review. I am going to see him next Thursday. I
> > have seen him solo
> > and with the Bears and man o man can that guy entertain or what?
> >
> > jeff
> >
> > David Kirkdorffer wrote:
> >
> > > I saw the Adrian Belew Show last night at The Middle East
> > rock club in
> > > Cambridge, MA.
> > >
> > > To me the night displayed well Adrian's
> > Hendix-meets-McCartney-on-Vaudeville
> > > persona.  He's like an incandescant smile in a dark room.
> > Good lord he can
> > > play guitar like no-one else.  When he solo's he's got all manner of
> > > facility to what he plays.
> > >
> >

From Loopers-Delight-request@annihilist.com  Fri Jun 11 14:33:39 1999
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Message-ID: <007001beb435$4acbf720$7400a8c0@ws103>
From: "Trevor Hartsell" <pravda@introvert.org>
To: <Loopers-Delight@annihilist.com>
References: <19990611170215.9690.qmail@unix01.voicenet.com>
Subject: Re: Norton AntiVirus detected a virus in a message ....
Date: Fri, 11 Jun 1999 11:07:38 -0700
Organization: http://www.introvert.org/
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Oops, that's right.  I remember now.
Sorry for the erroneous information.

-Trevor
<http://www.introvert.org/>

----- Original Message -----
From: <floyd@voicenet.com>
To: <Loopers-Delight@annihilist.com>
Sent: Friday, June 11, 1999 10:02 AM
Subject: Re: Norton AntiVirus detected a virus in a message ....


> >
> > David, I believe Happy99.exe is the infamous "Melissa Virus" that you
may
> > have heard about in the news last month.
>
> No. Happy99.exe is the Happy99 worm.  It infects your computer when you
> run the happy99.exe program.
>
> Meliisa is a different but similar worm.  It infects your computer when
you
> open the Micro$oft Wrod .doc file that is attached to the message.  But it
> will not infect your computer if you have virus protection option turned
on
> in your Word 97 program (i.e. the option to automatically run Word file
> macros is turned off).
>
>

From Loopers-Delight-request@annihilist.com  Fri Jun 11 14:35:20 1999
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From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'Jim Carter'" <Jim.Carter@bristol.ac.uk>,
        list server loopers delight
	 <loopers-delight@annihilist.com>
Subject: RE: CLOCK - Eno Looooong time stretch
Date: Fri, 11 Jun 1999 14:16:21 -0400
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He's kicked the idea around for a while -- at least since 1996 where he
mentions it in his Diary.  One of the goals of the project is to create
something that has a very long arc of continuity. And in so doing creates a
unity across large time-scales.

It's an attempt to thwart the ever increasing pressures to experience
immediate and fleeting events.

This one would be something that generations of people could share the same
way.

David Kirkdorffer



-----Original Message-----
From: Jim Carter [mailto:Jim.Carter@bristol.ac.uk]
Sent: Friday, June 11, 1999 5:23 AM
To: list server loopers delight
Subject: Eno Looooong time stretch


Not loop related but ....

I Heard an interview with Brian Eno on Radio 4 (UK quality radio) 
this morning representing the Society for the Extended Present
(or something similar) who are deticated to increasing the
attention span. 
According to the interview he would like to build a clock which
ticks once a year and "bongs" once a century. 
Is this an example of preplanned silence? Will he sample it for
a composition? Is this just a means of building suspense?
Should I stop listening to interviews before I'm properly awake?


Jim Carter

e-mail jim.carter@bris.ac.uk

From Loopers-Delight-request@annihilist.com  Fri Jun 11 14:54:09 1999
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Subject: Re: EDP Sighting...
Date: Fri, 11 Jun 99 11:33:59 -0700
x-sender: matt@mail1.xoom.com
x-mailer: Claris Emailer 2.0, March 15, 1997
From: Matt Peterson <matt@xoom.com>
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Thanks, Todd.  $499 it was. $99 for the footpedal.  Mint condition used, 
orig. packing, manuals, warranty, etc.  Of course, I had hoped for a 
brand new one (been on a waiting list many many months now) but given the 
current situation at Gibson, et al. I'll take what I can get.  Finally, 
my Hammond will become a looping monster.

Matt

6/11/99 4:37 AM   Todd Madson (crash@waste.org) wrote:

>I got a catalog in the mail that indicates that Eastcoast Music Mall
>has or recently had an Echoplex Digital Pro for $490 (!), I believe
>the footswitch was somewhere in the low hundred dollar range.
>
>Someone go grab it before it vanishes.
>
>Re: TMJ - I learned to unlearn that habit of clenching my jaw.  
>Eventually I just learned to play with my mouth hanging open,
>drooling on my guitar and other equipment.  Seriously, it took
>a long time to get over that one.  
>
>Todd Madson
>Musician, Mountain Biker, Stunt Kite Flyer, BeOS/MacOS/Linux/WinNt user.
>http://www.waste.org/~crash/index.html


Matt Peterson
Project Manager, Media Services
XOOM.com, Inc.
300 Montgomery St., 3rd Floor
San Francisco CA 94104
415-288-2505    FAX: 415-288-2575    matt@xoom.com
NASDAQ: XMCM

From Loopers-Delight-request@annihilist.com  Fri Jun 11 15:02:12 1999
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From: Joseph Buck <josephbuck@hotmail.com>
To: Loopers-Delight@annihilist.com
Subject: RE: CLOCK - Eno Looooong time stretch
Date: Fri, 11 Jun 1999 11:44:05 PDT
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Hey All-

That interview is available for today only at:
http://news.bbc.co.uk/olmedia/audio/r4today/r4today.ram

Its about 2 hours and 21 minutes in.

selam,


Buck

>From: David Kirkdorffer <DKirkdorffer@exapps.com>
>Reply-To: Loopers-Delight@annihilist.com
>To: "'Jim Carter'" <Jim.Carter@bristol.ac.uk>,        list server loopers 
>delight <loopers-delight@annihilist.com>
>Subject: RE: CLOCK - Eno Looooong time stretch
>Date: Fri, 11 Jun 1999 14:16:21 -0400
>
>He's kicked the idea around for a while -- at least since 1996 where he
>mentions it in his Diary.  One of the goals of the project is to create
>something that has a very long arc of continuity. And in so doing creates a
>unity across large time-scales.
>
>It's an attempt to thwart the ever increasing pressures to experience
>immediate and fleeting events.
>
>This one would be something that generations of people could share the same
>way.
>
>David Kirkdorffer
>
>
>
>-----Original Message-----
>From: Jim Carter [mailto:Jim.Carter@bristol.ac.uk]
>Sent: Friday, June 11, 1999 5:23 AM
>To: list server loopers delight
>Subject: Eno Looooong time stretch
>
>
>Not loop related but ....
>
>I Heard an interview with Brian Eno on Radio 4 (UK quality radio)
>this morning representing the Society for the Extended Present
>(or something similar) who are deticated to increasing the
>attention span.
>According to the interview he would like to build a clock which
>ticks once a year and "bongs" once a century.
>Is this an example of preplanned silence? Will he sample it for
>a composition? Is this just a means of building suspense?
>Should I stop listening to interviews before I'm properly awake?
>
>
>Jim Carter
>
>e-mail jim.carter@bris.ac.uk
>


_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

From Loopers-Delight-request@annihilist.com  Fri Jun 11 16:35:24 1999
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From: billfox@lucent.com (William_B_Fox)
Message-Id: <199906112012.QAA02512@badboy.micro.lucent.com>
To: Loopers-Delight@annihilist.com
Subject: Loopy Mood I'm In
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I'm in a goofy mood today.  So inhale...

Jim Carter said:
> I Heard an interview with Brian Eno on Radio 4 (UK quality radio) 
> this morning representing the Society for the Extended Present
> (or something similar) who are deticated to increasing the
> attention span. 

I lost interest and moved on to another matter...   ;-)

Hold it...

> please do not post personal data [address, phones and email] on any public
> place
>
>  FORM A
>  A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP IF I CAN FIND ONE" ORDERS FORM
> 
>  Please provide the following details in the following format:
> 
>  A. NAME:sandro scoccia

Let's all call Sandro... using 1-800-COLLECT to save him money!  ;-)

Hold it...

Dr. Michael S. Yoder said:
> Actually, whatever happened to that category called "C.I.", or
> "contemporary instrumental" that was supposed to be pushed by the record
> companies about five years ago?  They seemed in words (if not in deeds) to

CI has become a sub-genre of the New Age moniker.  New Age is the
dumping ground for not-rock, not-pop, not-jazz, not-classical,
not-soundtrack-or-musical, not-country, not-comedy, not-*...  You get
the picture!

Hold it...

Dennis Leas said:
> Too many times, however, the classification is used to define the music and
> musician.  As if to say, "This music is X and nothing else."  and "All music
> must be X or not-X (can't be both!)"  According to this narrow view, once a
> rocker always a rocker, for example.

Hey!  I like BOTH kinds of music... Country AND Western!  Seriously
though, some artists get around being pigeon-holed by using a different
pseudonym (pen name, nom de plume, alias) for each different genre they
explore.  If more than one genre sells big-time, then they can let the
cat out of the bag and rerelease all this stuff under one name, get
labeled a prolific genius who knows no boundaries, and REALLY rake it in
and release whatever they want!  (So long as it sells!)

> Contrary to this, most musicians I know enjoy a wider variety of music than
> non-players.  So in reality, playing music broadens your viewpoint, not
> narrows it.

A landscape architect uses many types of plants.  But we musicians are
supposed to know and create only one type of music?  Shit, you name a
popular genre and I've probably performed it at one point or another!
Folk, rock, country, blues, gospel, pop, classical, bluegrass, jazz,
traditional, avant-garde.  I imagine that most of the members of LD can
say the same.

Hold it...

Javier Miranda V. said:
> I'm saying it is "indeed a physical phenomena."  What is time?  What is
> reality?  We know from A. Einstein, may he rest in peace, even if we don't
> fully understand, that time is different whether you're standing still or
> moving at very fast speeds.

And time flies when you're having fun.  It's a perception thing.  Of
course, it is well documented that your state of mind can affect your
physical state.

OK, exhale!  ...What a rush, man!!

Bill     >>> home: billfox@fast.net <<<     work: billfox@lucent.com
==============================================================================
Host of Emusic, an electronic, ambient, and space music show.  Thursdays at
11pm on WDIY 88.1 FM, Allentown and Bethlehem and 93.9 FM in Easton and
Phillipsburg.  Email me if you wish to submit music for airplay consideration.
==============================================================================
My radio show:	http://www.wdiyfm.org
My band's site:	http://www.crosswinds.net/~shadowplay
==============================================================================
"Alas, one must merely be entertained by the sheer pig ignorance of music
industry people, which is as constant as the stars in heaven.  One then must
be as constant in their drive to create, despite such inane forces."
Stephen Goodman * Loopers-Delight-d Digest V99 Issue #219

"Those little boys don't think too much about what they say... (And how
can they know what they mean before they hear what they say?)"
- Heike M. Madder * Gold-Tri email list

From Loopers-Delight-request@annihilist.com  Fri Jun 11 16:51:57 1999
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Reply-To: "Tom Lambrecht" <hideo@concentric.net>
From: "Tom Lambrecht" <hideo@concentric.net>
To: <trent1@iinet.net.au>, <Loopers-Delight@annihilist.com>
Subject: Re: "The Unbearable EDP
Date: Fri, 11 Jun 1999 15:53:57 -0500
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well, Trent, you have no idea how tough it is to buy one here . . .  ;)

who's the LOOPER who elbowed ahead of me for the last EDP at EastCoast this
AM?????? I paused to count my lunch money, called Fred back and it was gone
:(

well, they were very friendly and Morgan, their resident tweaker who was
full of ?s about this Looper Delight thing (promised some posts) also knows
some of the Gibson (sic) crew and promised to keep us informed . . .

and as for the one who did the dastardly . . .

(could I maybe come over and use it when you're asleep .. . please??)

drone on~~~~~~~~~~~~

Tom Lambrecht
hideo@concentric.net

PS  BTW Trent, I'm a didg(eridoo) player or to some, an annoyance

-----Original Message-----
From: trent1@iinet.net.au <trent1@iinet.net.au>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Friday, June 11, 1999 9:56 AM
Subject: "The Unbearable Lightness of Trying to Buy an EDP in Australia


>Hi everyone, Trent humphreys from Australia here,My god you have no idea
>how hard it is to get an EDP in Australia at the moment!!!


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From: "Tom Lambrecht" <hideo@concentric.net>
To: <Loopers-Delight@annihilist.com>
Subject: Re: short loop pedal FS on Harmony
Date: Fri, 11 Jun 1999 16:08:03 -0500
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talked to this guy couple of days ago and this  sounded interesting, but
i've got too many short loopers

on Harmony:

FS: Ibanez DDL Digital Delay
Asking Price: US$60
Condition: Good
Age: N/A
Description:
Ibanez DDL Digital Delay

28ms to 1800ms. Has hold mode for looping. A few minor scratches, but
otherwise in very good condition. Indestructable. $60

Also have a Roland U220 - $185, and a KAT MIDI KITI drum pad interface - $99
Seller: Dan Eaton, 603-543-3269
E-mail: col3.16@iname.com (Profile)



pardon the commercial, but I'm sure someone can use it,

Tom Lambrecht
hideo@concentric.net

>

From Loopers-Delight-request@annihilist.com  Fri Jun 11 17:31:21 1999
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From: Steve Han <curbfeeler@transworld-lax.com>
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To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Cc: "'echoplex@yahoo.com'" <echoplex@yahoo.com>
Subject: RE: myths / Kim's feedback
Date: Fri, 11 Jun 1999 14:04:23 -0700
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Thanks Bret and Kim!

I am using the stereo chord to connect
the BrotherSync as Kim commented but no dice.

I had talked with Mike Ayers of Gibson
about 8 months ago (when I had acquired
the 2nd EDP for stereo) upon which I had taken
both of the units to an authorized Gibson
technician to figure out the problem. When I had
finally received the units back, there were no
improvements except that the I/O circuitry were
replaced to fix the hot, uncontrollerable levels
which distorted the signal.

Ever since then I've been using Midi I/O
to control both units with a single pedal,
connecting 1st EDP to the 2nd EDP.
(side note, both EDPs have the upgrade
and 198sec, although the Knobs are of
different models, suggesting older production
and a newer production)

I've had talks with Mike Ayers since then but
the conclusion was that I don't try any pieces
that are more than 10 minutes long.  lol.

Bret, "correct value of the Sync resistors"
is very interesting.  I'll investigate immediately.

Kim, well noted regarding the "red" buttons.
I will use lighter touch with the pedal as you
have suggested.  I think it's because I get so
excited during a performance that I stomp on
the pedal in trying to match the timing.
After reading your feedback,
I see the benefits now.

A saying pops up in my mind:
"Don't look at the gift horse in the mouth"
(or something like that)

Thanks for the feedbacks Bret and Kim.

Curbie

From Loopers-Delight-request@annihilist.com  Fri Jun 11 18:02:47 1999
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In a message dated 6/11/99 3:35:19 PM Central Daylight Time, 
billfox@lucent.com writes:

<< Shit, you name a
 popular genre and I've probably performed it at one point or another!
 Folk, rock, country, blues, gospel, pop, classical, bluegrass, jazz,
 traditional, avant-garde.  I imagine that most of the members of LD can
 say the same. >>

The point is to save time and perform them all simultaneously.

From Loopers-Delight-request@annihilist.com  Fri Jun 11 17:44:58 1999
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From: Philipp Zuercher <zurrigo@hotmail.com>
To: Loopers-Delight@annihilist.com
Subject: cancel membership
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sorry folks

can't read more than 100 mails a day, so although it's been a pleasure 
knowing the growing lot of you meditating, sound(e)scaping loopers, I prefer 
to spend my time on playing...

see ya later

Phil


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

From Loopers-Delight-request@annihilist.com  Fri Jun 11 18:28:17 1999
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From: Jeff Duke <jmar@bellsouth.net>
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To: Loopers-Delight@annihilist.com
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 Nathan Herrera
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BTW, there is a new and much worse e-mail virus afoot, I have gotten warnings
from all over the globe. More info at;
http://www.zdnet.com/anchordesk/story/story_3501.html

jd


David Kirkdorffer wrote:

> Nathan -
>
> My appologies to you.  I was not aware of how this virus "uses" a host
> e-mail and propogates itself without the host knowing.
>
> Again, my apologies.
>
> David Kirkdorffer
>
> ----------------------------------------------------------------------------
> ---
> David:
>
> we just came off a spate of Happy99 in the didgeridoo newsgroup and the
> virus automatically mails itself  (in a separate message) to whoever the
> infected party e-mails
>
> was'nt Nathan's intent--just the blind desire of that little scrap of code
> to LOOP
>
> drone on~~~~~~~~~~~~
> Tom Lambrecht
> hideo@concentric.net
> -----Original Message-----
> From: David Kirkdorffer
> Sent: Friday, June 11, 1999 10:29 AM
> To: 'Nathan Herrera'; Loopers-Delight@annihilist.com
> Subject: FW: Norton AntiVirus detected a virus in a message you received
> from Nathan Herrera
>
> Nathan,
>
> I must confess I don't understand why you sent me an e-mail with nothing in
> it except this attachment for this virus-laden file.
>
> It's as if you specifically were trying to give me this virus.
>
> And then you sent me a "100%" request to buy an EDP.
>
> Did you know you were sending me a virus file?
>
> -----Original Message-----
> From: NAV for Microsoft Exchange-BOS-MAIL
> Sent: Friday, June 11, 1999 10:17 AM
> To: David Kirkdorffer
> Subject: Norton AntiVirus detected a virus in a message you received.
>
> Norton AntiVirus found the "Happy99.Worm" virus in the attachment
> "Happy99.exe".
> The file was Quarantined.
>
> Sender of the infected attachment:  Nathan Herrera
> Subject of the message:  Re: EDP  -- Group Buy II (form A)

From Loopers-Delight-request@annihilist.com  Fri Jun 11 19:12:05 1999
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From: Mike.Biffle@wj.com (Mike Biffle)
Subject: Re[2]: Loopy Mood I'm In
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Someone...
<< Shit, you name a
 popular genre and I've probably performed it at one point or another!
 Folk, rock, country, blues, gospel, pop, classical, bluegrass, jazz,
 traditional, avant-garde.  I imagine that most of the members of LD can
 say the same. >>

billfox@lucent.com writes:
> The point is to save time and perform them all simultaneously.

It seems like with looping and the crowd that frequents this list, we ARE mixing
the genres all up and doing them simultaneously!..

It's the weirdest thing... I'll play my solo loop stuff and free improv, and end
up using all 4-6 of my fuzzes and it all sounds really great. I get called to do
a genre specific gig and end up using one clean sound, one od sound and one lead
sound (Usually not a fuzz either...) It's the weirdest thing. When I've been 
involved in writing projects from inception, my sounds usually get incorporated,
but man!.. it's amazing how the "standard" sounds of various genres, (almost) 
define the genre... 

After so many years of wacked out playing, it's (again... almost) a 
disappointment, kind of weird, to pull the reigns in and play "in form" on a 
gig. (It's also usually a lot of fun just to play and interact in any genre of 
music... to apply yourself to interpreting the form...) I guess if I had the 
time to do a variety of genre specific projects, I'd get my fill of them all and
feel less constricted by any single style. Is this something the rest of you 
experience?

-Miko

From Loopers-Delight-request@annihilist.com  Fri Jun 11 22:58:23 1999
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Date: Fri, 11 Jun 1999 19:39:26 -0700
To: Loopers-Delight@annihilist.com
From: Kim Flint <kflint@annihilist.com>
Subject: Re: vocalists?
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At 8:55 AM -0700 6/2/99, Dennis W. Leas wrote:
>Is anybody doing loops with primarily or exclusively vocals?  I.e., all or
>most sounds are vocally produced?  Do you have example, mp3 files, etc.?
>
>Dennis Leas
>-----------------------------
>dennis@mdbs.com

this was posted a while back, but I wanted to recommend Jim Mahoney. He
does solo vocals with heavy use of looping. He originally used the Paradis
LoopDelay, and now uses the echoplex. He's really quite a virtuoso, with
both his voice and the loops. I think the closest comparison might be Bobby
McFerrin, although Jim is clearly awesome in his own right. His style has a
heavy african and jazz influence, although there's quite a bit more there.
There are no words, all vocalizations to create rhythms, bass lines,
harmonies, melodies, etc. He uses the loops extensively to create a rich
variety of parts in his compositions. Complex interlocking rhythms,
harmonies, counterpart lines, etc. All interacting and evolving constantly,
and very musical. It's often hard to tell what's a loop and what isn't!  He
creates it all on the fly, in one shot, amazing to hear, really. But above
all, it's just great music, however he's doing it.

I have his demo cd, I'm not sure if he has anything available commercially.
(which would be quite a shame, really...he should). He doesn't seem to have
a web site, but I have his email address. Hopefully he doesn't mind if I
give it out:  jvmahoney@mediaone.net. Perhaps he would be willing to sell
some of his cds if you are interested.

oh, another vocalist/looper is Siobhan Canty, who is on the Looper's
Delight Volume 2 CD. If you don't have LD vol 2 yet, here's another reason
why you should. :-)

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


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Subject: RE: My Loop Boxes
Date: Fri, 11 Jun 1999 20:02:50 -0700
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I just found a great program on the Web to make flow diagrams, and it's not
so expensive.  It's called "SmartDraw 4."  You can create your own icons, or
use some from the extensive libraries.  It's really easy, and you can dump
them to GIFs or JPEGs in no time.

  | -----Original Message-----
  | From: Dennis W. Leas [mailto:dennis@mdbs.com]
  | Sent: Friday 11 June 1999 7:03 AM
  | To: Loopers-Delight@annihilist.com
  | Subject: Re: My Loop Boxes

..., Patrick, you've got my interest.  Can you please post a detailed
  | description of how your set-up is configured, i.e., a system
  | diagram?  Also,
  | please describe how you find some real-estate to stand amongst all the
  | footpedals. :)

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A short review of last night's adrian belew show in Phila:

The venue was a small nightclub. Tables everywhere with a buffet and
bar. I only mention this because some people sought to keep getting up
to grab more food or beer as though they were at a ball game. *Very*
annoying. Nevertheless the stage was great for seeing all that was going
on and the sound was great IMO.

The irresponsibles opejned the show promptly at 8PM (A word of warning -
if you're going to see this show be there early it really does start on
time!). They played an acoustic set (guitar/bass/minimal drum kit) of
entertaining pop songs with plenty of Girl/boy issues and catchy hooks.
Not really my thing but they were entertaining and the playing was
pretty good so this was a nice warmup for the man.

Adrian belew came out onstage at 9PM sharp. At first I didn't even
recognize him as he just strolled on out with no fanfare and I though he
was a stagehand! he then went into a couple minutes of what i can only
describe as wildass noise playing on the electric. After a few minutes
he stopped and looked out in the audience and said something like "Oh
sorry, I forgot you guys were out there." This pretty much set the
comical/freindly tone for the evening.

As stated before he had three guitars onstage. He wore the electric and
woudl occasionally swing it behind him to play the taylor acoustic or
what appeared to be a national steel, both of which were on stands and
he stood behind them to play.

He went thorough a little of everything talking to the audience between
almost every song. He started with some Belewups which to my mind were
simple EDP type tricks with some twists. Some of these were actual
'songs' according to him that would soon have lyrics and appear on an
upcomming solo album. He then played a few songs on the acoustic ("Men
in Helicopters" and "Young Lions" started it out) and then would do some
more instrumentals and  guitar pyrotechnics. He even played a new Bears
song. He also did a couple tunes with bass and drum backing tapes doing
what he called a "One man trio". While I'm not a fan of backing tapes,
this went over very well given the atmosphere of the show.

If you've ever seen his instructional video "How to play Electronic
Guitar" then you pretty much know how he explains things. This was more
a showcase for Adrian to explain his new projects than a full fledged
concert and as such it was not only entertaining (the guy's got a lot of
energy and a great sense of humilty) but also interesting. At one point
he smiled and said "The women are probably wondering 'Why is he doing
that?' while the men are wondering, 'How did he say he did that?'". 
This was probably true.

Other highlights included a noisefest of loops he called "Madness" which
he ended when the phone that was placed on stage rang and he went over
to pick it up. "That was Governor Tom Ridge, " he said, "he asked me to
stop doing that." A little entertainment never hurt anyone. :) He also
had some heartwarming things to say about Frank Zappa which came up
durring the little Q&A session he did between songs. 

He ended the show with a great showcase of what he's all about by
playing the same song (A new tune called "My Inner Man") two times. Once
on acoustic and then once fully bombastic with backing tapes and live
freak guitar. You couldn't even recognize it was the same song except
for the chorus and just goes to show the man can sing and write a damn
fine melody as well as go over the top in playing. All in all a
wonderful evening.

He came out after a few minutes and signed autographs and spoke to the
crowd a bit. Again, he was *very* down to earth and humble (I think he
actually blushed when people complimented him). One geek piece I picked
up was that Adrian still plays a roland GK2 pickup in his guitar but
when you look at it it looks more like a GK1 cable (Flat computer
multipin thing). I asked his engineer about this and he told me they had
the GK2 cable modifed on one side to a 9 Pin computer interface beecause
it kept falling out in performance. Last night he was playing what
appeared to be a standard issue fender start with additional electronics
and the GK2 connection built into the back of it.

If you've ever listened to Belew's solo albums or even been curious of
his playing you owe it to yourself to check out this tour. It's like
getting a personal guide through his history in recording and he even
shows you a few of his tricks. 

Concert info can be found at:

 http://www.murple.com/adrianbelew/tour.htm

There is also a link here for a petition to rerelease his first two solo
albums. Last night he was asked about this and he jokingly said he's
getting so frustrated that these aren't out he might bootleg his own
records just to make them available. 
-----------------------------------------------------------------------
     HELP WANTED PRODUCTIONS - Http://www.voicenet.com/~legion
"Bringing you the best in Organic Electronic music since we started..."
     
Home of the Unusual Instrument and Recording Gallery with pictures and
info of Tube recorders, Omnichords, weird guitars, Casios, and more.

From Loopers-Delight-request@annihilist.com  Sat Jun 12 13:24:59 1999
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From: rene pilloud <enerpiu@hotmail.com>
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Subject: Looking for echoplex
Date: Sat, 12 Jun 1999 09:42:30 PDT
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hello

this is rene from switzerland

im trying to find a echoplex by oberheim and the according footpedal to 
order or buy.

does anybody know where to find one???

i'm greatfull for all help

thanks a lot

                 rene


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

From Loopers-Delight-request@annihilist.com  Sat Jun 12 14:31:10 1999
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Date: Sat, 12 Jun 1999 07:26:26 -0700 (PDT)
From: dan sumner <permadan@yahoo.com>
Subject: Re: help with cool edit pro mp3 encoding etc...
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Can someone please help me?  I'm using Cool Edit pro
and I want to save wav to mp3.  I've been to
syntrillium's site and downloaded the files to add to
the program but I don't know where to put them so that
they will work.  I'm also having trouble running any
plug-ins.  For some reason I can not get them to come
up inside CEP.  
Also, can someone tell me how many chanels of audio
can run through a digital cable at once?  This is a
stupid question I know, but I'm trying to figure out
which digital mixer to use with my DAW.  Any
suggestions?

Anyone want to trade CD's?????
Dan Sumner
Permagrin, New Orleans, LA(very Hot now)
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com

From Loopers-Delight-request@annihilist.com  Sat Jun 12 23:21:56 1999
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Date: Sun, 13 Jun 1999 22:53:05 +0000
From: "J.G. Wong" <adaaxs@erols.com>
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        analogue@hyperreal.org
Subject: analog items for sale
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Studio cleanup sale

Items of good use I no longer need. For Sale or Trade.
Prices do not include postage

Half of the proceeds are going to my DIY moduar and the other half to
Saluki and Greyhound Rescue so hound up.

Mutron Micro IV vintage envelope follower - $ 100 (this is the amount
Analog Man offered me)

SSM 2056  ADSR .I have enough extras. I was surprised to find out this
chip is currently selling for $50.  You can build a decent envelope
generator with this one chip and a few components How about $40

NE 572 Audio Compander expander IC /with datasheet $10 (Is that fair ?)

Polyfusion 2040 sequencer control pcb,  2042 dual row pcb sold as set
only . I have no idea of what it is worth but built up the unit  (AS1
-R) is now over $500 Make offer.

Moog Opus 3 Owners manual  (Original) $ 5

Book: John Cage, A Year From Monday. Wesleyan U Press.  By John Cage,
First Edition LC67-24105  No dust jacket. Make offer.
Signifigant theorist, this fella was.

Danelectro Tube Reverb Tank - Needs recapping and springs cleaned or
replaced.  This is not a willy nilly purchase, Post me if you have
interest.

EMS Random Voltage Generator : Needs new mains cable works great. $ 300

Polyphony Magazine an ancient artifact, great DIY ethos carried over
into Electronic Musician until the early 90's $7 each
If you build your own gear you will use the hell out of these.
Nov/Dec 1980
Nov/ Dec 1981
Jan/ Feb 1981
July/ Aug 1981
Sept/ Oct 1981
May/ Aug 1982
Jan/ Feb 1982
Mar/April 1982
June 1983
Oct 83
Feb 84
Aug 84
Oct 84
April 85

I am up to my hips in back issues of Electronic Musician, Keyboard and
Guitar Player. Rather than recycle them I would rather sell them at a
fair rate. No list yet but if you have an interest please post me.

Fiveman

adaaxs@erols.com

From Loopers-Delight-request@annihilist.com  Sun Jun 13 00:30:11 1999
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too many emails a day for me to go through

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To: rene pilloud <enerpiu@hotmail.com>
From: haeusle <haeusle@aon.at>
Subject: Re: Looking for echoplex
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hi Rene!
i'm from austria and also tried to get an edp! as you probably know the edp
is out of production for a *little* while.

i tried to order an edp at music-city köln/germany, but they told me that
there has never been a unit distributed to germany 'cause there were some
problems with some kind of licence (he was saying something like all
products have to pass several technical tests to prove that it's a save
product).
i also tried other pretty good stores in germany (thoman, music
shop/munich), but the answer was about the same...
there are some other *happy* edp-owners here in europe, so if you guys read
this, please let us know how and where you got your echoplexi/plexes

as soon as the edp production will start again i'll grab some cases, hit
the states for some days, buy as many edp's as possible (... due bankrpcy
hopfully at least one :-)... ) and sell 'em over here. then i'm rich!

lorenz


At 09:42 12.06.99 PDT, you wrote:
>hello
>
>this is rene from switzerland
>
>im trying to find a echoplex by oberheim and the according footpedal to 
>order or buy.
>
>does anybody know where to find one???
>
>i'm greatfull for all help
>
>thanks a lot
>
>                 rene
>
>
>______________________________________________________
>Get Your Private, Free Email at http://www.hotmail.com
>
>
>

From Loopers-Delight-request@annihilist.com  Sun Jun 13 07:02:02 1999
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Message-ID: <376389D0.D13@ns.sympatico.ca>
Date: Sun, 13 Jun 1999 07:37:04 -0300
From: Paul Benteau <paul.sue@ns.sympatico.ca>
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does any one have a manual for an ada mac foot controller? I lost mine &
forget how to make the expression pedal work on the ccp inputs. I want
to be able to control the volume of my yamaha g50 midi converter.
Any info would be great!
Thanks
Paul

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At 2:07 AM -0700 6/13/99, haeusle wrote:
>hi Rene!
>i'm from austria and also tried to get an edp! as you probably know the edp
>is out of production for a *little* while.
>
>i tried to order an edp at music-city köln/germany, but they told me that
>there has never been a unit distributed to germany 'cause there were some
>problems with some kind of licence (he was saying something like all
>products have to pass several technical tests to prove that it's a save
>product).
>i also tried other pretty good stores in germany (thoman, music
>shop/munich), but the answer was about the same...
>there are some other *happy* edp-owners here in europe, so if you guys read
>this, please let us know how and where you got your echoplexi/plexes

I think they ordered from stores in the US that were willing to ship to
europe. Shipping costs are probably not too bad these days.

I think part of moving the echoplex production is to get it properly CE
approved finally, although it's not the first time they've made that
promise.....


>as soon as the edp production will start again i'll grab some cases, hit
>the states for some days, buy as many edp's as possible (... due bankrpcy
>hopfully at least one :-)... ) and sell 'em over here. then i'm rich!
>

you would probably be a very rich man if you did this! Just don't get
caught by the CE police...;-)

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


From Loopers-Delight-request@annihilist.com  Sun Jun 13 08:17:47 1999
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Date: Sun, 13 Jun 1999 07:46:55 -0400
From: Andreas Willers <AWillers@compuserve.com>
Subject: Re: Looking for echoplex
Sender: Andreas Willers <AWillers@compuserve.com>
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You cannot buy the EDP in Europe at this time since they do not have a
CE-certificate which is mandatory now. Even before it was very hard to get
your hands on one due to badly informed, overpaid distibutors. About the
same goes for the Boomerang.

A lot of US stores do handle overseas orders. I've dealt with Manny's,
Bananas at Large and others more or less to my satisfaction. Of cause there
are minor risks involved in shipment, customs, billing your credit card
BEFORE you get your hands on what you want but generally US stores are
quite competent and much cheaper,friendlier and more up-to-date than stores
this side of the Atlantic. I didn't have to deal with guaranties etc. so
far...

Your joke about buying a couple of EDP's while on travel (maybe financing
your trip that way) isn't even that far fetched. Right now it won't work
because: a) the high exchange rate for the US $, b) unavailability of the
EDP.

Servus, Andreas 

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From: Leo Cavallo <cavallo@dada.it>
Subject: Re: help with cool edit pro mp3 encoding etc...
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hi

At 07.26 12/06/99 -0700, you wrote:
>
>Can someone please help me?  I'm using Cool Edit pro
>and I want to save wav to mp3.  I've been to
>syntrillium's site and downloaded the files to add to
>the program but I don't know where to put them so that
>they will work.

no txt or doc files? maybe just exe to launch and self install?

  I'm also having trouble running any
>plug-ins.  For some reason I can not get them to come
>up inside CEP.  

if you're talking about direct X plug ins you have to install in your PC,
not directly in CEP. be sure to have a recent Direct X drivers version (5.2a
at last).

>Also, can someone tell me how many chanels of audio
>can run through a digital cable at once?  

which kind of digital cable? 2 if it's a spdif connection... 8 if is
lightpipe Adat...
 
This is a
>stupid question I know, but I'm trying to figure out
>which digital mixer to use with my DAW.  Any
>suggestions?
>
>Anyone want to trade CD's?????

samples CDs or music?

ciao
leo

>Dan Sumner
>Permagrin, New Orleans, LA(very Hot now)
>_________________________________________________________
>Do You Yahoo!?
>Get your free @yahoo.com address at http://mail.yahoo.com
>
>
>

From Loopers-Delight-request@annihilist.com  Sun Jun 13 09:58:27 1999
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From: "Mark Kata" <makata@bignet.net>
To: "Loopers Delight" <Loopers-Delight@annihilist.com>
Subject: JamMan Sighting
Date: Sun, 13 Jun 1999 09:14:03 -0400
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There's a JamMan with extended memory for sale at:

Brockton Music Works
1753 S. Main St.
Brockton,  MA  02401
Phone:  (508) 580-0088
Fax:  (508) 580-0179

Asking price:  $995.00 US  ???!!!

Don't e-mail me about it.  I just saw the ad on page 63 of the June/July =
1999 issue of Musicians Hotline.

Mark Kata

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<META content=3D'"MSHTML 4.72.2106.6"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>There's a JamMan with extended =
memory for sale=20
at:</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>Brockton Music Works</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2>1753 S. Main St.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2>Brockton,&nbsp; MA&nbsp; =
02401</FONT></DIV>
<DIV><FONT size=3D2>Phone:&nbsp; (508) 580-0088</FONT></DIV>
<DIV><FONT size=3D2>Fax:&nbsp; (508) 580-0179</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Asking price:&nbsp; $995.00 US&nbsp; =
???!!!</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Don't e-mail me about it.&nbsp; I just saw the ad on =
page 63=20
of the June/July 1999 issue of Musicians Hotline.</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Mark Kata</FONT></DIV></BODY></HTML>

------=_NextPart_000_0006_01BEB57D.147B0AA0--

From Loopers-Delight-request@annihilist.com  Sun Jun 13 16:49:39 1999
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Date: Sun, 13 Jun 1999 22:42:43 +0200
To: Loopers-Delight@annihilist.com
From: haeusle <haeusle@aon.at>
Subject: Re: Looking for echoplex
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>>as soon as the edp production will start again i'll grab some cases, hit
>>the states for some days, buy as many edp's as possible (... due bankrpcy
>>hopfully at least one :-)... ) and sell 'em over here. then i'm rich!
>>
>
>you would probably be a very rich man if you did this! Just don't get
>caught by the CE police...;-)
>
>kim
>
that's what capitalism is all about *rofl*
lorenz

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Pleeeeease....


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

From Loopers-Delight-request@annihilist.com  Sun Jun 13 17:43:25 1999
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In a message dated 6/13/99 8:11:59 PM Mid-Atlantic Daylight Time, 
zurrigo@hotmail.com writes:

<< Pleeeeease.... >>

was it all the drug talk i wonder?........................michael

From Loopers-Delight-request@annihilist.com  Sun Jun 13 21:25:43 1999
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Message-ID: <37644FC7.C267A4FF@minds-eye.org>
Date: Sun, 13 Jun 1999 20:41:43 -0400
From: Kevin <kevin@minds-eye.org>
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I'm looking to get some more delay time worked into my set-up and was
curious if anyone had an opinion as to the merits of the Zoom 2100
versus the Akai Headrush.  The Zoom has a few extras, the Akai has more
loopable delay time and costs about $30 more.  I know this has already
been discussed a bit recently so mainly I'm interested in any tricks
that users of either have discovered that aren't necessarily obvious
(delay time is obvious, but odd ways to warp the delay, etc. wouldn't
be.  Something like that.)  Decisions decisions.


And, in an effort to raise the $$$ to pay for these or other delays (the
more the merrier), I have a short list of CDs for sale.  Email me
privately if interested (no loop music, but plenty of loopy music).

Kevin@minds-eye.org

Thanks

Kevin

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Date: Sun, 13 Jun 1999 17:34:08 -0700 (PDT)
From: "Rev. Doubt-Goat" <dgoat@rocketmail.com>
Subject: Re: 7.6 Time machine
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93

---Kim Flint <kflint@annihilist.com> wrote:
>
> At 9:58 AM -0700 6/10/99, Jeff Duke wrote:
> >I have a question for some of you tech guys. I
have two 7.6'rs but one
> >is real strong ; if I set it to 50% mix its even.
It has great feedback
> >9-10 repeats at full and a bit more delay time
than 7.6.
> >The other one is weak on all these points. The
question; is there a way
> >to obtain and replace the memory and could this be
the problem; weak
> >chip?
> 
> something like this wouldn't be memory. I don't
know the digitech circuit,
> so I can't tell you what to do. But I'm guessing it
does feedback in
> analog, so there is some amplifier circuit that
sets this feedback gain.
> Somehow, the gain in the one unit is off, and it
can't reach it's max
> value. It probably even has a small potentiometer
on the board used to
> calibrate this, and the pot in your unit has gotten
off from the proper
> setting.

Yes, there are small trim-pots on the board that can
be adjusted for both more time (I think I got about
10.5 sec out of one) and more feedback (all the way
up to Godzilla stomping on Tokyo run-a-way feedback).
The problem is that the more feedback and time you
give it, the worse the signal degrades in quality, so
don't expect pristine sound from the additional time
and/or feedback.

I think that if you call up digitech, they can tell
you which pots to tweak. It's worth doing.

Good luck!

93
Rev. Doubt-Goat
===
          The Homepages of the Doubt-Goat

               The Darsan Trio
               Sekhet Maat Oasis, O.T.O.
               Lion & Serpent

          http://www.easystreet.com/~twilliam

_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com

From Loopers-Delight-request@annihilist.com  Sun Jun 13 22:32:48 1999
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From: Crossedout@aol.com
Message-ID: <ab5c6170.2495bc26@aol.com>
Date: Sun, 13 Jun 1999 22:00:06 EDT
Subject: Re: help with cool edit pro mp3 encoding etc...
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In a message dated 6/12/99 1:31:11 PM Central Daylight Time, 
permadan@yahoo.com writes:

<< Can someone please help me?  I'm using Cool Edit pro
 and I want to save wav to mp3.  I >>

I use cooledit too, but I found some freeware that works well, a program 
called MPlifier. I found it through AOL's software library, you should be 
able to find it on the web. If you can't, let me know and I'll mail you a 
copy. 

- Crossedout@aol.com

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From: "Pete" <manx72@voyager.net>
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Subject: $995.00  US!!
Date: Sun, 13 Jun 1999 23:53:23 -0400
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>
>There's a JamMan with extended memory for sale at:
>
>Brockton Music Works
>1753 S. Main St.
>Brockton,  MA  02401
>Phone:  (508) 580-0088
>Fax:  (508) 580-0179
>
>Asking price:  $995.00 US  ???!!!
>

995.00!!!!!!!!!!!!!!!!!!!!!!!!

ha!! ha!! ha!!

ha!! ha! ha ha !!!!!

and oh yeah, ha! ha!



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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>&gt;<BR>&gt;There's a JamMan with extended memory =
for sale=20
at:<BR>&gt;<BR>&gt;Brockton Music Works<BR>&gt;1753 S. Main=20
St.<BR>&gt;Brockton,&nbsp; MA&nbsp; 02401<BR>&gt;Phone:&nbsp; (508)=20
580-0088<BR>&gt;Fax:&nbsp; (508) 580-0179<BR>&gt;<BR>&gt;Asking =
price:&nbsp;=20
$995.00 US&nbsp;=20
???!!!<BR>&gt;<BR><BR>995.00!!!!!!!!!!!!!!!!!!!!!!!!<BR><BR>ha!! ha!!=20
ha!!<BR><BR>ha!! ha! ha ha !!!!!<BR><BR>and oh yeah, ha!=20
ha!<BR><BR></FONT></DIV></BODY></HTML>

------=_NextPart_000_0005_01BEB5F7.EC3071E0--

From Loopers-Delight-request@annihilist.com  Mon Jun 14 00:51:49 1999
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From: Kriist@aol.com
Message-ID: <59332a94.2495d923@aol.com>
Date: Mon, 14 Jun 1999 00:03:47 EDT
Subject:  so im in BOSTON, now what
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im in boston for a week(new england conservatory contemp piano seminar)
im staying in salem but going into the city during the day
can anybody reccomend any avant or experimental music clubs to go to?

also, all this week(for those of you who live in boston)theres going to be 
free concerts at 8 every night at NEC , the piano music of cage performed by 
drury and others
even the people in the seminar will perform(on friday, woohoo)


rodrigo

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Date: Mon, 14 Jun 1999 00:38:40 -0500
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I'm selling mine for (holds pinkie up to corner of mouth) one million
dollars!

Dr. Evil

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Just great to see another mailing list quietly doing the impossible.
Community building, idea sharing and tech support all wonderfully tangled up. 

Anyway, I have exactly the loop fade problems described in the list with
the EDP (purchased new a few months ago in Australia, V5, Serial # EDP
2513). Below are my experiences with it, in the hope that it will help find
a solution.

I rarely turn the EDP off, except to clear this problem, so I'm not sure
about the warming up part. My experience has been that powering the EDP off
and back on sometimes clears the problem, but sometimes only partly clears
it, or has no effect. Better result  if I do a power on with the params
button on, but sometimes that doesn't change the low output level either.
If I wait a minute with it powered down before powering up (with params
pressed) it seems to clear completely every time (hmm, so heat has to be
part of the equation somewhere?).

Other observations:
The fading happens to a lot of my loops, not just occaisonaly
Increase in hissing noise as loop content fades
Fade is noticeable after a short time, and usually barely audible the next
day (sometimes it lasts longer)
The feedback light doesn't fade, just the music output level to the amp.
I have filled memory to the max. Had some inconsistent distortion problems
at first, but apparently cleared with re-seating the memory chips.
I play fairly open single note guitar lines to build loops, with gaps, soft
starts, long held notes fading away, etc.
Is it my imagination or do the volume levels change a bit randomly on each
loop cycle?

I did see a list item on this in the archive suggesting that overdriving
the input levels can trigger the problem. This is quite plausible in my
case. I'm using an electric guitar as the main input, and I like to work
with a large dynamic range.
(There is a bit of an issue with low levels and rough cutting-in on swells,
but perhaps one thing at a time.)

Hope this helps find a solution. Reading the Loopers EDP FAQ, it feels like
this problem (and perhaps the rough cut-in on swells) is a bit of a blast
from the past.


Ray.



From Loopers-Delight-request@annihilist.com  Mon Jun 14 02:00:47 1999
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From: "Alan Imberg" <alan_i@sprynet.com>
To: <Loopers-Delight@annihilist.com>
References: <37644FC7.C267A4FF@minds-eye.org>
Subject: Re: Zoom 2100 or Headrush
Date: Sun, 13 Jun 1999 22:23:14 -0700
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I have very little experience with the Zoom 2100 so I can't give an honest
comparative analysis. Everything I initially said about the Headrush (see
the Loopers page) still holds true. The one aspect I've really enjoyed is
the Tape Echo mode and the Damping function which allows for the delay
feedback signal to be softened. I use my Headrush in conjunction with a DOD
Dimension 12 and, by using the damping, I can emphasize one loop over
another. Of course, the extra delay time is a major plus as well.

> I'm looking to get some more delay time worked into my set-up and was
> curious if anyone had an opinion as to the merits of the Zoom 2100
> versus the Akai Headrush.  The Zoom has a few extras, the Akai has more
> loopable delay time and costs about $30 more.  I know this has already
> been discussed a bit recently so mainly I'm interested in any tricks
> that users of either have discovered that aren't necessarily obvious
> (delay time is obvious, but odd ways to warp the delay, etc. wouldn't
> be.  Something like that.)  Decisions decisions.
>
>
> And, in an effort to raise the $$$ to pay for these or other delays (the
> more the merrier), I have a short list of CDs for sale.  Email me
> privately if interested (no loop music, but plenty of loopy music).
>
> Kevin@minds-eye.org
>
> Thanks
>
> Kevin
>


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From: "Alan Imberg" <alan_i@sprynet.com>
To: "Loopers" <Loopers-Delight@annihilist.com>
Subject: Useable DOD D12 Flaw
Date: Sun, 13 Jun 1999 22:24:57 -0700
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This is a multi-part message in MIME format.

------=_NextPart_000_0060_01BEB5EB.917BBC20
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	charset="iso-8859-1"
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Greetings:
For any of you who use a DOD D12, I discovered a flaw that I have been =
able to use to my advantage. Forgive me if this is common knowledge.=20
=20
I use the delay mode almost exclusively for looping (the sampler sucks). =
I had the delay time set to 12 seconds and the looping button engaged =
which allows for playing over the top of recorded loops without adding =
additional recording. As I was looping, I accidentally hit the Mix dial =
which balances the direct signal with the delay signal. I bumped the mix =
all the way to the right (nothing audible but delay signal). The =
suddeness of the bump caused a slight delay time variation in the =
recorded loop, thus giving it a tonal wobble that was now permanently =
part of the loop. At first, I was pissed off because I was really =
digging the loop I was working on. However, I realized that by rapidly =
"jiggling" the mix dial, I could make some cool distortions in the loop, =
kind of like an irratic LFO wave. The D12 does have an effect mode that =
does some generic manipulation but this manual "jiggling" is a bit more =
quirky and fun. As some may know, the D12 is definitely the low-budget =
looping tool in comparison to an EDP or Jamman. However, sometimes the =
faults of the cheaper toys can be blessings in disguise.
Regards,
Alan Imberg

------=_NextPart_000_0060_01BEB5EB.917BBC20
Content-Type: text/html;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-8859-1" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2014.210" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>
<DIV><FONT size=3D2>Greetings:</FONT></DIV>
<DIV><FONT size=3D2>For any of you who use a DOD D12, I discovered a =
flaw that I=20
have been able to use to my advantage. Forgive me if this is common =
knowledge.=20
</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>I use the delay mode almost exclusively for looping =
(the=20
sampler sucks). I had the delay time set to 12 seconds and the looping =
button=20
engaged which allows for playing over the top of recorded loops without =
adding=20
additional recording. As I was looping, I accidentally hit the Mix dial =
which=20
balances the direct signal with the delay signal. I bumped the mix all =
the way=20
to the right (nothing audible but delay signal). The suddeness of the =
bump=20
caused a slight delay time variation in the recorded loop, thus giving =
it a=20
tonal wobble that was now permanently part of the loop. At first, I was =
pissed=20
off because I was really digging the loop I was working on. However, I =
realized=20
that by rapidly "jiggling" the mix dial, I could make some cool =
distortions in=20
the loop, kind of like an irratic LFO wave. The D12 does have an effect =
mode=20
that does some generic manipulation but this manual "jiggling" is a bit =
more=20
quirky and fun. As some may know, the D12 is definitely the low-budget =
looping=20
tool in comparison to an EDP or Jamman. However, sometimes the faults of =
the=20
cheaper toys can be blessings in disguise.</FONT></DIV>
<DIV align=3Dcenter><FONT size=3D2>Regards,</FONT></DIV>
<DIV align=3Dcenter><FONT size=3D2>Alan=20
Imberg</FONT></DIV></FONT></DIV></BODY></HTML>

------=_NextPart_000_0060_01BEB5EB.917BBC20--

From Loopers-Delight-request@annihilist.com  Mon Jun 14 02:27:33 1999
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Date: Wed, 09 Jun 1999 14:25:12 -0600
From: Jim Coker <jcoker@magelang.com>
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Subject: Re: more on Kyma.....
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Matthias Grob wrote:
> 
> This is a posting of  Jim Coker <jcoker@interaccess.com> in '97. I just
> stumbeled over it and liked it and since we had talk about this going, I
> repost it.
> 
> >> Jim answered me:
> >> >In reference to Matthias' questions, most parameters on sound
> >> >objects (such as delay times, frequency settings, filter bandwidth
> >> >and frequency) are controllable in real time, and without glitches.
> >> >Put an lfo on a short delay, and you get a flanger. (Delay lengths can
> >> >be specified in a number of ways, such as in seconds, or samples,
> >> >or relative to something else)  Control signals can come from midi,
> >> >or all sorts of other things, frequency trackers, envelope followers,
> >> >other audio signals, or signals built by processing other signals.
> >> >When I was there, a Peavey PC1600 fader box (16 programmable
> >> >midi faders and assorted buttons) was set up to
> >> >control sound parameters. This is what I used during the looping
> >> >test (no foot controller available).
> >>
> >> I see... but this I can do on my PCM80, as long as its just controlling
> >> parameters of a delay.
> >> I was thinking about the loop specific functions like Tap, Multiply, Undo,
> >> or rather sampler type functions like restarting the actual loop or
> >> changing to another loop and so on. Probably those functions will have to
> >> be created and I wondered how difficult this might be.
> >
> >Well, there's no tap tempo control that comes with the unit (I asked),
> >but
> >I don't think it would be difficult to build one.  As far as the
> >echoplex-type
> >functions go, it depends on your goal.  If you want to duplicate the
> >interface
> >of an echoplex, you can probably do it, but I can't say how difficult it
> >would
> >be, and I don't think it would be the best way to approach loop
> >programming
> >with Kyma.  Since you can have a large number of loops and samplers
> >running
> >at once, and there are numerous controls available on them, some of the
> >metaphors
> >that apply with the echoplex don't make much sense.  For example,
> >multiply
> >on the echoplex affects the original loop, whereas on Kyma, I would be
> >more
> >likely to achive a similar result by adding a new, concurrent loop whose
> >time is a multiple of the first.  This would leave the original loop
> >available
> >for individual processing.  Of course, everyone has their own preference
> >about
> >how such features should be configured, but a big part of Kyma is that
> >the
> >user has many options on how to organize things.
> >
> >>
> >> >Another nice patch involved a "harmonic resonator", a special
> >> >kind of filter that resonates at a given pitch and all it's
> >> >harmonics.
> >>
> >> also available on PCM70/80
> >>
> >> >Probably the most unique capabilities of the system revolve around
> >> >it's analysis and resynthesis capabilities.  Their latest software
> >> >version comes w/ a configureable vocoder w/ up to 70 filter bands.
> >> >In addition to real time vocoding, you can analyize a sample
> >> >(drums, vocals and animal sounds work best, due to their widely
> >> >varying formants) to build a time-varying filter bank, and then use
> >> >this filter bank to process a live signal.
> >>  ...
> >>
> >> >For really hard-core stuff, you can use an FFT analysis to convert
> >> >the signal from the time domain into the freqency domain, and do
> >> >processing there (such as stretching or scaling harmonics, pitch
> >> >and time shifting, etc), and then resynthesize the result using
> >> >an oscillator bank.  This is the approach used by Digital Performer
> >> >1.7 and others to do pitch shifting w/o ugly artifacts.  Kyma
> >> >can do this in real time, minus a 1/4sec delay due to FFT
> >> >windowing issues
> >>
> >> Interesting. This could certainly be used to colour and modulate loops. And
> >> in this case, the 250ms delay (thats a lot!) could be hidden somehow.

The delay actually varies according to the size of the FFT used by
the analysis.  The FFT size also determines the amount of processing
required. Smaller FFTs can give short enough reponse times for most
players
(10-20ms), though the resynthesis will not be as accurate w/ longer
FFT's.  I haven't tried it yet, but I'm guessing that a 512

> >
> >The delay is intrinsic to all FFT algorithms.  The processing occurs by
> >taking short samples (called windows) of the input, and doing the FFT
> >on each window.  Longer windows give more accurate frequency results,
> >shorter ones give a better indication of when events occur in the
> >signal.
> >The windowing is what causes the delay.  I do think it is adjustable, so
> >shorter delays can be traded for some accuracy.
> >(caveat: That's a very short and imprecise description of a complex
> >signal processing task)
> >
> >
> >> >The only dissapointment I had was with the frequency tracker.
> >> >It works amazingly well w/ vocals, but didn't do so great on
> >> >a guitar.  The response time was at least as good as a Roland
> >> >GI-10 midi converter and it did track vibrato and
> >> ...
> >> > One big change that would make
> >> >it better would be to use hexaphonic input a-la GK2, which would
> >> >restrict the pitch guessing range, and avoid multi-string noises.
> >>
> >> Did you play monophonic for this test, or is it even able to detect chords
> >> of a monophonic guitar?!?
> >
> >The tracker can't handle chords, that is truly a difficult task.  It is
> >discussed in the Curtis Roads book I mentioned earlier (as is the FFT
> >stuff).
> >
> >>
> >> >Currently Kyma only has 2 inputs and 2 outputs, but they are working
> >> >on increasing this.  They get many requests to increase the
> >> >number of outputs, but Kurt said that this was the first time they
> >> >had a solid reason for having multiple inputs, ...
> >>
> >> Ahh... we will end up making our own VGx, more serious, with all in it!
> >>
> >> >Kyma can run simutaneously w/ a
> >> >sequencer or MAX on a modest MAC or PC.  Symbolic Sound is also
> >> >working on a PC-card interface so you can use Kyma w/ a laptop.
> >>
> >> Does it also work without any computer, on stage?
> >
> >Nope, the computer is the controller, where all patches are stored and
> >other important things happen. It also, obviously, lowers the price of
> >the
> >Capybara, which has no front panel controls.  There is a midi-map
> >function
> >so you can use program changes to load new sounds.
> >
> >The "stuck-to-a-computer" issue is one the Sym. Sound is aware of.  They
> >had said that at AES some engineers from Eventide had asked if they'd
> >had people complain about requiring the computer.  They are working on a
> >PC card for laptops, so that makes it a bit less of a problem.  The way
> >I see it is that they leverage so many capabilities from the computer
> >that
> >the restriction is well-justified.
> >


> >> Did you check the reverb sounds? If the KYMA replaces two Plexes and my two
> >> Lexicons, its not that expensive any more!
> >
> >I don't know of any serious reverb programs that come with the unit, but
> >it has Delays, Comb Filters and such that can be used to build reverbs.
> >There are some general reverb algorithms covered in signal processing
> >publications, but if you're looking to replace the reverb in a PCM80,
> >its not gonna happen easily.
> >
> >This brings up the issue of what Kyma is all about. The fx boxes from
> >Lexicon,
> >Eventide and others come with great programs that are ready-to-use
> >and are targeted for music production, but even though they have
> >relatively
> >flexible programming options, their limitations are rigid: They have a
> >fixed
> >processing & memory capacity (for both delays and programs), a limited
> >number of processing algorithms (i.e. chorus, flange, pitch shift,
> >reverb), and limited
> >number of ways to combine those algorithms.  Kyma is an open-ended box,
> >it is
> >what the user makes of it.  Symbolic Sound provides a number of useful
> >processing algorithms, software to combine them in new and interesting
> >ways, many intriguing
> >and instructive example programs, and ongoing software and hardware
> >updates that avoid obsolecence.
> >
> >It blurs the distinction between synthesizer, effects processor, hard
> >disk
> >recorder, sampler and sequencer.  It is a little bit of all these
> >things, but
> >by combining them all it becomes something different entirely.  The
> >first
> >demonstration Carla showed me was a piece that she had created for Kyma.
> >The complex
> >program turned the Capybara into an instrument, in that it created
> >synthesized
> >sounds, an effects processor, in that it processed her voice in real
> >time, a
> >sampler, as it played & modified sounds from disk, a sequencer, in that
> >sounds
> >were layered and ordered by program events, and a real-time studio or
> >composition tool, in that the operation of all these processes were
> >interrelated,
> >and she was able to control the whole process through vocal inflections
> >and
> >midi sliders.
> >
> >Kyma is a solution for those who have
> >become frustrated with the limitations of the equipment
> >they are working with, and want to create an instrument of their own. It
> >will not
> >likely replace a Lexicon reverb unit in anyone's rack, but reveberant
> >sounds
> >built using it can be new and unique. It may not harmonize as
> >effortlessly as
> >an Eventide, but it has numerous tools for modifying pitch.  It is a
> >toolset
> >for creating music, and thus the user has both the exciting and
> >somewhat daunting task of making something out of it.
> >
> >
> >
> >jim
> 
> *    Lots of music (samples), inventions (drawings), philosophy:
> *         ---> http://Matthias.Grob.org
> *    Archive and mailinglist about looping:
> *         ---> http://www.annihilist.com/loop/loop.html

From Loopers-Delight-request@annihilist.com  Mon Jun 14 03:16:49 1999
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From: Hans Stoeve <nadabrahma@mail.bigpond.com>
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These are some of the reviews which have appeared in the last couple of
Power Spot mail out sent out to our ever growing list. Some people have
left or have changed their e mail addresses, so if you are one of those and
still wish to receive these reviews let me know what your updated e mail
address is. If you don't subscribe, please do as it doesn't cost anything
and you might just be able to discover something in the process. Simply
sent me an e mail with the word subscribe reviews and I'll copy you in.
Reviews are sent out on average every fortnight, depending on what's
happening with work, the markets, radio, family etc. Not everything is
posted to these lists. And last but not least, new material is always
welcome. The mailing address is below.

Thanks as usual....Hans Stoeve / Sydney / Australia

Fingerpaint- Primary Colors: Blue
Sacred Sound- Nagual Site
Peter Miller- Perpetual Ocean
Vidna Obmana- landscape in obscurity (hypnos)
Jim Hall and Pat Metheny
Laocoon- Immersion
Ashera- Cobalt 144
Steve Tibbetts and Knut Hamre- A
Eleni Karaindrou- Eternity and A Day
Charles Lloyd- Voice In The Night
Steve Roach and Vidna Obmana-Cavern Of Sirens
Shakti- Remember Shakti
Johnathan Elias- The Prayer Cycle
Rod Modell / Michael Mantra- Sonic Continuum
Viridian Sun- Perihelion
Anonymous 4- Lammas Ladymass
John Williams - The Guitarist
Fingerpaint- In The Loop
Acantus- Acantus Thirteenth Century Italian Polyphonies and Chant
Diana Krall - When I Look Into Your Eyes

Hans Stoeve
c/o Power Spot 89.7FM
Sydney, Australia

http://www.users.bigpond.com/nadabrahma
reviews / interviews / cd's for sale / the ultimate Jon Hassell webpage

subscribe to the Jon Hassell discussion group
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We always welcome new material for review and airplay. If interested

please forward on to:

3 / 12 Murdoch St
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*** the further one goes
the less one knows ***



From Loopers-Delight-request@annihilist.com  Mon Jun 14 04:50:52 1999
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From: "Javier Miranda V." <gnominus@earthling.net>
To: <Loopers-Delight@annihilist.com>
Subject: RE: help with cool edit pro mp3 encoding etc...
Date: Mon, 14 Jun 1999 00:57:45 -0700
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The most kick-ass MP3 encoder I've found is CDex, freeware.  It's really
cool.  Give it a try.

  | -----Original Message-----
  | From: Crossedout@aol.com [mailto:Crossedout@aol.com]
  | Sent: Sunday 13 June 1999 7:00 PM
  | To: Loopers-Delight@annihilist.com
  | Subject: Re: help with cool edit pro mp3 encoding etc...
  |
  |
  | In a message dated 6/12/99 1:31:11 PM Central Daylight Time,
  | permadan@yahoo.com writes:
  |
  | << Can someone please help me?  I'm using Cool Edit pro
  |  and I want to save wav to mp3.  I >>
  |
  | I use cooledit too, but I found some freeware that works well,
  | a program
  | called MPlifier. I found it through AOL's software library, you
  | should be
  | able to find it on the web. If you can't, let me know and I'll
  | mail you a
  | copy.

From Loopers-Delight-request@annihilist.com  Mon Jun 14 08:21:59 1999
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Date: Mon, 14 Jun 1999 13:50:28 +0200
To: Loopers-Delight@annihilist.com
From: Leo Cavallo <cavallo@dada.it>
Subject: RE: help with cool edit pro mp3 encoding etc...
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but if you wanna top notch quality you should get the original frauhnnofer
(????) codec.


ciao
leo


At 00.57 14/06/99 -0700, you wrote:
>The most kick-ass MP3 encoder I've found is CDex, freeware.  It's really
>cool.  Give it a try.
>
>  | -----Original Message-----
>  | From: Crossedout@aol.com [mailto:Crossedout@aol.com]
>  | Sent: Sunday 13 June 1999 7:00 PM
>  | To: Loopers-Delight@annihilist.com
>  | Subject: Re: help with cool edit pro mp3 encoding etc...
>  |
>  |
>  | In a message dated 6/12/99 1:31:11 PM Central Daylight Time,
>  | permadan@yahoo.com writes:
>  |
>  | << Can someone please help me?  I'm using Cool Edit pro
>  |  and I want to save wav to mp3.  I >>
>  |
>  | I use cooledit too, but I found some freeware that works well,
>  | a program
>  | called MPlifier. I found it through AOL's software library, you
>  | should be
>  | able to find it on the web. If you can't, let me know and I'll
>  | mail you a
>  | copy.
>
>
>

From Loopers-Delight-request@annihilist.com  Mon Jun 14 08:20:06 1999
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From: Philipp Zuercher <zurrigo@hotmail.com>
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>From: Nemoguitt@aol.com
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: Delete from list
>Date: Sun, 13 Jun 1999 17:19:45 EDT
>
>In a message dated 6/13/99 8:11:59 PM Mid-Atlantic Daylight Time,
>zurrigo@hotmail.com writes:
>
><< Pleeeeease.... >>
>
>was it all the drug talk i wonder?........................michael
>
rather talk than drug, I reckon...


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

From Loopers-Delight-request@annihilist.com  Mon Jun 14 08:26:00 1999
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From: DSMusic@webtv.net (David Stenshoel Music)
Date: Mon, 14 Jun 1999 07:00:55 -0500 (CDT)
To: Loopers-Delight@annihilist.com
Subject: Loops in Mpls Sat. 6/19/99
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Dear Loopers,

My duo, Redondo, with guitarist/bassist Dave Burk is playing "organic
polytribal groove loops" at the Cedar Cultural Center in Minneapolis
this Saturday at 8 pm.  We use an EDP and a JamMan to build odd and
funky rythym loops with violin, guitar, electric bass, saz, Egyptian
tabla, oud, conga drums, tar, talking drums, saxophone, voice and sipsi,
incorporating global traditional tunes and improvisation.

We will be joined for this show by the great Ugandan guitarist Yusef
Shalita.

I hope you can make it!

David Stenshoel

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From Loopers-Delight-request@annihilist.com  Mon Jun 14 10:11:22 1999
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From: Hawkeye255@aol.com
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Date: Mon, 14 Jun 1999 09:10:14 EDT
Subject: Re: Zoom 2100 or Headrush
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haven't used the Zoom, but like the Headrush very much.

Bill

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From: "Dennis W. Leas" <dennis@mdbs.com>
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Thanks for the lead, Kim!

Dennis Leas
-----------------------------
dennis@mdbs.com


From Loopers-Delight-request@annihilist.com  Mon Jun 14 11:50:54 1999
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From: "Michael S. Yoder" <myoder@tamiu.edu>
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At 09:10 AM 6/14/99 EDT, Bill wrote:
>haven't used the Zoom, but like the Headrush very much.
>
>Bill
>

haven't used the Headrush, but like the Zoom very much.

Michael
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

Dr. Michael S. Yoder
Assistant Professor of Geography,
Coordinator of Urban Studies
Texas A&M International University
5201 University Blvd.
Laredo, TX  78041
Tel. (956) 326-2634; FAX (956) 326-2464 
Internet:myoder@tamiu.edu

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=--=-=-=-==

From Loopers-Delight-request@annihilist.com  Mon Jun 14 12:23:31 1999
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From: Chuck Zwicky <chuck.zwicky@wavefront.com>
Subject: Re: Loops in Mpls Sat. 6/19/99
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David,
Sounds like a cool show. Odd that I have never seen the group. I do a
considerable number of loop based performing in Mpls. (I performed with the
Mpls Improv Group at an art gallery last saturday). I also produced an
album for Joe Shalita, unfortunately his group disbanded before we had
finished. 

Chuck Zwicky

At 07:00 AM 6/14/99 -0500, you wrote:
>Dear Loopers,
>
>My duo, Redondo, with guitarist/bassist Dave Burk is playing "organic
>polytribal groove loops" at the Cedar Cultural Center in Minneapolis
>this Saturday at 8 pm.  We use an EDP and a JamMan to build odd and
>funky rythym loops with violin, guitar, electric bass, saz, Egyptian
>tabla, oud, conga drums, tar, talking drums, saxophone, voice and sipsi,
>incorporating global traditional tunes and improvisation.
>
>We will be joined for this show by the great Ugandan guitarist Yusef
>Shalita.
>
>I hope you can make it!
>
>David Stenshoel
>
>
>



...........................................................................

One man's nirvana is another man's map.


...........................................................................
Be the change you want to see in the world. -Mahatma Gandhi (1869-1948)
 

From Loopers-Delight-request@annihilist.com  Mon Jun 14 15:08:05 1999
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From: Adam Davidson <ad@absolute.hu>
Subject: EchoRAM
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Hello!


I've just got my brandnew Echoplex.

After some heavy hunting i've bought 4x4MB 30 pin ram module...

NOW check THIS out :


when i turn the echoplex on firstly it gives some crazy scrolls saying 'LOOP 3' 

then it displays version number, 5.0.

okey now comes the memory!

originally it displayed 50 or something.

after installing the 4x4MB module it says: 100

now it's stupid, isnt it?

it should be 198 or sumthen.

okey. replace 2 rams out of the 4, it says 100 again. hM!

change to the other 2 boards, it says 100 again! 

now. use 2x4MB (the new ones) and 2x1MB (the old ones) and it says 125 !

i give up!

anyone know what to do now?

adam

From Loopers-Delight-request@annihilist.com  Mon Jun 14 15:07:58 1999
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Date: Mon, 14 Jun 1999 19:47:34 +0200
From: Claude Voit <c.voit@vtx.ch>
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Salut

When I let a loop go to silence for a long fade out it never goes to no
sound

there is a distorted loop leftover cycling for ever (very far away
though...)

is that normal or is there a way to adjust that

Claude

PS: my 2 edp have the same symptoms

From Loopers-Delight-request@annihilist.com  Mon Jun 14 15:49:11 1999
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HOHO!

i swapped the RAMs until it displayed 198secs.

very strange. i switched on once, did flash a bit, and displayed 100. 
then switched off and on, and wow, it's now 198.......

strange.....

adam

From Loopers-Delight-request@annihilist.com  Mon Jun 14 15:49:10 1999
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thanks Brad

> triple the
>  length of the loop---and half will be what was in echo 1, the other half
>  will be a "gap" 
excellent.

i like setting up the loop in B, then switching briefly to A to modify.  


Andy Butler

From Loopers-Delight-request@annihilist.com  Mon Jun 14 16:26:42 1999
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Date: Mon, 14 Jun 1999 15:40:57 -0400
Subject: Re: EchoRAM
From: "sandro" <sscoccia@ma.ultranet.com>
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where did you get it from?
is it new?
thanks
sandro

----------
>From: Adam Davidson <ad@absolute.hu>
>To: Loopers-Delight@annihilist.com
>Subject: EchoRAM
>Date: Mon, Jun 14, 1999, 2:16 PM
>

> Hello!
>
>
> I've just got my brandnew Echoplex.
>
> After some heavy hunting i've bought 4x4MB 30 pin ram module...
>
> NOW check THIS out :
>
>
> when i turn the echoplex on firstly it gives some crazy scrolls saying 'LOOP
3'
>
> then it displays version number, 5.0.
>
> okey now comes the memory!
>
> originally it displayed 50 or something.
>
> after installing the 4x4MB module it says: 100
>
> now it's stupid, isnt it?
>
> it should be 198 or sumthen.
>
> okey. replace 2 rams out of the 4, it says 100 again. hM!
>
> change to the other 2 boards, it says 100 again!
>
> now. use 2x4MB (the new ones) and 2x1MB (the old ones) and it says 125 !
>
> i give up!
>
> anyone know what to do now?
>
> adam
> 

From Loopers-Delight-request@annihilist.com  Mon Jun 14 18:24:56 1999
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From: "James Pokorny" <j.pokorny@worldnet.att.net>
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Subject: Re: Loops in Mpls Sat. 6/19/99
Date: Mon, 14 Jun 1999 17:42:02 -0400
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Sounds great David!  Sorry I'm too far away to make it.  Got to admire
anyone who has the courage to perform on the sipsi in public!  A Turkish
musician friend gave me one but I've never been daring enough to bring it to
a gig.

One academic question for you -- is your "tar" the frame drum, or the
Iranian lute?

Great to see someone else using non-western instruments with looping.  Good
luck with the gig!

James

-----Original Message-----
From: David Stenshoel Music <DSMusic@webtv.net>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Monday, June 14, 1999 8:43 AM
Subject: Loops in Mpls Sat. 6/19/99


Dear Loopers,

My duo, Redondo, with guitarist/bassist Dave Burk is playing "organic
polytribal groove loops" at the Cedar Cultural Center in Minneapolis
this Saturday at 8 pm.  We use an EDP and a JamMan to build odd and
funky rythym loops with violin, guitar, electric bass, saz, Egyptian
tabla, oud, conga drums, tar, talking drums, saxophone, voice and sipsi,
incorporating global traditional tunes and improvisation.

We will be joined for this show by the great Ugandan guitarist Yusef
Shalita.

I hope you can make it!

David Stenshoel



From Loopers-Delight-request@annihilist.com  Mon Jun 14 20:23:45 1999
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From: "Simon Kean" <skean@atlasmail.com>
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Subject: RE: "The Unbearable Lightness of Trying to Buy an EDP in Aust
Date: Tue, 15 Jun 1999 09:54:45 +1000
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Lindsay Buckland brings back a lot of memories. I used to spend the odd
Saturday afternoon now and then watching him perform on the street in the
centre of Melbourne. He's a very sweet guy and a great talent. When I first
saw him, he was doing great things with the dulcimer running through a
couple of boss digital delay pedals and two small 20watt combo amps. He
always was a joy to chat to, and willing to share his insights. His recorded
work (which he sells while busking) is pretty damn good to.

Cheers

Simon

-----Original Message-----
From:	MAT [mailto:miguel.barella@poyry.com.br]
Sent:	Saturday, 12 June 1999 1:19 AM
To:	trent1@iinet.net.au; Loopers-Delight@annihilist.com
Subject:	Re:"The Unbearable Lightness of Trying to Buy an EDP in Aust

In 1997 I met an australian busker playing in Barcelona (Ramblas), his name
was
Lindsay Buckland and he was using a JamMan and a lap dulcimer with a strap
(played like a guitar), magnetic pick up and Rolan GR somethig.

Intresting coincidence with Trent's set up.

Miguel

____________________Separador de Resposta____________________
Assunto:    "The Unbearable Lightness of Trying to Buy an EDP in Austral
Autor:  trent1@iinet.net.au
Data:       11/06/1999 10:55

Hi everyone, Trent humphreys from Australia here,My god you have no idea
how hard it is to get an EDP in Australia at the moment!!!
     Could someone in the know please explain?!!!
    And this is an incredibly valuable site guys, I'm a looping busker
from Western Australia, and it's great to be connecting with likeminded
people!  -www.imago.com.au/vrl/trent      Cheers!


From Loopers-Delight-request@annihilist.com  Mon Jun 14 20:20:28 1999
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    Well,I can not hold it just for me any more,here´s what I´ve got and
it´s NOT like I´m doing bussines of any kind:

Here in Mexico City you can sometimes get some gear for less money than any
other place (vintage stompboxes for instance,down here old pedals are
considered old junk) Guess is the same thing in Brazil or any other Latin
American Country,for reasons of money exchange,inflation,heaven knows...

   I have several friends that work in little music stores downtown wich
still carry the vortex and the jamman for prices a lot (or a least
something) lower than in the States or any other place.

  I could get them for about $550-570 each,(maybe less if I beg :-D) so if
somebody wires me the money plus $30 for fedex you can get ahold of a
new-same model as in the states Vortex or Jamman.those units are NEW,not
used,and really I don´t know how many of them,lets say more than two and
less than 20...
EDP USERS: sorry,I´ve never seen an EDP other than mine down here...

 What do I get from all this? really:just my conscience clear for helping a
lot of guys wanting this units and getting them for ridiculosly expensive
prices,or maybe I´m wrong and this prices I´m telling are still
high,anyway,if somebody is interested in this kind of trade, message me in
private,I can supply net references for any doubters etc.etc...


Andy in Mexico City.

From Loopers-Delight-request@annihilist.com  Mon Jun 14 20:39:30 1999
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Date: Mon, 14 Jun 1999 19:53:58 -0800
From: Darrell Jones <djones01@columbus.rr.com>
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Organization: Intra Sites
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Answer to your problem, There is already something recorded in the memory of your
echoplex! Someone has recorded some information in on of the loops.

Now to fix it, press the parameter button 4 times to select  LOOPS, press and
hold the record button, this is how you erase information already recorder in any
of the loops. After performing this process, you should see you 198 sec's.

Good luck!
Darrell Jones

sandro wrote:

> where did you get it from?
> is it new?
> thanks
> sandro
>
> ----------
> >From: Adam Davidson <ad@absolute.hu>
> >To: Loopers-Delight@annihilist.com
> >Subject: EchoRAM
> >Date: Mon, Jun 14, 1999, 2:16 PM
> >
>
> > Hello!
> >
> >
> > I've just got my brandnew Echoplex.
> >
> > After some heavy hunting i've bought 4x4MB 30 pin ram module...
> >
> > NOW check THIS out :
> >
> >
> > when i turn the echoplex on firstly it gives some crazy scrolls saying 'LOOP
> 3'
> >
> > then it displays version number, 5.0.
> >
> > okey now comes the memory!
> >
> > originally it displayed 50 or something.
> >
> > after installing the 4x4MB module it says: 100
> >
> > now it's stupid, isnt it?
> >
> > it should be 198 or sumthen.
> >
> > okey. replace 2 rams out of the 4, it says 100 again. hM!
> >
> > change to the other 2 boards, it says 100 again!
> >
> > now. use 2x4MB (the new ones) and 2x1MB (the old ones) and it says 125 !
> >
> > i give up!
> >
> > anyone know what to do now?
> >
> > adam
> >

From Loopers-Delight-request@annihilist.com  Mon Jun 14 21:14:15 1999
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Subject: Re: JAM AND VORTEX
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Others feel free to correct me, but I think the going US prices for Vortex
and JamMan are more like $250 and $450, respectively (barring some of the
JamMan mania sometimes reported here).  Admittedly, that's used, but for
$550, a buyer should get TWO Vortexes.  I've found several near-mint for
about $200.  Maybe if NEW J-Men are $550, somebody should grab 'em and put
'em on ebay for $995 for those nut cases....

>    Well,I can not hold it just for me any more,here´s what I´ve got and
>it´s NOT like I´m doing bussines of any kind:
>
>Here in Mexico City you can sometimes get some gear for less money than any
>other place (vintage stompboxes for instance,down here old pedals are
>considered old junk) Guess is the same thing in Brazil or any other Latin
>American Country,for reasons of money exchange,inflation,heaven knows...
>
>   I have several friends that work in little music stores downtown wich
>still carry the vortex and the jamman for prices a lot (or a least
>something) lower than in the States or any other place.
>
>  I could get them for about $550-570 each,(maybe less if I beg :-D) so if
>somebody wires me the money plus $30 for fedex you can get ahold of a
>new-same model as in the states Vortex or Jamman.those units are NEW,not
>used,and really I don´t know how many of them,lets say more than two and
>less than 20...
>EDP USERS: sorry,I´ve never seen an EDP other than mine down here...
>
> What do I get from all this? really:just my conscience clear for helping a
>lot of guys wanting this units and getting them for ridiculosly expensive
>prices,or maybe I´m wrong and this prices I´m telling are still
>high,anyway,if somebody is interested in this kind of trade, message me in
>private,I can supply net references for any doubters etc.etc...
>
>
>Andy in Mexico City.



From Loopers-Delight-request@annihilist.com  Mon Jun 14 21:42:31 1999
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For that matter, there's a used Vortex at D-Rocks in Omaha for about $329.

Kevin

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speak of the devil $150 Vortex on Harmony right NOW (coupel of posts down)
. . .

gentlemen, rev your modems . . .

Tom Lambrecht
hideo@concentric.net
>

From Loopers-Delight-request@annihilist.com  Mon Jun 14 22:50:03 1999
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>From Harmony Central Classifieds:

FS: Lexicon Vortex

Asking Price: US$150
Condition: Mint
Age: N/A
Description:

 Audio Morphing Processor. Programmable for guitar, vocals, etc. 16
      unique efx each w/ 2 A/B presets (for a total of 32 different 
sounds).Stereo or mono inputs and outputs. A/B switchable. Footpedal 
outs. Has a 9V adaptor. Like new. Great processor for any application!

Seller: Chris Allen, 5026381188
E-mail: cwalle01@athena.louisville.edu (Profile)
Location: LOUISVILLE, KY
Post Date: 6/14/99

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From: Tim Nelson <tcn62@ici.net>
Subject: Re: JAM AND VORTEX
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Maybe we should be forwarding these enormous price sightings to Lexicon...
Maybe the JamMania would suggest to someone there that it might not be a
bad idea to add some supply to the obvious demand and re-introduce the
thing in its original glory and not as a setting or two on another
processor...

BTW, I was cleaning out a file cabinet the other day, and found a
three-year-old Musician's Fiend catalog... Lexicon JamMan, somewhere around
$359... (or three EASY payments of...)

Tim

At 08:40 PM 6/14/99 -0500, you wrote:
>Others feel free to correct me, but I think the going US prices for Vortex
>and JamMan are more like $250 and $450, respectively (barring some of the
>JamMan mania sometimes reported here)....Maybe if NEW J-Men are $550,
somebody should grab 'em and put
>'em on ebay for $995 for those nut cases....

From Loopers-Delight-request@annihilist.com  Tue Jun 15 02:00:49 1999
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I just got another spam e-mail on this e-mail address. It's very similar to the
one we recieved about a month ago. Thankfully, I was glad to find that
Loopers-Delight no longer recieves e-mail from non-members.

This mail was sent to me directly from hterco@maindspring.com.

Is that the same group that sent spam to us before?

and

Did anyone else get this spam?

matt

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Subject: Lexicon & JAMMAN
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My guess is the best one can hope for from Lexicon re:JAMMAN is what they
are doing now -- that is, building some/many JAMMAN like capabilities into
other effects devices they produce.

dk

-----Original Message-----
From: Tim Nelson [mailto:tcn62@ici.net]
Sent: Monday, June 14, 1999 10:15 PM
To: Loopers-Delight@annihilist.com
Subject: Re: JAM AND VORTEX


Maybe we should be forwarding these enormous price sightings to Lexicon...
Maybe the JamMania would suggest to someone there that it might not be a
bad idea to add some supply to the obvious demand and re-introduce the
thing in its original glory and not as a setting or two on another
processor...

BTW, I was cleaning out a file cabinet the other day, and found a
three-year-old Musician's Fiend catalog... Lexicon JamMan, somewhere around
$359... (or three EASY payments of...)

Tim

At 08:40 PM 6/14/99 -0500, you wrote:
>Others feel free to correct me, but I think the going US prices for Vortex
>and JamMan are more like $250 and $450, respectively (barring some of the
>JamMan mania sometimes reported here)....Maybe if NEW J-Men are $550,
somebody should grab 'em and put
>'em on ebay for $995 for those nut cases....

From Loopers-Delight-request@annihilist.com  Tue Jun 15 11:21:28 1999
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Date: Wed, 16 Jun 1999 00:19:01 +0900
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as I am off on annual leave for a month I'm unsubbing off this list for the
moment rather than go through 2500 messages plus upon my return. Thanks for
all your input.

Hans Stoeve
c/o Power Spot 89.7FM
Sydney, Australia

http://www.users.bigpond.com/nadabrahma
reviews / interviews / cd's for sale / the ultimate Jon Hassell webpage

subscribe to the Jon Hassell discussion group
http://www.onelist.com/subscribe.cgi/powerspot
subscribe to the Extreme discussion group
http://www.onelist.com/subscribe.cgi/extrememusic



We always welcome new material for review and airplay. If interested

please forward on to:

3 / 12 Murdoch St
Cremorne NSW 2090

*** the further one goes
the less one knows ***



From Loopers-Delight-request@annihilist.com  Tue Jun 15 12:21:42 1999
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Date: Tue, 15 Jun 1999 11:10:08 -0400
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From: Tom Ritchford <tom@swirly.com>
Subject: Re: Lexicon & JAMMAN
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David Kirkdorffer <DKirkdorffer@exapps.com> wrote:

>My guess is the best one can hope for from Lexicon re:JAMMAN is what they
>are doing now -- that is, building some/many JAMMAN like capabilities into
>other effects devices they produce.

Hey, the Echoplex got reissued, now didn't it?  It did take a little
time, mind you, and it was somewhat different.

I'm sure Lexicon would love to have more of a presence in the
lower-priced effects market as there is a great deal of volume
in that area, even though the margins are smaller.

I can imagine that they'd release an improved version, though...
a "son of JamMan" which had better MIDI and that sort of thing.


All hypothetical and right now you have to buy used or get
something else.

	/t

From Loopers-Delight-request@annihilist.com  Tue Jun 15 12:45:17 1999
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From: Tom Ritchford <tom@swirly.com>
Subject: In search of the ultimate looper?
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...which is not a looper that already exists...

an old thread, but if you could design the ultimate looper,
what would it be?

Here are some features I'd love to see.  Perhaps
something like MSP could do it in software, hmm...


-- storing and recalling loops from disk
   or something like disk, SmartMedia eg
   I could prepare loops in the machine and then
     send them to my sampler -- and vice versa.

-- large memory using standard chips
   a gig of memory?  why not?  at < $2/MB, not impossible.

-- arbitrarily many loops (subject to memory limitations)
   if I want nine hundred 100ms loops
   and I have enough memory for 90s of sampling, why not?

-- click removal/endpoint smoothing
   crossfade between the beginning and end of a loop.
   controllable crossfade time (and fade shape?)

-- time modulation effects a la Super Timeline
   "sample rate modulation" -- the timeline basically had
     an LFO that you could use to modulate the sampling rate
     of the unit, rather like speeding and slowing the rate
     of a tape playback unit dramatically.  You could get some
     great effects by playing with the modulation index and
     the LFO frequency.

-- loop times:  lockstep or not?
  independent loop lengths OR
  length "quantization"
    where length is a multiple or divisor of previous loop length
  so I can just tap out a loop at any time with whatever length I play
  or I can "quantize" the length of any loops I make, relative to the
    "current" loop.

-- loop "tweaking":  real time effects on a loop.
  pitch shift up or down (without length changing) (may be hard?)
  time stretch without pitch change  (may be hard?)
  time modulation effects ("slow down", "speed up")
  tweak start and end points of a loop back and forth

-- feedback and cross-delays
  send part of any loop to any other
  internal mixing matrix?
  !! stereo !!

-- "clever" footpedal
  crossfades between loops on a single pedal
  "grab" a loop and apply an effect to it with a pedal


Comments?  Other features?  Manufacturers, comments?

*Are* there any factory reps on this list
(even perhaps in an informal fashion?)

	/t

From Loopers-Delight-request@annihilist.com  Tue Jun 15 13:51:13 1999
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From: "Dennis W. Leas" <dennis@mdbs.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: Lexicon & JAMMAN
Date: Tue, 15 Jun 1999 11:42:22 -0500
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>I can imagine that they'd release an improved version, though...
>a "son of JamMan" which had better MIDI and that sort of thing.

That'd be a "JamBoy" then?  Or for the PC minded a "JamChild"?  :)

Dennis Leas
-----------------------------
dennis@mdbs.com


From Loopers-Delight-request@annihilist.com  Tue Jun 15 14:45:53 1999
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Subject: RE: The Effects Of Looping...Or am I loopy?
Date: Tue, 15 Jun 1999 10:48:52 -0700
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I have to chime in.

Bill, well expressed.  I agree.

In going through the on-going blasts and
comments that strangely have gotten hold of
my short-spanned attention, I realize that
not only Loopers in this group are at the cutting
edge of music technology, they are also very
articulate in expressing their points of view and beliefs.
(this is my brown-nosing paragraph)

And though some have expressed harshly, and
some have expressed eloquently, (and some
have expressed diplomatically), there are
still exchanges of ideas and beliefs which
actually show the make up of the group's
personalities which I think is good.

I can confidently say that I am
eccentric to a point of being arrogant.
The important thing is that I know that I am.
I think that besides my arrogance getting me in
trouble sometimes, it actually fuels me and
drives me towards creativity without conforming.

I had originally joined the group to stay in
the "loop" but I'm receiving and learning much
more than just 'how to manipulate my looping devices'.

For example, John Cage and Adrian Belew discussions
are very enlighting, among many.
Leo's always intuitive guidance in computer music
softwares are invaluable.
Even the effects of drugs, during and after, philosophy
there of, lack of use of drugs in creativity, and the
passionate comments related to drugs and music are
very interesting and humorous at times.

I think it is important that we express ourselves freely
without prohibiting others to do the same.

(...but then, in making this comment, I am actually...)

It just goes to show you that no matter how I state it
or phrase it, I inflict my beliefs and ideas to others
in this group.   Crap!

I'd better turn off my computer and start looping
before someone finds out that I'm completely nuts!!!

Curbie



-----Original Message-----
From:	Hawkeye255@aol.com [SMTP:Hawkeye255@aol.com]
Sent:	Wednesday, June 09, 1999 8:31 PM
To:	Loopers-Delight@annihilist.com
Subject:	Re: The Effects Of Looping...Or am I loopy?

I agree with kungha and javier; the state of openness being discussed, is 
more our natural state than the Aristotelian never-ending classifier, 
cellphone weilding, steering wheel gripping, gas pedal pushing, horn honking, 
bill paying sob who has to earn a living and 'don't forget the milk and bread 
on the way home'...   The connection for me in looping music and sounds, is a 
a desire to return to my natural self (an insignificant speck of harmonically 
resonant stardust)...and perhaps take a few listeners with me.

Bill    

From Loopers-Delight-request@annihilist.com  Tue Jun 15 17:07:36 1999
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Date: Tue, 15 Jun 1999 16:17:37 EDT
Subject: Re: In search of the ultimate looper?
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There'll never be just one
not affordably anyway

so I suggest

1) Ultimate looper
      like Tom suggested
       


2) affordable performance looper
      (sort of a super jamplex-on -a-budget)
     features
      i) can set up loop by tapping once to start then once to loop,
         but can then go into echo mode (ie feedback controllable)
         and so that you can overdub straight away.
      ii) can tap in new loop time without glitching (JamMan won't usually do 
this)
          in fact let's have all functions glitch free.
      iii) reverse play (popular), and change playback speed. 
          
      iv) 3 simultaneous loops which can be either the same length( but start
          at an arbitrary point), or unrelated length.
           Possibly loops of 'related' length. 
       v) One of the above loops will always be the 'current' loop which can 
be
           altered lenghwise, reversed, added to ,  or erased.
       vi) Separate outputs for each loop (optional) or stereo panning
       vii) loop time total 60s , expandable with easily available cheap 
chips.
       viii) footpedal controlled (or stomp box)
                  a) tap time,    3rd press deletes loop
                  b) select current loop
                   
        ix) LED display of 'current' loop no. 

regeneration for the current loop could be set with a knob on the box, 
possibly
options like ' non current loops don't fade'
                 '  global control of fade rate'  

I've left out any pitch-shift/time-stretch and modulation to be done 
externally.

This is only my starting suggestion, but remember each new feature
may well up the cost.

Andy Butler

otherwise ultimate looper might be a vortex with extra memory
 



       
    



From Loopers-Delight-request@annihilist.com  Tue Jun 15 17:48:06 1999
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Subject: tube echoplex
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Howdy-

I'm looking for a tube echoplex in any condition and was wondering if you might have any leads on one...

Appreciate any info you might have.

Thanks for your time.

Best Regards,

Brendan Devitt

From Loopers-Delight-request@annihilist.com  Tue Jun 15 21:39:41 1999
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Date: Tue, 15 Jun 1999 20:01:26 -0500
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Brendan,
	I'm not sure, but I think there are a couple MAESTRO Echoplexi on ebay
at the moment--is this what you're looking for?

Cheers,

Jon Southwood
noj@cedar-rapids.net

From Loopers-Delight-request@annihilist.com  Tue Jun 15 23:52:07 1999
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From: Michael Tuminello <m1cha3l@earthlink.net>
Subject: power in numbers?
Cc: David Kirkdorffer <DKirkdorffer@exapps.com>
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how many echoplex buyers did we amass?  Any hope of hearing word on this
within the month, you think?

MT

PS: impatient, I know...

From Loopers-Delight-request@annihilist.com  Wed Jun 16 00:34:19 1999
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>how many echoplex buyers did we amass?  Any hope of hearing word on this
>within the month, you think?
>
>MT
>
>PS: impatient, I know...

I did talk to some Gibson and Opcode people this week, keep up the pressure
on those guys! The more they hear from folks the faster they will go, and
the message is just starting to get to the right people. If you go here:
http://www.opcode.com/forms/feedback.html you can send a mail to the Opcode
sales department. Or call them at 650-429-2400. If they know there are
people looking for it, they will definitely go quicker getting the
production rolling.... Keep bugging them, don't take no for an answer. :-)
Even if you're not planning to get an echoplex, give them a shout and let
'em know that there are a lot of people out here who want stuff like this!

Also, don't forget to get on the list David is keeping
(DKirkdorffer@exapps.com), organized resistance is always better than
random militants....;-)

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


From Loopers-Delight-request@annihilist.com  Wed Jun 16 04:49:40 1999
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what does the Headrush do??
$200 US...mmmm in Canada, with tax, tariffs, exchange....500$? Well maybe 
more like $300 - $400.


>From: Hawkeye255@aol.com
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: New to the list
>Date: Wed, 9 Jun 1999 23:11:49 EDT
>
>Dave,
>
>	I would easily recommend the Akai Headrush just out.  $200 U.S. or a
>little less.  And a decent looping tool.  Along with a sampler (which you
>already have), you'd be in business.
>
>Bill
>


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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Just a note to let you know that tonight @ 10 PM @ Tonic in NYC
(Delancey & Norfolk) I will be appearing with Transonic featuring:

Charles Burnham-violin
Lance Carter-drums
David C Gross-6 string fretless bass/electronics/loops
Elliot Levin-sax/flute
Toby Kasavan-keys
Bob Musso-guitar

Hope to see you there!


David C Gross
www.geocities.com/SunsetStrip/Venue/7773/

From Loopers-Delight-request@annihilist.com  Wed Jun 16 04:50:34 1999
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From: Fmplautus@aol.com
Message-ID: <1e932c04.249278ea@aol.com>
Date: Fri, 11 Jun 1999 10:36:26 EDT
Subject: FS: Echoplex and Rivera TBR-1
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I won't advertise here again, but I thought I would let the Loopers-Delight 
community have the first shot at these.

I have a fully loaded Echoplex (full 180 seconds of memory) with pedalboard 
that I am selling for $650 plus shipping UPS COD (non-negotiable).

I am also selling a Rivera STEREO tube amplifier head.  It's a 65 watt TBR-1 
mounted in a four space SKB case and includes footswitch, and great flexible 
stereo effects loops.  Price is $650 plus shipping UPS COD (non-negotiable).

Best,
Kevin
email fmplautus@aol.com

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To: Loopers-Delight@annihilist.com
From: Kim Flint <kflint@annihilist.com>
Subject: Re: Lexicon & JAMMAN
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>David Kirkdorffer <DKirkdorffer@exapps.com> wrote:
>
>>My guess is the best one can hope for from Lexicon re:JAMMAN is what they
>>are doing now -- that is, building some/many JAMMAN like capabilities into
>>other effects devices they produce.
>
>Hey, the Echoplex got reissued, now didn't it?  It did take a little
>time, mind you, and it was somewhat different.

Actually, the Echoplex is not a "reissue" of anything. There is the ancient
tape delay from decades ago called "Echoplex". It happens that Gibson owns
this name. When Gibson decided to license this fascinating looping machine
from Matthias Grob decades later, somebody thought, "hey, we have this
Echoplex name, let's call it that!" And it was deliciously subversive and
so it was done.

But the two device have nothing to do with each other at all, really.

and the current Echoplex Digital Pro (as we brilliantly named it...) has
never been discontinued, so it's not yet in a position to be
"reissued"....at least not yet. it's just on one of its yearly
"sabbaticals"...;-)

>I'm sure Lexicon would love to have more of a presence in the
>lower-priced effects market as there is a great deal of volume
>in that area, even though the margins are smaller.
>
>I can imagine that they'd release an improved version, though...
>a "son of JamMan" which had better MIDI and that sort of thing.

Lexicon lost a boatload of money on the jamman. (largely because they
didn't have a very solid grasp on "low cost" markets at the time.) When
they killed it, they had a warehouse full of unsellable jammans! it was a
running internal joke there for quite a few years. The prospects for future
jammans have never been very good....

And now, Lex has largely lost the autonomy they once enjoyed within the
Harmon organization, which is probably a bit sad. I wouldn't place my chips
on that square, but you never know....


kim


______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


From Loopers-Delight-request@annihilist.com  Wed Jun 16 06:01:11 1999
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> Does anyone know what/where to find Adrain's tour schedule.  I'm in NYC and 
> would love the chance to see him.

http://www.murple.com/adrianbelew/tour.htm

He's in philly tonight (I'm going so if anyone wants to hook up send me
an email this afternoon)

Maxwells (Hoboken NJ) tomorrow. Oddly no NYC date is given.


-----------------------------------------------------------------------
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From Loopers-Delight-request@annihilist.com  Wed Jun 16 06:01:47 1999
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From: haeusle <haeusle@aon.at>
Subject: Re: FW: Norton AntiVirus detected a virus in a message you
  received from  Nathan Herrera
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hi David!
there are some pretty smart viruses out there that spread indepentently.
from your description: this sounds like one of these beasts!
lorenz

At 10:29 11.06.99 -0400, you wrote:
>Nathan, 
>
>I must confess I don't understand why you sent me an e-mail with nothing in
>it except this attachment for this virus-laden file.
>
>It's as if you specifically were trying to give me this virus.
>
>And then you sent me a "100%" request to buy an EDP.
>
>Did you know you were sending me a virus file?
>
>
>
>
>-----Original Message-----
>From: NAV for Microsoft Exchange-BOS-MAIL 
>Sent: Friday, June 11, 1999 10:17 AM
>To: David Kirkdorffer
>Subject: Norton AntiVirus detected a virus in a message you received.
>
>
>Norton AntiVirus found the "Happy99.Worm" virus in the attachment
>"Happy99.exe".
>The file was Quarantined.
>
>Sender of the infected attachment:  Nathan Herrera
>Subject of the message:  Re: EDP  -- Group Buy II (form A)
>
>
>

From Loopers-Delight-request@annihilist.com  Wed Jun 16 06:02:10 1999
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Date: Thu, 10 Jun 1999 20:46:20 +0100
From: david cooper orton <or387751@subnet.virtual-pc.com>
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Kriist@aol.com wrote:

> is this derek bailey?

It is!

> ive been seeing his name about lately
> is the book anygood?

Yes, its an extremely detailed look at improvisation in various musical contexts
including Western art music, Indian (North & South), Flamenco, and jazz,
originally written in 1980, then heavily revised in 1992 and published by Da Capo
Press, New York. Out of print in the UK, but available via specialist music book
retailers (or amazon.com etc)

> is it technical(i.e.modes etc....)

The parts about Indian music, explaining differences from Western notation are
quite technical, although less about (playing) technique as suchso:

> ...is it philosophical(approaches etc...)
>

more so, yes, exploring the distinction(s) - real or imagined - between
inprovisation and composition - amongst other things. The book has been
recommeded in this forum several times in the last few years, and depending on
your tolerances, perhaps easier to deal with than Mr Bailey's guitar work(!)

Cheers

David
<http://www.mp3.com/davidcooperorton>

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        "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: RE: EDP  -- Group Buy II vs. Enhancements
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Curbie -

I suggest any ideas for enhancements be collected by someone else (KIM?).

I'll gather a list of buyers.  I'll make sure this list is forwarded to the
correct people at the correct companies (sorry to be so vague).  

BTW -- The impression I was left with is when EDP production resumes, it
will be in far far great numbers.

My personal opinion is many of your suggestions are good ones, but any
suggestions for big changes in the hardware may risk slowing and delaying
any resumed production.

...Somewhat like asking your spouse to come back after a separation, but
then asking that they get the facial surgery you had wanted them to get
before.  Not much of a come-on, eh?

If Kim can collect these ideas and sort them into "Easy" "Hard" "Don't know"
categories then maybe that can help get the easy ideas into the production
loop (!!)

David Kirkdorffer


-----Original Message-----
From: Steve Han [mailto:curbfeeler@transworld-lax.com]
Sent: Thursday, June 10, 1999 3:15 PM
To: 'Loopers-Delight@annihilist.com'
Cc: 'DKirkdorffer@exapps.com'
Subject: RE: EDP -- Group Buy II


David,

Great idea.  Upon consolidating the orders,
I propose we discuss improvements to be made
for the newly produced EDPs.
My comments are as follows:

******

"EDPs Input and Output levels are extremely sensitive
and difficult to set visually as each individual EDPs
I/O level settings are at different positions from eachother
to reach the same level setting."

"This is from reviewing 6 different EDPs consisting
of my 2 EDPs and 4 others owned by friends."

"BrotherSync is a myth and does not work, showing
'error' message, even with Master to Slave settings."
"This maybe in part my fault from not knowing the
intricacy in manipulating the EDP Sync system but
I can't figure it out from the manual or on a EDP e-group."

"Sync-ing with Midi In/Out/Thru works but the sync
falls out of unison after approximately 8 minutes,
fully discernable after about 12 to 13 minutes."

"Foot Controller is very fragile and temperamental."

"The Buttons (red) of the pedal are made of circuitry
of the cheapest kinds and with the precise timing
the EDP requires for performance, they are difficult to
control with these cheap red buttons which behave
unpredictably at times."

"The maximum EDP capability of 198 seconds
should be Standard for all newly produced units."

"Most local Music Stores want to charge arm and a leg
for a unit of EDP and if you want the pedal with it, they'll
try to milk you for another $100 to $125."

"Taking minimum 3 months to receive one from Gibson,
only the true, dedicated loopers will order EDP while
the EDP's capability can be marketed to the general
musician and when advertised smartly, it can become
a must have for every serious musician."

"The price of Echoplex Digital Pro are prohibitive."
"Mid $500.00 to mid $600.00 seems reasonable,
which should include the pedal as part of the unit."

"This is my opinion and experience and does not represent
any other persons, groups, or identity."

***********

I hope someone at Opcode / Gibson will give the above points
some thought.
The more popular the EDP, the more accessible to us
the price and availability.
Perhaps we should be promoting the EDP to every musicians,
magazines, and music stores we know.

I know some of us are already trying to promote EDPs
but think of it...
A pair of EDPs in every musician's garage...

Thanks for the effort David.

Curbie

-----Original Message-----
From:	David Kirkdorffer [SMTP:DKirkdorffer@exapps.com]
Sent:	Wednesday, June 09, 1999 9:46 AM
To:	'Loopers-Delight@annihilist.com'; Loopers-Delight-d@annihilist.com
Subject:	EDP  -- Group Buy II

I cannot think of a better way to stimulate GIBSON into EDP production than
a long list of profitable orders waiting to be fulfilled.

With that in mind, I'm starting a list of people who really want to buy a
NEW EDP.  This list will be submitted to whoever picks up the production of
the EDP.

Clearly we can't KNOW the price of the unit at this time, so please assume
it will be in the same $650-$700 range as before.  
I will NOT be accepting any money.   I will not be a middleman.  

BUT, I WILL make sure this list is in the hands of people who can get the
EDP produced again.

I am providing two forms:  	

	A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP IF I CAN FIND ONE" ORDERS
FORM
	
	B. "ONLY 99% OR LESS COMMITED" ORDERS FORM


If you are ABSOLUTELY COMMITED and seriously want to buy an EDP, then use
FORM A.

If you're on the fence or uncommitted to paying $650-$700 for an NEW EDP,
then use FORM B.  

KIM -- would you feel it is appropriate to post this form to the LD
web-site?

David Kirkdorffer


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

FORM A
A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP IF I CAN FIND ONE" ORDERS FORM

Please provide the following details in the following format:

A. NAME:
A. MAILING ADDRESS:
A. DAY PHONE:
A. NIGHT PHONE:
A. E-MAIL:
A. NUMBER OF EDP'S YOU WANT TO ORDER:
A. DATE YOU SUBMIT YOUR REQUEST TO GROUP BUY II:

A. HOW MANY EDP'S DO YOU ALREADY OWN?

A. DO YOU ALREADY OWN ANOTHER "LOOPER"?

A. WHAT INSTRUMENT(S) DO YOU PLAY?

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


FORM B
B. "ONLY 99% OR LESS COMMITED" ORDERS FORM

Please provide the following details in the following format:

B. NAME:
B. MAILING ADDRESS:
B. DAY PHONE:
B. NIGHT PHONE:
B. E-MAIL:
B. NUMBER OF EDP'S YOU WANT TO ORDER:
B. DATE YOU SUBMIT YOUR REQUEST TO GROUP BUY II:

B. HOW MANY EDP'S DO YOU ALREADY OWN?

B. DO YOU ALREADY OWN ANOTHER "LOOPER"?

B. WHAT INSTRUMENT(S) DO YOU PLAY?

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

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Subject: Looking for Echoplex
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Hi,

I'm looking for addresses of stores or people where i can buy a (used) Echoplex Digital Pro.
Since i'm from The Netherlands, i'm especialy looking for addresses in The Netherlands,
Belgium and Germany.

Thanks. 

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I was beginning to wonder when I would see these guys mentioned. Fantastic 
group. Three percussionists and bass/guitar/horn/? player grooving to a loop 
or two. Although the loop composer does not perform live with the others.(at 
least not in the 2 shows I was lucky enough to attend) He has some Koan 
compos too. One of the percussionists, Mad Jym, plays a heap of scrap metal 
among other stuff. Their disc, "Catalog of desires Vol.3", definately gets 
my vote for "loop of the week"  Check 'em out
Dennis C.


_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

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Hi All,

I just subbed yesterday after visiting the Looper's Delight website for
the first time. I had heard of it before but never actually visited.

A little bit about myself:
I'm 30. male and I live in Canada. I have a dream job in a New Media
studio as a graphic/sound designer where I can indulge, to a large
extent, my whims and get paid for it. I've been creating music on the
side for years now which is a
techno/industrial/ambient/breakcore/experimental mix. I joined this list
because I want to introduce loops/drones into my repertoire.

Of the tools of the trade listed on the loop site what would be the top
recommendation in the "bang for buck" category? I want to spend under
$300 for now and upgrade sometime in the next six months. I will be
building an analogue modular synth system over the winter and perhaps
this will prevent me from spending to freely so I will have some extra
cash to throw at a better looping tool. All I have now is a Boss SP-202.

dave

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loop-fruits:

Hello, how are you? New to the list, I'm just gone jump right in:


> Here are some features I'd love to see.  Perhaps
> something like MSP could do it in software, hmm...
>

MSP _is_ maybe the ultimate looper, along with being so much more. I
know this digital audio plug-in for the MAX programming environment (it
operates on what platform? the Macintosh operating system, you say?) has
been discussed before but allow me to tout its splendors, even though I
haven't used it since I got out of grad school in December(!) Not only
do you get unlimited delay time, times however many separate loops you'd
like, either within the first or in discrete files, the processing of
those buffered sound files is enormous, with either MSP's own processing
or the ability to bring in VST plug-ins. Those buffered loops may also
be saved and called up any damn time you please, provided your hard
drive doesn't punk out. "Sample rate modulation"? You bet your sweet
bippie. AND! With the new Pluggo software/programming you have many more
incredible VST plug-ins (not all of which, sadly, are available for
real-time mojo in MSP) which you can use on audio files in something
like Vision DSP and create your own VST plug-ins. Not to mention, for
goodness' sake, the enormous potential for MIDI nirvana available via
Max' real-time interactive MIDI engine. With consumer Powerbooks coming
down the pike "any day now" within the $1300 range, and the MAX/MSP
bundle at $495, this is a cheaper solution than, say, an Eventide, with
about a quintillion more options as well as a (they say) lovely
translucent iMac-looking exoskeleton. Whew. 'Nuff evangelizing...


> -- click removal/endpoint smoothing
>    crossfade between the beginning and end of a loop.
>    controllable crossfade time (and fade shape?)
>

Blurring out noisesome end/beginningpoints _is_ one thing MSP hasn't
cracked...yet...


> -- loop "tweaking":  real time effects on a loop.
>

There is much to be said about dedicated hardware, of course. Have I
missed something or do none of the favored loopers have effects loops?
Seems like it's so obvious and makes it easier to get effects back into
the loop utilizing this method. I may have missed something...

Finally, the "&c."


> I did talk to some Gibson and Opcode people this week, keep up the pressure
> on those guys! The more they hear from folks the faster they will go, and
> the message is just starting to get to the right people. If you go here:
> http://www.opcode.com/forms/feedback.html you can send a mail to the Opcode
> sales department. Or call them at 650-429-2400.
>

Have I missed something or isn't the Echoplex made by the Oberheim
division of Gibson, not the Opcode (the Vision/MAX folk) division? Sorry
if that's old news to you all, but, if Oberheim went south and/or got
sucked into Opcode, it'd be big news to me and my team of financial
planners. Thanks. Palindromplicity. Good day.

-----------------------------------------------------------------
   ~      > --- James Keepnews --- <  "Don't quote anybody, Sir!"
 (.-.)    > -- Multimedia Yahoo -- <
    \                 *                           -- Krishnamurti
   -      > -  keepnews@node.net - <
-----------------------------------------------------------------

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Too much mail.

From Loopers-Delight-request@annihilist.com  Wed Jun 16 10:30:29 1999
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From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'Michael Tuminello'" <m1cha3l@earthlink.net>,
        Loopers-Delight@annihilist.com
Cc: David Kirkdorffer <DKirkdorffer@exapps.com>
Subject: RE: power in numbers?  Group Wanting to buy an EDP
Date: Wed, 16 Jun 1999 09:34:46 -0400
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RE: Group wanting to buy an EDP.

At this time, here are the standings:

Eight (8) individuals have submitted "Form A. 100% Committed Orders" for an
EDP where-ever / whenever they can get them

Two (2) individuals have submitted "Form B. Only 99% Committed Orders" 

I have also received one submission that is not clear as to 100% or Only 99%
status.  I'm trying to clarify that one before adding to any standings.  

I must confess, I'm suprized the numbers are so low.  After all the noise
about wanting an EDP, and the rush to get them from E-BAY etc...

So, here is my earlier e-mail with the submission forms again.  Please know
I will hold all personal information in strictest confidence.  When the time
comes, I will let everyone who submitted a request know exactly who the list
was given to.

Maybe we need a goal.  I think 50 submissions would be a good start.  

David Kirkdorffer

P.S. For those not interested in an EDP, I'm sorry to take up this bandwidth
-- but this is the best forum to keep the issue alive.


Here's that e-mail again...
____________________________________________________________________________
______


I cannot think of a better way to stimulate GIBSON into EDP production than
a long list of profitable orders waiting to be fulfilled.

With that in mind, I'm starting a list of people who really want to buy a
NEW EDP.  This list will be submitted to whoever picks up the production of
the EDP.

Clearly we can't KNOW the price of the unit at this time, so please assume
it will be in the same $650-$700 range as before.  
I will NOT be accepting any money.   I will not be a middleman.  

BUT, I WILL make sure this list is in the hands of people who can get the
EDP produced again.

I am providing two forms:  	

	A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP IF I CAN FIND ONE" ORDERS
FORM
	
	B. "ONLY 99% OR LESS COMMITED" ORDERS FORM


If you are ABSOLUTELY COMMITED and seriously want to buy an EDP, then use
FORM A.

If you're on the fence or uncommitted to paying $650-$700 for an NEW EDP,
then use FORM B.  

KIM -- would you feel it is appropriate to post this form to the LD
web-site?

David Kirkdorffer


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

FORM A
A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP IF I CAN FIND ONE" ORDERS FORM

Please provide the following details in the following format:

A. NAME:
A. MAILING ADDRESS:
A. DAY PHONE:
A. NIGHT PHONE:
A. E-MAIL:
A. NUMBER OF EDP'S YOU WANT TO ORDER:
A. DATE YOU SUBMIT YOUR REQUEST TO GROUP BUY II:

A. HOW MANY EDP'S DO YOU ALREADY OWN?

A. DO YOU ALREADY OWN ANOTHER "LOOPER"?

A. WHAT INSTRUMENT(S) DO YOU PLAY?

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


FORM B
B. "ONLY 99% OR LESS COMMITED" ORDERS FORM

Please provide the following details in the following format:

B. NAME:
B. MAILING ADDRESS:
B. DAY PHONE:
B. NIGHT PHONE:
B. E-MAIL:
B. NUMBER OF EDP'S YOU WANT TO ORDER:
B. DATE YOU SUBMIT YOUR REQUEST TO GROUP BUY II:

B. HOW MANY EDP'S DO YOU ALREADY OWN?

B. DO YOU ALREADY OWN ANOTHER "LOOPER"?

B. WHAT INSTRUMENT(S) DO YOU PLAY?

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



From Loopers-Delight-request@annihilist.com  Wed Jun 16 11:10:09 1999
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Date: Wed, 16 Jun 1999 10:23:06 -0400
To: Loopers-Delight@annihilist.com
From: Michael Tuminello <m1cha3l@earthlink.net>
Subject: RE: power in numbers?  Group Wanting to buy an EDP
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Well, it may not be a ton, but it's $6000 - $7000 we're talking about here
so far, and this is for a company that just cut the prices on its flagship
product (SVP & Vision).   I hope we get more together soon.   As Kim
suggested, I have personally harassed Opcode via their form, and mentioned
that I happen to be a repeat SVP customer, which I can only hope might make
them favorably inclined to listen.  If Opcode is handling the EDP, then as
far as I can see, the EDP would be the most guitar-focused product they are
currently selling.  I would expect them to make more of the opportunity of
merging with Gibson, and come out with some great guitar products.

MT


>RE: Group wanting to buy an EDP.
>
>At this time, here are the standings:
>
>Eight (8) individuals have submitted "Form A. 100% Committed Orders" for an
>EDP where-ever / whenever they can get them
>
>Two (2) individuals have submitted "Form B. Only 99% Committed Orders"
>
>I have also received one submission that is not clear as to 100% or Only 99%
>status.  I'm trying to clarify that one before adding to any standings.
>
>I must confess, I'm suprized the numbers are so low.  After all the noise
>about wanting an EDP, and the rush to get them from E-BAY etc...
>
>So, here is my earlier e-mail with the submission forms again.  Please know
>I will hold all personal information in strictest confidence.  When the time
>comes, I will let everyone who submitted a request know exactly who the list
>was given to.
>
>Maybe we need a goal.  I think 50 submissions would be a good start.
>
>David Kirkdorffer
>
>P.S. For those not interested in an EDP, I'm sorry to take up this bandwidth
>-- but this is the best forum to keep the issue alive.
>
>
>Here's that e-mail again...
>____________________________________________________________________________M»

From Loopers-Delight-request@annihilist.com  Wed Jun 16 12:24:08 1999
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From: "Wordsman, Lee" <LWordsman@PIRNIE.COM>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: RE: Time machine cache 
Date: Wed, 16 Jun 1999 11:23:05 -0400
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$269 seems like a lot of cash for a time machine.  

> -----Original Message-----
> From: Keenan Lawler [mailto:klaw@konstant.com]
> Sent: Wednesday, June 16, 1999 10:38 AM
> To: Loopers-Delight@annihilist.com
> Subject: Time machine cache 
> 
> 
> Hey everybody -I know theres a lot of interest  about these 
> machines on the
> list so ill post this to satiate those twistyknobbed 
> challenged loopers 
> Anyone in the market for a rackmount Digitech time machine 
> (8secs looping)
> should be aware of a stockpile of em  sitting at the Doo Wop shop in
> Louisville Ky 502-456-5250
> these units are in great condition -some are new old stock 
> -&269.00 each
> -also a multi play mod /dlay pedal for $ 73.00 
> 
> estimate about 10 of em -----
> 
> 
> no jam man -or EDP though----
> 
> 
> 
> K
> 

From Loopers-Delight-request@annihilist.com  Wed Jun 16 12:24:11 1999
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Date: Wed, 16 Jun 1999 11:43:25 -0400
To: Loopers-Delight@annihilist.com
From: Tom Ritchford <tom@swirly.com>
Subject: RE: power in numbers?  Group Wanting to buy an EDP
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>B. NAME:  Tom Ritchford
>B. MAILING ADDRESS: 153 Chrystie St, NY, NY 10002
>B. DAY PHONE: 917 449-8190
>B. NIGHT PHONE:
>B. E-MAIL: tom@swirly.com
>B. NUMBER OF EDP'S YOU WANT TO ORDER: 1
>B. DATE YOU SUBMIT YOUR REQUEST TO GROUP BUY II:  6/16
>
>B. HOW MANY EDP'S DO YOU ALREADY OWN? 0
>
>B. DO YOU ALREADY OWN ANOTHER "LOOPER"? No
>
>B. WHAT INSTRUMENT(S) DO YOU PLAY?  electronic wind instrument, drums, bass,
vox, etc.

From Loopers-Delight-request@annihilist.com  Wed Jun 16 14:10:15 1999
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Date: Wed, 16 Jun 1999 12:09:36 -0500
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From: "L. Stafford" <r4c@winternet.com>
Subject: The world according to Opcode....
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After posting a message regarding production of the EDP to their web page
form, I got back the following response:
"There are no plans for Opcode to handle this product"

Perhaps they are resorting to form letter responses for any email
containing the word EDP. ;)


Lorren Stafford
Richard For Cerebellum/A Most Happy Sound
http://www.winternet.com/~r4c

"We ask ourselves whether truly this is the beginning 
of a new world or whether perhaps the world...is about
to perish.  There are people who earnestly and seriously
fear this, where music becomes the slave of the machine..."

From Loopers-Delight-request@annihilist.com  Wed Jun 16 14:13:29 1999
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Date: Wed, 16 Jun 1999 13:11:37 -0400
To: Loopers-Delight@annihilist.com
From: Tom Ritchford <tom@swirly.com>
Subject: WHOOPS!  (was RE: power in numbers?  Group Wanting to buy an EDP)
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ignore that last message... a dreadful slip...

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Date: Wed, 16 Jun 1999 11:46:35 -0700
To: Loopers-Delight@annihilist.com
From: Kim Flint <kflint@annihilist.com>
Subject: Re: The world according to Opcode....
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At 10:09 AM -0700 6/16/99, L. Stafford wrote:
>After posting a message regarding production of the EDP to their web page
>form, I got back the following response:
>"There are no plans for Opcode to handle this product"
>
>Perhaps they are resorting to form letter responses for any email
>containing the word EDP. ;)
>

Like I said, Don't take no for an answer. :-)

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


From Loopers-Delight-request@annihilist.com  Wed Jun 16 16:12:33 1999
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From: ld thomson <heatshrink@hotmail.com>
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Subject: Re: In search of the ultimate looper?
Date: Wed, 16 Jun 1999 12:24:46 PDT
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Have everyone forgotten that EH 16 second delay contraption circa 1984?  
I've never used one but I think Belew & Fripp were pretty enthused about it 
when it came.


>From: SoundFNR@aol.com
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: In search of the ultimate looper?
>Date: Tue, 15 Jun 1999 16:17:37 EDT
>
>There'll never be just one
>not affordably anyway
>
>so I suggest
>
>1) Ultimate looper
>       like Tom suggested
>
>
>
>2) affordable performance looper
>       (sort of a super jamplex-on -a-budget)
>      features
>       i) can set up loop by tapping once to start then once to loop,
>          but can then go into echo mode (ie feedback controllable)
>          and so that you can overdub straight away.
>       ii) can tap in new loop time without glitching (JamMan won't usually 
>do
>this)
>           in fact let's have all functions glitch free.
>       iii) reverse play (popular), and change playback speed.
>
>       iv) 3 simultaneous loops which can be either the same length( but 
>start
>           at an arbitrary point), or unrelated length.
>            Possibly loops of 'related' length.
>        v) One of the above loops will always be the 'current' loop which 
>can
>be
>            altered lenghwise, reversed, added to ,  or erased.
>        vi) Separate outputs for each loop (optional) or stereo panning
>        vii) loop time total 60s , expandable with easily available cheap
>chips.
>        viii) footpedal controlled (or stomp box)
>                   a) tap time,    3rd press deletes loop
>                   b) select current loop
>
>         ix) LED display of 'current' loop no.
>
>regeneration for the current loop could be set with a knob on the box,
>possibly
>options like ' non current loops don't fade'
>                  '  global control of fade rate'
>
>I've left out any pitch-shift/time-stretch and modulation to be done
>externally.
>
>This is only my starting suggestion, but remember each new feature
>may well up the cost.
>
>Andy Butler
>
>otherwise ultimate looper might be a vortex with extra memory
>
>
>
>
>
>
>
>
>


______________________________________________________
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From Loopers-Delight-request@annihilist.com  Wed Jun 16 15:56:12 1999
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From: Loopbozo@aol.com
Message-ID: <17077d72.24995269@aol.com>
Date: Wed, 16 Jun 1999 15:18:01 EDT
Subject: For Sale
To: Loopers-Delight@annihilist.com
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For sale by original owner EH 16-second digital delay.Please direct offers
and questions to: loopbozo@aol.com

                                                       Bryan Helm

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From: ld thomson <heatshrink@hotmail.com>
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Subject: Re: chorus echo & space echo
Date: Wed, 16 Jun 1999 12:28:18 PDT
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A pity roland wouldn't reissue a digital updated version of their old space 
echo or chorus echo tape delays.  My first sound on sound soundscaping 
experience (I was 13).  I look back on those machines with great fondness.


>From: Kim Flint <kflint@annihilist.com>
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: Lexicon & JAMMAN
>Date: Wed, 16 Jun 1999 02:04:17 -0700
>
> >David Kirkdorffer <DKirkdorffer@exapps.com> wrote:
> >
> >>My guess is the best one can hope for from Lexicon re:JAMMAN is what 
>they
> >>are doing now -- that is, building some/many JAMMAN like capabilities 
>into
> >>other effects devices they produce.
> >
> >Hey, the Echoplex got reissued, now didn't it?  It did take a little
> >time, mind you, and it was somewhat different.
>
>Actually, the Echoplex is not a "reissue" of anything. There is the ancient
>tape delay from decades ago called "Echoplex". It happens that Gibson owns
>this name. When Gibson decided to license this fascinating looping machine
>from Matthias Grob decades later, somebody thought, "hey, we have this
>Echoplex name, let's call it that!" And it was deliciously subversive and
>so it was done.
>
>But the two device have nothing to do with each other at all, really.
>
>and the current Echoplex Digital Pro (as we brilliantly named it...) has
>never been discontinued, so it's not yet in a position to be
>"reissued"....at least not yet. it's just on one of its yearly
>"sabbaticals"...;-)
>
> >I'm sure Lexicon would love to have more of a presence in the
> >lower-priced effects market as there is a great deal of volume
> >in that area, even though the margins are smaller.
> >
> >I can imagine that they'd release an improved version, though...
> >a "son of JamMan" which had better MIDI and that sort of thing.
>
>Lexicon lost a boatload of money on the jamman. (largely because they
>didn't have a very solid grasp on "low cost" markets at the time.) When
>they killed it, they had a warehouse full of unsellable jammans! it was a
>running internal joke there for quite a few years. The prospects for future
>jammans have never been very good....
>
>And now, Lex has largely lost the autonomy they once enjoyed within the
>Harmon organization, which is probably a bit sad. I wouldn't place my chips
>on that square, but you never know....
>
>
>kim
>
>
>______________________________________________________________________
>Kim Flint                   | Looper's Delight
>kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
>http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com
>
>


______________________________________________________
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From Loopers-Delight-request@annihilist.com  Wed Jun 16 16:31:06 1999
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Date: Wed, 16 Jun 1999 15:29:05 -0400
From: Kevin <kevin@minds-eye.org>
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References: <v04011703b38c1ba4bac6@[207.38.245.79]>
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This fellow has a vortex for sale for $150 if anyone's interested

cwalle01@athena.louisville.edu

I think this was already posted once, but here it is again.  It was from
Harmony Central but I received an e-mail this morning letting me know he still
has it.

Kevin

From Loopers-Delight-request@annihilist.com  Wed Jun 16 17:41:14 1999
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Date: Wed, 16 Jun 1999 14:03:34 -0700 (PDT)
From: Bret <echoplex@yahoo.com>
Subject: what opcode said to me
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I wrote to opcode about EDP availability, and they
wrote me:
--- infoone <infoone@opcode.com> wrote:
> Check with www.gibson.com.  We dont handle those
> products.
> 

_________________________________________________________
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Get your free @yahoo.com address at http://mail.yahoo.com

From Loopers-Delight-request@annihilist.com  Wed Jun 16 19:18:02 1999
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Date: Wed, 16 Jun 1999 14:50:51 -0700
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From: Sean <sean_@mindspring.com>
Subject: what my mama said to me
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I asked my mother about EDP production.

She said she doesn't know about it.

damn.

From Loopers-Delight-request@annihilist.com  Wed Jun 16 19:17:18 1999
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From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'Michael Tuminello'" <m1cha3l@earthlink.net>,
        Loopers-Delight@annihilist.com
Cc: David Kirkdorffer <DKirkdorffer@exapps.com>
Subject: retailers and distributors -- EDP
Date: Wed, 16 Jun 1999 18:14:53 -0400
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Another critical we must pursue to re-ignite production of the EDP is with
musical equipment retailers and distributors.  With pull for the EDP from
the retail channel, we will catch the attention of the powers that be....er,
powerful.


Here's what I suggest.

1.  Go to your local musical equipment retailer
2.  Ask for an EDP
3.  When you hear "They don't make them anymore" or "How do I get one?" ask
them to contact:

	Gibson
	Gibson Guitar Corp., 1818 Elm Hill Pike, Nashville, TN 37210 

	Mike Ayers 
	<mayers@gibson.com> 
	or 800-777-0795 x382. 	
	He might be able to help you locate a unit if you are looking for
it.

	Also, Gibson's Customer Relations Department toll-free at
1.800.4.GIBSON. 
	Email address: relations@gibson.com 
	

David Kirkdorffer

From Loopers-Delight-request@annihilist.com  Wed Jun 16 21:06:05 1999
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From: Nemoguitt@aol.com
Message-ID: <b8a9892d.24999bac@aol.com>
Date: Wed, 16 Jun 1999 20:30:36 EDT
Subject: Re: what my mama said to me
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In a message dated 6/16/99 10:18:01 PM Mid-Atlantic Daylight Time, 
sean_@mindspring.com writes:

<< I asked my mother about EDP production.
 
 She said she doesn't know about it.
 
 damn. >>

my most sainted mamma said, and i quote," michaelnotmiko, i have never seen 
you so happy since you got your rang, go and get another one".......honest, 
this is what she said...........michael

From Loopers-Delight-request@annihilist.com  Thu Jun 17 06:17:43 1999
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Date: Thu, 17 Jun 1999 09:37:51 +0100 (BST)
From: Jim Carter <Jim.Carter@bristol.ac.uk>
To: Loopers-Delight@annihilist.com
Subject: Fripp & the EH16
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> Have everyone forgotten that EH 16 second delay contraption circa 1984?  
> I've never used one but I think Belew & Fripp were pretty enthused about it 
> when it came.
> 
> 
I saw Robert Fripp performing with one of these in Liverpool in 1984.
This was a spontaneous "tour" following cancellation of a recording
session with the Roches and was in Probe Records which held ca. 30
people sardine style with many more outside (anyone seen a smaller
loop venue?). 
He had a floor full of kit including GR300 and 700 synths, custom
pedal board with the EH16, a Roland SpaceEcho and small mixer
set up near his left hand (remember he is left handed).

He must have played for about 40 minutes showing great command of
the EH16 (reversing, overdubbing, reversing again, stretching,
overbudding, un-stretching(?) and playing incredible lead over the
top of it all, before fielding questions
I think this performance left me the loop enthusiast I am today.

I truely hope that DGM will release some material he produced with
this set-up as it showed the incredible freedom of composition
that a man under no pressure to "perform" can achieve.
I saw him perform in Salisbury Cathederal (97) with his TC electronics
set-up and although this was an awinspiring venue the material
lacked a certain bite. Ah, the mellowness that comes with age.

Enough ramble - Jim Carter

From Loopers-Delight-request@annihilist.com  Thu Jun 17 06:47:19 1999
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Date: Thu, 17 Jun 1999 02:12:49 -0700 (PDT)
From: John Tidwell <wedgehed@yahoo.com>
Subject: Patchbays and pedals and Pulses (Oh My!)
To: Loopers Delight <Loopers-Delight@annihilist.com>
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*** My Email crashed as I was sending this yesterday
morning. If you've already received it, please excuse
the repeat. I checked the archives, but it did not
appear with yesterday's postings.

JT




Since I hold some of you gentlemen responsible for my
current situation, I think it's only fair that I post
these questions to the list.

I will soon be adding a 2nd patchbay to my little home
studio. While working on diagrams of possible
configur-
ations for my equipment, I have come to the conclusion
that I am no longer (if I ever was) a "normal" kind of
guy. I have been effectively "denormaled" by my 
association with Loopers Delight. I'm looping with the
Echoplex & the Vortex. I'm even doing it on my
Digitech
2101 and 2112. Now try to work into the equation the 
rack power amp, compressor, mixer channel ins & outs &
effects sends & returns, etc. I just want to have
complete flexibility as to who's on first, who's on
second.

While working on patchbay configurations, it occurred
to me that, to this point, all of my patchbay connec-
tions have been strictly for audio, even though a lot
of my equipment has back panel inputs for cv/exp
pedals, sync connections, footswitches, what have you.

Is it advisable to use a patchbay for these types of
connections? There was an article in EM a while back
on patchbays, but I don't recall seeing anything like
this in their setup examples. I would be using a
balanced, 1/4", denormaled patchbay. At the very
least,
I'm wondering if it might cause interference with
adjacent audio connections, or at worst, cause an
unpleasant aroma. Any guidance is appreciated.

BONUS QUESTION***

Would any of you care to comment on the Waldorf Pulse
Plus synth? Rack mount, mono, analogue synth with
built in cv/gate interface, audio in for filtering
external audio. It appears that you can route the LFO
to the #2 CV output to modulate other equipment with
cv inputs. The LFO has sine, tri, saw (up ramp),
pulse,
& random waveforms. The LFO has a slow speed of 0.0008
Hz (1 cycle every 2 minutes) up to a fast rate of
261.6 Hz. I was led to this in a very round about way
thanks to links provided by David Coffin, who was
responding to my earlier inquiry about external LFOs.
Dave provided the link to Kenton Electronics, which
led to the Analogue Heaven Mail Archives, which led me
to peruse back issues of Keyboard magazine where I
found a review of the Waldorf. Playing guitar used to
be easier than this.

I did my duty and emailed Opcode, how about you?

John







===
John Tidwell



_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com

From Loopers-Delight-request@annihilist.com  Thu Jun 17 07:20:32 1999
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From: Anthony Mullen <anthony.mullen@KSCL.com>
To: Loopers-Delight-d@annihilist.com, Loopers-Delight@annihilist.com
Subject: Auto Loop Finding 
Date: Thu, 17 Jun 1999 10:57:02 +0100
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Hi,

Anyone know of a decent PC s/w tool to trim those loops (typically breaks)
that come with the extra kick/bit on the end - you know the kind from sample
CDs.

Removing the end portion proves to be a hassle when doing loads of
them......when importing to Acid.

Any help much appreciated by my already waning wrists.....

Thanks
Anthony

From Loopers-Delight-request@annihilist.com  Thu Jun 17 08:21:04 1999
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Date: Thu, 17 Jun 1999 07:35:45 -0400
To: Loopers-Delight@annihilist.com
From: Tim Nelson <tcn62@ici.net>
Subject: Re: Fripp & the EH16
In-Reply-To: <Pine.SGI.3.95q.990617091958.21978A-100000@zeus.bris.ac.uk>
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At 09:37 AM 6/17/99 +0100, you wrote:
>
>> Have everyone forgotten that EH 16 second delay contraption circa 1984?  
>> I've never used one but I think Belew & Fripp were pretty enthused about
it 
>> when it came.
>> 
>> 
>I saw Robert Fripp performing with one of these in Liverpool in 1984...

Yeah, I caught Belew on his "Twang Bar King" tour in a small club in Boston
right around that time. I had a good vantage point; I was right up at his
monitor, front row, so I got a good gear-view. Belew even described his
EH16 to the crowd, giving a little demo and referring to it as a
"Fripp-in-the-Box"; I guess he hadn't had it very long and was pretty
excited by it. He was using his Roland-equipped customised Jaguars at the
time, and his JC120 was about 12 feet from my head, pointing right at me. 

Tim

From Loopers-Delight-request@annihilist.com  Thu Jun 17 08:23:57 1999
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Message-ID: <3768DE75.D73E9DFE@techno.ca>
Date: Thu, 17 Jun 1999 07:39:34 -0400
From: Neil Wiernik <naw@techno.ca>
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References: <073C734BD702D311A0E90001FA7E094714B8DA@letterbox.kscl.com>
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Try,using ReCycle its designed for exactly what you want to do....
Its a properllerheads product........

Neil Wiernik
PS Im new to this list so hello.... If you want to know more about me check out
the links in my signature file.


Anthony Mullen wrote:

> Hi,
>
> Anyone know of a decent PC s/w tool to trim those loops (typically breaks)
> that come with the extra kick/bit on the end - you know the kind from sample
> CDs.
>
> Removing the end portion proves to be a hassle when doing loads of
> them......when importing to Acid.
>
> Any help much appreciated by my already waning wrists.....
>
> Thanks
> Anthony

--

__________________________________________________________________
Neil Wiernik
naw@techno.ca
http://www.techno.ca/studio/naw
__________________________________________________________________
Projects:
http://www.kiasma.fng.fi/soundbox/
http://www.twelveinch.com/djs.html
http://www.techno.ca/ntac
http://cec.concordia.ca/Radio/Sonic%20Circuit/SonicCircuits2.html
http://www.interaccess.org/aurora/wiernik.html
http://www.er.uqam.ca/nobel/k31320/wier01.htm


From Loopers-Delight-request@annihilist.com  Thu Jun 17 08:25:02 1999
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Date: Thu, 17 Jun 1999 13:28:56 +0200
From: mark <mark.francombe@in2win.com>
Organization: in2win Interactive Learning Systems
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Anthony Mullen wrote:
> 
> Hi,
> 
> Anyone know of a decent PC s/w tool to trim those loops (typically breaks)
> that come with the extra kick/bit on the end - you know the kind from sample
> CDs.
> 
> Removing the end portion proves to be a hassle when doing loads of
> them......when importing to Acid.
> 
> Any help much appreciated by my already waning wrists.....
> 
> Thanks
> Anthony


Have you looked at the acid plugins for Soundforge, I think they may
help you in what you need...
Mark F

-- 
\
-\
--\
---\
----\
-----\
------\
-------\
--------\
---------\
----------\
-----------\
------------\
mark-red-----\
--------------\
---------------\
work------------\
-----------------\
in2win------------\
-------------------\
multimedia-designer-\
ovre-slottsgate-5----\
0157-oslo-------------\
tlf.--22-40-29-94------\
fax--22-42-14-24--------\
e-mail--mark@in2win.com--\
web--http-//www.in2win.com\
---------------------------\
----------------------------\
personal---------------------\
tlf.-22-43-10-79--------------\
mob.-91-56-99-88---------------\
mark@8day.com-------------------\
christine@8day.com---------------\
----------------------------------\
-----------------------------------\
redweb------------------------------\
http-//www.8day.com/redweb-----------\
--------------------------------------\
---------------------------------------\
icq-4531031-----------------------------\
-----------------------------------------\

From Loopers-Delight-request@annihilist.com  Thu Jun 17 08:33:02 1999
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Date: Thu, 17 Jun 1999 13:36:27 +0200
From: Claude Voit <c.voit@vtx.ch>
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To: Loopers-Delight@annihilist.com
Subject: Re: Patchbays and pedals and Pulses (Oh My!)
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John Tidwell wrote:
snip
> 
> I will soon be adding a 2nd patchbay to my little home
> studio. While working on diagrams of possible
> configur-
> ations for my equipment, I have come to the conclusion
> that I am no longer (if I ever was) a "normal" kind of
> guy. I have been effectively "denormaled" by my
> association with Loopers Delight. I'm looping with the
> Echoplex & the Vortex. I'm even doing it on my
> Digitech
> 2101 and 2112. Now try to work into the equation the
> rack power amp, compressor, mixer channel ins & outs &
> effects sends & returns, etc. I just want to have
> complete flexibility as to who's on first, who's on
> second.
> 
Hey john

if you want the rolls of patchbays have a look at the switchblade audio 
switcher 16 in 16 out 100 programs that recalls your preprogrammed
patches 

its at http://www.soundsculpture.com

and download the small winblade application (PC) to have a good wiew of
the huge potential
of the patcher


> 
> Would any of you care to comment on the Waldorf Pulse
> Plus synth? Rack mount, mono, analogue synth with

I own a 4 pole filter wich is the filter,adsr, etc stage of 
a pulse (NO oscillator tho) but made only for audio input
Wonderful sound, very fast envellopes 

now choosing beetween the 4pole and the pulse is a compromise thing:

Pulse: incredible fat analog mono synth but the audio in is just a
goodie
4pole: only the filter,adsr etc but optimised for audio in but no sound
generation ...

did you think about a clavia Micro Modular www.clavia.se
this one is on my wishlist

hope this helps you
and feel free to ask for more

Claude

From Loopers-Delight-request@annihilist.com  Thu Jun 17 10:09:24 1999
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Date: Thu, 17 Jun 1999 09:15:55 -0400
From: James Keepnews <keepnews@node.net>
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Kim:

Not to be truculent, but this _is_ a looper's mailing list, so one
imagines I'm within my right to be repetitive...shouldn't interested
parties contact Oberheim if they be wanting an Echoplex, _not_ Opcode?
Take "Bret <echoplex@yahoo.com>"'s experience as a further example,
where he receives the reply:


> I wrote to opcode about EDP availability, and they
> wrote me:
> --- infoone  wrote:
> > Check with www.gibson.com.  We dont handle those
> > products.
>

Opcode makes MIDI software and certain MIDI/digital audio hardware
products but hasn't exactly jumped onto the hardware signal processing
bandwagon, to my knowledge (thus, the prior interest on the part of my
team of financial planners, who have suddenly, not to say mysteriously,
transformed into a byzantine assortment of MIDI-merge boxes and A/D mini
1/8"-to-S/PDIF ports). Both Opcode and Oberheim are, as we know,
wholly-owned subsidiaries of Gibson and, it is very likely, at least one
staff member in each "division" doesn't know what happened to his/her
beloved Fonzie iron-on applique t-shirt from 1978; it is at this point,
I'd wager, that all similarities between the two divisions cease.
Perhaps "no" really does mean "no" -- if we want to hold certain feet to
a certain fire, it'd help to know which body said feet are attached to.
Please to advise. Thank you.

-----------------------------------------------------------------
   ~      > --- James Keepnews --- <  "Don't quote anybody, Sir!"
 (.-.)    > -- Multimedia Yahoo -- <
    \                 *                           -- Krishnamurti
   -      > -  keepnews@node.net - <
-----------------------------------------------------------------



>  Subject:
>         Re: The world according to Opcode....
>    Date:
>         Wed, 16 Jun 1999 11:46:35 -0700
>    From:
>         Kim Flint
>      To:
>         Loopers-Delight@annihilist.com
>
>
>
> At 10:09 AM -0700 6/16/99, L. Stafford wrote:
> >After posting a message regarding production of the EDP to their web page
> >form, I got back the following response:
> >"There are no plans for Opcode to handle this product"
> >
> >Perhaps they are resorting to form letter responses for any email
> >containing the word EDP. ;)
> >
>
> Like I said, Don't take no for an answer. :-)
>
> kim
>

From Loopers-Delight-request@annihilist.com  Thu Jun 17 10:59:12 1999
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From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'L. Stafford'" <r4c@winternet.com>, Loopers-Delight@annihilist.com
Subject: Opcode, again
Date: Thu, 17 Jun 1999 10:04:02 -0400
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Until such time as their is an official announcement, which will come from
OPCODE's senior mannagement, the word we will hear from Help Desk and User
Support avenues regarding the EDP will be what you have heard: "There are no
plans for Opcode to handle this product"

There are issues OPCODE is trying to resolve.  I think they may have had
some staff reductions, and their product lines have been shrunk.  It's a
sensitive time for them I suspect.

However, OPCODE is beginning to become fully aware of the EDP, which is a
new and foreign product to them.  A few individuals at Gibson seems to be
making a strong case for the EDP -- a product that they view has been way
underproduced based on demand.

I may be over-characterizing this, but they seem to be displaying a siege
mentality.  I think they want to make the choice for themselves as to what
products they carry/produce/market.  Maybe they feel this "EDP thing" is
being rammed down their throat.

So my limited experience says to me to be polite, and give them the
infomation they need to determine if the EDP can be a profitable line for
them.

David Kirkdorffer



-----Original Message-----
From: L. Stafford [mailto:r4c@winternet.com]
Sent: Wednesday, June 16, 1999 1:10 PM
To: Loopers-Delight@annihilist.com
Subject: The world according to Opcode....


After posting a message regarding production of the EDP to their web page
form, I got back the following response:
"There are no plans for Opcode to handle this product"

Perhaps they are resorting to form letter responses for any email
containing the word EDP. ;)


Lorren Stafford
Richard For Cerebellum/A Most Happy Sound
http://www.winternet.com/~r4c

"We ask ourselves whether truly this is the beginning 
of a new world or whether perhaps the world...is about
to perish.  There are people who earnestly and seriously
fear this, where music becomes the slave of the machine..."

From Loopers-Delight-request@annihilist.com  Thu Jun 17 11:33:25 1999
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Date: Thu, 17 Jun 1999 11:00:25 -0500
From: Mark Sottilaro <msottila@mailbox.syr.edu>
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Hey,

I don't know any tools that will automatically trim a clip.  How would
it know where you really want it?  Seems like stuff like that would take
more tweaking to get to work correctly for each clip that it wouldn't be
worth it.  I could be wrong.

However, if your wrists are aching, I'd recommend a graphics tablet.
You can get them for about $100 and I feel they're well worth it.  It's
like using a pen.  A bit awkward at first, but once you get used to it,
it's well worth it.

Mark Sottilaro
http://web.syr.edu/~msottila/flashtest2.html

From Loopers-Delight-request@annihilist.com  Thu Jun 17 12:25:58 1999
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Date: Thu, 17 Jun 1999 10:34:20 -0500
Subject: EH-16 FS, $100 obo
From: "Travis Hartnett" <hartne.t@apple.com>
To: "Looper's Delight" <Loopers-Delight@annihilist.com>
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from Harmony Central:

--
from Harmony Central:

Electro-Harmonix 16 sec. Delay

Asking Price: US$100
Condition: Excellent
Age: N/A
Description:

       Weird E.H. box, looks pretty old, belonged to my late uncle.
       Works fine. Makes some pretty bizarre sounds. A bit scratchy, but no
significant damage. $100 or best offer.

Seller: Pintler Gregory, (847) 545-7650
E-mail: andifeelfine1@hotmail.com (Profile)
Location: CHICAGO, IL
Post Date: 6/16/99

From Loopers-Delight-request@annihilist.com  Thu Jun 17 12:31:41 1999
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Date: Thu, 17 Jun 1999 08:26:17 -0700
Message-ID: <001D0CD8.C21407@wj.com>
From: Mike.Biffle@wj.com (Mike Biffle)
Subject: Re: Patchbays and pedals and Pulses (Oh My!)
To: Loopers Delight <Loopers-Delight@annihilist.com>,
        John Tidwell <wedgehed@yahoo.com>
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     I've been using a TRS patch bay with my expression pedals and switches 
     for years without any crosstalk or other problems...
     
     -Miko


______________________________ Reply Separator _________________________________
Subject: Patchbays and pedals and Pulses (Oh My!)
Author:  John Tidwell <wedgehed@yahoo.com> at INTERNET
Date:    6/17/99 6:46 AM


*** My Email crashed as I was sending this yesterday
morning. If you've already received it, please excuse
the repeat. I checked the archives, but it did not
appear with yesterday's postings.

JT




Since I hold some of you gentlemen responsible for my
current situation, I think it's only fair that I post
these questions to the list.

I will soon be adding a 2nd patchbay to my little home
studio. While working on diagrams of possible
configur-
ations for my equipment, I have come to the conclusion
that I am no longer (if I ever was) a "normal" kind of
guy. I have been effectively "denormaled" by my 
association with Loopers Delight. I'm looping with the
Echoplex & the Vortex. I'm even doing it on my
Digitech
2101 and 2112. Now try to work into the equation the 
rack power amp, compressor, mixer channel ins & outs &
effects sends & returns, etc. I just want to have
complete flexibility as to who's on first, who's on
second.

While working on patchbay configurations, it occurred
to me that, to this point, all of my patchbay connec-
tions have been strictly for audio, even though a lot
of my equipment has back panel inputs for cv/exp
pedals, sync connections, footswitches, what have you.

Is it advisable to use a patchbay for these types of
connections? There was an article in EM a while back
on patchbays, but I don't recall seeing anything like
this in their setup examples. I would be using a
balanced, 1/4", denormaled patchbay. At the very
least,
I'm wondering if it might cause interference with
adjacent audio connections, or at worst, cause an
unpleasant aroma. Any guidance is appreciated.

BONUS QUESTION***

Would any of you care to comment on the Waldorf Pulse
Plus synth? Rack mount, mono, analogue synth with
built in cv/gate interface, audio in for filtering
external audio. It appears that you can route the LFO
to the #2 CV output to modulate other equipment with
cv inputs. The LFO has sine, tri, saw (up ramp),
pulse,
& random waveforms. The LFO has a slow speed of 0.0008
Hz (1 cycle every 2 minutes) up to a fast rate of
261.6 Hz. I was led to this in a very round about way
thanks to links provided by David Coffin, who was
responding to my earlier inquiry about external LFOs.
Dave provided the link to Kenton Electronics, which
led to the Analogue Heaven Mail Archives, which led me
to peruse back issues of Keyboard magazine where I
found a review of the Waldorf. Playing guitar used to
be easier than this.

I did my duty and emailed Opcode, how about you?

John







===
John Tidwell



_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com

From Loopers-Delight-request@annihilist.com  Thu Jun 17 12:40:07 1999
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Date: Thu, 17 Jun 1999 11:49:53 -0500
From: Mark Sottilaro <msottila@mailbox.syr.edu>
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Hey,

Ok, look at us.  A bunch of cry babies.  Oh, we can't buy loopers,
waaaaaaaaaaaaa!  Yet we seem to be amongst some amazing
hardware/software designers.  I couldn't write a program to save my ass
(I am, however, famous in the Cornell University Physics dept. for my c
code that returns a negative integer: let x = x - 2x.  My ex girlfriend,
the astro physicist, circulated that Goldbergian code) but I am good
with a soldering iron.  Could a kit version of a looper device be a
marketable product?  Like the Heathkit stereos (and computers!) of the
'70s?  It's very obvious to me that the big boys don't seem to think
that our toys are worth making.  Maybe not in a mass market, but for a
small business...

Anyway, I really don't know much about the feasibility of such a
project.  Could it be profitable?  Maybe not.  Worth the labor of love?
Possibly?  The only thing I could offer would be help in marketing such
a device via free web design.  I'd do it just to have a product exist.
I'm working on stuff for the looper's site as we speak (type) check out
my site at: http://web.syr.edu/~msottila/flashtest2.html  It's not done
yet and very commercial (I'm trying to feed myself) but look at the web
looping possibilities!  It's not too hard and the files are pretty
small.  The program's interface is a bit obtuse, though.  Anyway, for
all those with web sites, get those loops up!  You can get a free trial
version (I think it actually saves) from macromedia.com.

Mark Sottilaro

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Date: Thu, 17 Jun 1999 08:39:01 -0700
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From: Mike.Biffle@wj.com (Mike Biffle)
Subject: Re[2]: The world according to Opcode....
To: Loopers-Delight@annihilist.com, James Keepnews <keepnews@node.net>
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     Please... just call Michael Ayers @ Gibson... he's the Oberheim 
     support person. 1-800-444-2766, extension 382. None of us here knows 
     more about the EDP situation than him.
     
     -Biffoz


______________________________ Reply Separator _________________________________
Subject: Re: The world according to Opcode....
Author:  James Keepnews <keepnews@node.net> at INTERNET
Date:    6/17/99 10:08 AM


Kim:

Not to be truculent, but this _is_ a looper's mailing list, so one
imagines I'm within my right to be repetitive...shouldn't interested
parties contact Oberheim if they be wanting an Echoplex, _not_ Opcode?
Take "Bret <echoplex@yahoo.com>"'s experience as a further example,
where he receives the reply:


> I wrote to opcode about EDP availability, and they
> wrote me:
> --- infoone  wrote:
> > Check with www.gibson.com.  We dont handle those
> > products.
>

Opcode makes MIDI software and certain MIDI/digital audio hardware
products but hasn't exactly jumped onto the hardware signal processing
bandwagon, to my knowledge (thus, the prior interest on the part of my
team of financial planners, who have suddenly, not to say mysteriously,
transformed into a byzantine assortment of MIDI-merge boxes and A/D mini
1/8"-to-S/PDIF ports). Both Opcode and Oberheim are, as we know,
wholly-owned subsidiaries of Gibson and, it is very likely, at least one
staff member in each "division" doesn't know what happened to his/her
beloved Fonzie iron-on applique t-shirt from 1978; it is at this point,
I'd wager, that all similarities between the two divisions cease.
Perhaps "no" really does mean "no" -- if we want to hold certain feet to
a certain fire, it'd help to know which body said feet are attached to.
Please to advise. Thank you.

-----------------------------------------------------------------
   ~      > --- James Keepnews --- <  "Don't quote anybody, Sir!"
 (.-.)    > -- Multimedia Yahoo -- <
    \                 *                           -- Krishnamurti
   -      > -  keepnews@node.net - <
-----------------------------------------------------------------



>  Subject:
>         Re: The world according to Opcode....
>    Date:
>         Wed, 16 Jun 1999 11:46:35 -0700
>    From:
>         Kim Flint
>      To:
>         Loopers-Delight@annihilist.com
>
>
>
> At 10:09 AM -0700 6/16/99, L. Stafford wrote:
> >After posting a message regarding production of the EDP to their web page
> >form, I got back the following response:
> >"There are no plans for Opcode to handle this product"
> >
> >Perhaps they are resorting to form letter responses for any email
> >containing the word EDP. ;)
> >
>
> Like I said, Don't take no for an answer. :-)
>
> kim
>

From Loopers-Delight-request@annihilist.com  Thu Jun 17 13:06:27 1999
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Date: Thu, 17 Jun 1999 12:57:17 -0400
To: Loopers-Delight@annihilist.com
From: Tim Nelson <tcn62@ici.net>
Subject: Re: Patchbays and pedals and Pulses (Oh My!)
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Does anyone remember when that article ran? I'd like to read it, as my
patchbay has somehow acquired some sort of AI mind of its own, and now does
what it pleases, which isn't always what I want it to...

Tim

>Is it advisable to use a patchbay for these types of
>connections? There was an article in EM a while back
>on patchbays, but I don't recall seeing anything like
>this in their setup examples. I would be using a
>balanced, 1/4", denormaled patchbay. 

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Gang:

Muchas apologias. It is big news re: Oberheim for us newbies; no big news to anyone
else. None too surpirising, given the level of support (read: non-existent) the
brand has had since Gibson made it their own.

Sorry to take up so much space on this -- don't flame me mercilessly. Or mercifully,
even...

-----------------------------------------------------------------
   ~      > --- James Keepnews --- <  "Don't quote anybody, Sir!"
 (.-.)    > -- Multimedia Yahoo -- <
    \                 *                           -- Krishnamurti
   -      > -  keepnews@node.net - <
-----------------------------------------------------------------

Mike Biffle wrote:

>      Please... just call Michael Ayers @ Gibson... he's the Oberheim
>      support person. 1-800-444-2766, extension 382. None of us here knows
>      more about the EDP situation than him.
>
>      -Biffoz
>
> ______________________________ Reply Separator _________________________________
> Subject: Re: The world according to Opcode....
> Author:  James Keepnews <keepnews@node.net> at INTERNET
> Date:    6/17/99 10:08 AM
>
> Kim:
>
> Not to be truculent, but this _is_ a looper's mailing list, so one
> imagines I'm within my right to be repetitive...shouldn't interested
> parties contact Oberheim if they be wanting an Echoplex, _not_ Opcode?
> Take "Bret <echoplex@yahoo.com>"'s experience as a further example,
> where he receives the reply:
>
> > I wrote to opcode about EDP availability, and they
> > wrote me:
> > --- infoone  wrote:
> > > Check with www.gibson.com.  We dont handle those
> > > products.
> >
>
> Opcode makes MIDI software and certain MIDI/digital audio hardware
> products but hasn't exactly jumped onto the hardware signal processing
> bandwagon, to my knowledge (thus, the prior interest on the part of my
> team of financial planners, who have suddenly, not to say mysteriously,
> transformed into a byzantine assortment of MIDI-merge boxes and A/D mini
> 1/8"-to-S/PDIF ports). Both Opcode and Oberheim are, as we know,
> wholly-owned subsidiaries of Gibson and, it is very likely, at least one
> staff member in each "division" doesn't know what happened to his/her
> beloved Fonzie iron-on applique t-shirt from 1978; it is at this point,
> I'd wager, that all similarities between the two divisions cease.
> Perhaps "no" really does mean "no" -- if we want to hold certain feet to
> a certain fire, it'd help to know which body said feet are attached to.
> Please to advise. Thank you.
>
> -----------------------------------------------------------------
>    ~      > --- James Keepnews --- <  "Don't quote anybody, Sir!"
>  (.-.)    > -- Multimedia Yahoo -- <
>     \                 *                           -- Krishnamurti
>    -      > -  keepnews@node.net - <
> -----------------------------------------------------------------
>
> >  Subject:
> >         Re: The world according to Opcode....
> >    Date:
> >         Wed, 16 Jun 1999 11:46:35 -0700
> >    From:
> >         Kim Flint
> >      To:
> >         Loopers-Delight@annihilist.com
> >
> >
> >
> > At 10:09 AM -0700 6/16/99, L. Stafford wrote:
> > >After posting a message regarding production of the EDP to their web page
> > >form, I got back the following response:
> > >"There are no plans for Opcode to handle this product"
> > >
> > >Perhaps they are resorting to form letter responses for any email
> > >containing the word EDP. ;)
> > >
> >
> > Like I said, Don't take no for an answer. :-)
> >
> > kim
> >

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From: "K. Douglas Baldwin" <dbaldwin@suffolk.lib.ny.us>
To: "ld thomson" <heatshrink@hotmail.com>, <Loopers-Delight@annihilist.com>
Subject: Re: In search of the ultimate looper?
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-----Original Message-----
From: ld thomson <heatshrink@hotmail.com>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Wednesday, June 16, 1999 3:24 PM
Subject: Re: In search of the ultimate looper?


>Have everyone forgotten that EH 16 second delay contraption circa 1984?
>I've never used one but I think Belew & Fripp were pretty enthused about it
>when it came.
>
>
>From time to time, mention of the EH 16-sec delay comes up. Having owned one
for a couple of years back in the mid-to-late 80's, I can only say that it
is better left alone. Among other things, it was poorly built, noisy, and
had very poor bandwidth. At the time it was all there was (short of hauling
around a couple of Revox's) but it has been greatly superceded by what is
now available.  If the reissue of the Micro Synth is any indication of EH's
reissue mentality, we can expect no improvements on the original.

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From: "Trevor Hartsell" <ingsoc@softhome.net>
To: <Loopers-Delight@annihilist.com>
References: <3.0.5.32.19990617125717.007a4d40@pop.ici.net>
Subject: Re: Patchbays and pedals and Pulses (Oh My!)
Date: Thu, 17 Jun 1999 10:14:57 -0700
Organization: http://www.introvert.org/
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> Does anyone remember when that article ran? I'd like to read it, as my
> patchbay has somehow acquired some sort of AI mind of its own, and now
does
> what it pleases, which isn't always what I want it to...


I wish I had a patchbay with a mind of its own.

-Trevor, friend of chaos.
<ovatr-chetr>
<http://www.introvert.org/>



From Loopers-Delight-request@annihilist.com  Thu Jun 17 13:50:29 1999
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From: Tim Nelson <tcn62@ici.net>
Subject: Re: Loop kit.
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Someone should suggest this to PAIA... <http://www.paia.com/>
honcho@paia.com is John Simonton. This might be the sort of thing those
guys'd eat up. I mean, how much more practical than a looping device is
their Theremax in terms of widespread market appeal? (Now a Theremin
THROUGH a looping device, THAT could be dangerous!)

A full-featured looper would probably be too complicated for a kit, but
maybe something downscale with some useful features would be possible...
Wouldn't hurt to ask!

Tim

(I'd just forward your posting to him, but netiquette, you know...)

>...good
>with a soldering iron.  Could a kit version of a looper device be a
>marketable product?  Like the Heathkit stereos (and computers!) of the
>'70s?  It's very obvious to me that the big boys don't seem to think
>that our toys are worth making.  Maybe not in a mass market, but for a
>small business...

From Loopers-Delight-request@annihilist.com  Thu Jun 17 13:25:12 1999
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In a message dated 6/17/99 11:28:14 AM Central Daylight Time, 
Mike.Biffle@wj.com writes:

<< Please... just call Michael Ayers @ Gibson... he's the Oberheim support 
person. 1-800-444-2766, extension 382. None of us here knows more about the 
EDP situation than him. >>

This is the truth.  
I have spoken to several dealers.  They know nothing.  (Except for Alto 
Music.)
They call their Gibson reps.  They know nothing.  
It looks as if Oberhiem, Opcode, and everyone else beginning with O know 
nothing  as well.  Avoid them, I say.
Mike Ayers knows something.  Call him.
He'll probably be downsized soon!

kevin

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From: "Liebig, Steuart A." <LiebigSA@Maritz.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: RE: EH-16 FS, $100 obo
Date: Thu, 17 Jun 1999 12:54:50 -0400
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it was gone in about one half hour. i was the 11th or 12th respondent . . .
too bad.

stig

> -----Original Message-----
> From:	Travis Hartnett [SMTP:hartne.t@apple.com]
> Sent:	Thursday, June 17, 1999 08:34
> To:	Looper's Delight
> Subject:	EH-16 FS, $100 obo
> 
> from Harmony Central:
> 
> --
> from Harmony Central:
> 
> Electro-Harmonix 16 sec. Delay
> 
> Asking Price: US$100
> Condition: Excellent
> Age: N/A
> Description:
> 
>        Weird E.H. box, looks pretty old, belonged to my late uncle.
>        Works fine. Makes some pretty bizarre sounds. A bit scratchy, but
> no
> significant damage. $100 or best offer.
> 
> Seller: Pintler Gregory, (847) 545-7650
> E-mail: andifeelfine1@hotmail.com (Profile)
> Location: CHICAGO, IL
> Post Date: 6/16/99

From Loopers-Delight-request@annihilist.com  Thu Jun 17 14:10:23 1999
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try recycle or wavesurgeon
but no automatic way to do it....

ciao
leo

At 10.57 17/06/99 +0100, you wrote:
>Hi,
>
>Anyone know of a decent PC s/w tool to trim those loops (typically breaks)
>that come with the extra kick/bit on the end - you know the kind from sample
>CDs.
>
>Removing the end portion proves to be a hassle when doing loads of
>them......when importing to Acid.
>
>Any help much appreciated by my already waning wrists.....
>
>Thanks
>Anthony
>
>
>

From Loopers-Delight-request@annihilist.com  Thu Jun 17 14:10:07 1999
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Date: Thu, 17 Jun 1999 10:43:17 -0700
From: lance glover <baumhaus@earthlink.net>
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Organization: treehouse
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Sean wrote:

> I asked my mother about EDP production.
>
> She said she doesn't know about it.

we're getting the run-around.

my mom said, "go ask your father."


-lg



From Loopers-Delight-request@annihilist.com  Thu Jun 17 14:45:35 1999
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From: "Liebig, Steuart A." <LiebigSA@Maritz.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: RE: In search of the ultimate looper?
Date: Thu, 17 Jun 1999 14:21:11 -0400
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> From time to time, mention of the EH 16-sec delay comes up. Among other
> things, it was poorly built, noisy, and
> had very poor bandwidth. 
> 
	** that being said, some us still love 'em . . . 

> but it has been greatly superceded by what is
> now available.  
> 
	** i guess that it comes down to what you value - - both in terms of
sound and portability. also it does do some things that others can't; and
can't do some things that others can. different strokes for different folks
(if i can be so '70s).

> If the reissue of the Micro Synth is any indication of EH's
> reissue mentality, we can expect no improvements on the original.
> 
	** there are issues that they could address to make a reissue
better.

	stig

From Loopers-Delight-request@annihilist.com  Thu Jun 17 15:14:07 1999
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Message-ID: <F5E9D47CE08ED21182C10000D11BB150A0763E@bos-mail.exapps.com>
From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>,
        Loopers-Delight-d@annihilist.com
Subject: Boston Loopers Collective II - June 21 Middle East Downstairs
Date: Thu, 17 Jun 1999 14:28:29 -0400
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Boston Loopers Collective II

The years shortest night -- Monday June 21st -- and The Middle East
Downstairs will be host to the second gathering of Boston's Looping
Collective.

	James Coleman 		- Theremin
	David Kirkdorffer / UNDO 	- Unguitar
	Jonathan LaMaster 		- Violin
	T.G. Noyes 			- Guitar Synth.
	Daniel Orlansky 		- Digeridoo

The December 1998 gathering of The Collective was a tremendous success and
possibly one of the best events of its type in a long time in Boston.  The
music is based on live layering and instant playback technology.  Each
musician has a very different voice that they bring to the moment.  The
sounds you'll hear will range from solitary and haunting, to dense and
ominous.

In addition, Dr. T. will provide live video mixing to stimulate your eyes as
your ears are being tickled.

Boston Loopers Collective II
	Monday June 21st
		Middle East Restaurant - Downstairs
			Central Square in Cambridge, MA

The show will start at 8:00 and end at 11:00pm

For further information, please respond to this e-mail.  Please bring you
consciousness however you will.

dk

From Loopers-Delight-request@annihilist.com  Thu Jun 17 17:22:16 1999
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Date: Thu, 17 Jun 1999 16:15:31 -0400
From: Andreas Willers <AWillers@compuserve.com>
Subject: EH-16 FS, $100 obo
Sender: Andreas Willers <AWillers@compuserve.com>
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I find this a little hard to believe. From what I have heard, most of these
unit that are being offered for sale (for about 800 - 1500 $) are not
working properly and cannot be fixed due to a lack of the components used
at that time.
Comments on availability/dependability of these antique sweeties?
Best, Andreas

From Loopers-Delight-request@annihilist.com  Thu Jun 17 19:21:34 1999
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Date: Thu, 17 Jun 1999 18:57:03 -0400
To: Loopers-Delight@annihilist.com
From: Tom Ritchford <tom@swirly.com>
Subject: trying to buy a Headrush, any leads?
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I need it pretty soon but just heard from zzounds that they're back-ordered
for two weeks.  Anyone have any better ideas on what to do?

	/t

From Loopers-Delight-request@annihilist.com  Thu Jun 17 20:30:28 1999
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From: "Dennis W. Leas" <dennis@mdbs.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: bailey book
Date: Thu, 10 Jun 1999 13:34:30 -0500
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Yes, it is Derek Bailey.  The book (as yet unread) seems philosophical to
me.  He appears to cover alot of styles and people, Indian ragas, Baroque,
Rock, Jazz, etc. and  Max Roach, John Stevens, John Zorn, et al.
Dennis Leas
-----------------------------
dennis@mdbs.com
-----Original Message-----
From: Kriist@aol.com <Kriist@aol.com>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Thursday, June 10, 1999 12:04 PM
Subject: bailey book


>is this derek bailey?
>ive been seeing his name about lately
>is the book anygood?
>is it technical(i.e.modes etc....)
>or is it philosophical(approaches etc...)
>
>rodrigo


From Loopers-Delight-request@annihilist.com  Thu Jun 17 20:31:02 1999
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From: RA336@aol.com
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Date: Thu, 17 Jun 1999 18:06:48 EDT
Subject: wot mama said to Buck
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my moma told Buck...

"... you better send him all his damn gear back, sonny. Don't you see he's 
gone simple?..."

From Loopers-Delight-request@annihilist.com  Thu Jun 17 20:31:29 1999
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Hey everybody -I know theres a lot of interest  about these machines on the
list so ill post this to satiate those twistyknobbed challenged loopers 
Anyone in the market for a rackmount Digitech time machine (8secs looping)
should be aware of a stockpile of em  sitting at the Doo Wop shop in
Louisville Ky 502-456-5250
these units are in great condition -some are new old stock -&269.00 each
-also a multi play mod /dlay pedal for $ 73.00 

estimate about 10 of em -----


no jam man -or EDP though----



K

From Loopers-Delight-request@annihilist.com  Thu Jun 17 23:01:17 1999
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Date: Thu, 17 Jun 1999 22:29:05 -0400
To: Loopers-Delight@annihilist.com
From: Tim Nelson <tcn62@ici.net>
Subject: Re: trying to buy a Headrush, any leads?
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I ordered one from Musician's Friend late last week, and it arrived today.

Tim

At 06:57 PM 6/17/99 -0400, you wrote:
>
>I need it pretty soon but just heard from zzounds that they're back-ordered
>for two weeks.  Anyone have any better ideas on what to do?
>
>	/t
>
>

From Loopers-Delight-request@annihilist.com  Thu Jun 17 23:45:40 1999
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Date: Thu, 17 Jun 1999 23:27:10 -0500
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From: David Myers <dmgraph@pulsewidth.com>
Subject: Re: Fripp & the EH16
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I was one of those whose whose breath caught in their throats upon seeing
the much loved EH 16 Sec on Harmony Central today for a measly hundred
bucks.  A 30-minite response time needed, surely--the guy didn't know what
he had.  That said, as someone has mentioned, they always were--and must
now be even more--very iffy devices, prone to giving up the ghost without
much notice.  (Note to DIY people: don't try to rebuild one into a
single-space rackmount.  It worked fine for six months, and then...)
$1500?!  Even the $995 JamMan guys are making a smarter purchase,
especially with the expected E-H reissue at the advance rumor stage.  But
if I had caught the H-C posting within a couple hours, I surely would have
called, rusty jacks or whatever....

I saw RF use one at Tower records here in the Village about '85; must have
been as an aside to one of the first two eighties-era KC tours.  He gushed
about being free of carting around the Revoxes and was obviously flattered
on the issue of its nickname "Fripp-in-a-box".  Throwaway little
performance, but I still have a fifth-generation bootleg cassette (sue me,
Robert) of a good 'un he did at Stonybrook around that time with the early
Roland synth and EH, and continue to marvel that there seems to be no
release of such material.  It was a solid step beyond "Let The Power Fall",
and far more musical than any of the "soundscapes".  Surely the man has
tapes; why he doesn't value them enough to make them available is puzzling.

David Myers

>> Have everyone forgotten that EH 16 second delay contraption circa 1984?
>> I've never used one but I think Belew & Fripp were pretty enthused about it
>> when it came.
>>
>I saw Robert Fripp performing with one of these in Liverpool in 1984.
>This was a spontaneous "tour" following cancellation of a recording
>session with the Roches and was in Probe Records which held ca. 30
>people sardine style with many more outside (anyone seen a smaller
>loop venue?).
>He had a floor full of kit including GR300 and 700 synths, custom
>pedal board with the EH16, a Roland SpaceEcho and small mixer
>set up near his left hand (remember he is left handed).
>
>He must have played for about 40 minutes showing great command of
>the EH16 (reversing, overdubbing, reversing again, stretching,
>overbudding, un-stretching(?) and playing incredible lead over the
>top of it all, before fielding questions
>I think this performance left me the loop enthusiast I am today.
>
>I truely hope that DGM will release some material he produced with
>this set-up as it showed the incredible freedom of composition
>that a man under no pressure to "perform" can achieve.
>I saw him perform in Salisbury Cathederal (97) with his TC electronics
>set-up and although this was an awinspiring venue the material
>lacked a certain bite. Ah, the mellowness that comes with age.
>
>Enough ramble - Jim Carter


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From: "Alan Imberg" <alan_i@sprynet.com>
To: <Loopers-Delight@annihilist.com>
References: <199906171615_MC2-79CF-3B1E@compuserve.com> <3.0.5.32.19990617222905.007a5830@pop.ici.net>
Subject: Re: trying to buy a Headrush, any leads?
Date: Thu, 17 Jun 1999 22:26:58 -0700
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American Music Supply catalog is another supplier.

> I ordered one from Musician's Friend late last week, and it arrived today.
>
> Tim
>
> At 06:57 PM 6/17/99 -0400, you wrote:
> >
> >I need it pretty soon but just heard from zzounds that they're
back-ordered
> >for two weeks.  Anyone have any better ideas on what to do?
> >
> > /t
> >
> >
>


From Loopers-Delight-request@annihilist.com  Fri Jun 18 06:25:24 1999
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From: Alan.Maguire@CERT.IE
Date: Fri, 18 Jun 1999 09:50 +0100 (BST)
Subject: Re: trying to buy a Headrush, any leads?
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     Any loopers here living in London? I'll be there for the weekend and 
     I'm hoping to pick up a Headrush, or maybe some other cheap looper 
     device - I'd really appreciate any info re availability, where to look 
     etc...
     
        Regards,
                Alan.


______________________________ Reply Separator _________________________________
Subject: Subject: Re: trying to buy a Headrush, any leads?
Author:  alan_i@sprynet.com at TEAM400
Date:    6/18/99 6:26 AM

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From: Patrick Smith <patrick@his.com>
Subject: IN THE LOOP
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--============_-1282418589==_ma============
Content-Type: text/plain; charset="us-ascii"

We are happy to announce the release of our second FingerPaint CD, In the
Loop.  Audio samples are available at our site. As a special to LD members
we are making this available for a limited time at $10 postpaid in the US,
add an additional $2 for destinations outside the US. make your check or
money order out to:

Patrick Smith
P.O. Box 5364
Takoma Park, MD 20913

Attached are two  reviews.



Fingerpaint- In The Loop (FNGP 9901)
http://www.fingerpaint.net
This is the second release by Fingerpaint of which I am aware of. For the
most part it's quiet an enjoyable experience, based on loops, special
effects, at times somewhat atonal. Almost haunting and alien, Fingerpaint
none the less keep up an interesting range of electronic sounds which
mirrors some of the moods explored on Primary Colors: Blue. There are
moments of serene ambience interspersed with trippy electronics. Keep Your
Eyes Peeled (or I'll peel 'em for ya ) kind of reminds me of electrofunk
Miles Davis, a bit mad, a bit out there. I quite enjoy the clutter of noise
that is created in the process. In The Loop is as beautiful a piece of
music as you will ever hear. My ears pick up on an Eno sample, though for
the moment I can't quite place it. The piece is far too short, and when it
ends you almost feel cheated. Becoming Visible has an early 80's analogue
feel to it, revisiting Tangerine Dream circa Phaedra / Rubycon. There are
lots of trippy space sounds employed, as well as an up tempo rhythm pattern
which keeps the piece moving along nicely . I get the impression these guys
like to inhabit the bottom end of the synthesiser. At times the guitar
becomes distorted, violent slashes of sound cut across the palate of sound
as the alien soundscapes once again make their presence felt. Occupation
Zone has a child like innocence about it, with effects and treatments
occurring in the background. The last time I heard anything quite so
strange was on a Burt Bacharach cover on Zorn's Tzadik label, where Kramer
reinvented whatever Bacharach number he was performing to the point it
became unrecognisable. Enormous Expansion is classic dark ambient again.
'Sounds' occurring repetitively in the background, sinister and evil
atmospheres pervade the piece. Fingerpaint have a lot to offer for those
that are ready to take the plunge into their strange and private world.
Though not always pleasant to listen to they are an outfit that nonetheless
deserve a far greater audience.


Hans Stoeve
c/o Power Spot 89.7FM
Sydney, Australia

http://www.users.bigpond.com/nadabrahma
reviews / interviews / cd's for sale / the ultimate Jon Hassell webpage



FINGERPAINT
In the Loop
FNGP Recordings

	The ambient electronic collective from Takoma Park Maryland known
to the world as Fingerpaint have embarked on a new dimensional journey,
whereby their
soothing, yet seductively enigmatic sounds can be administered in larger
dosages to audiences beyond the confines of their studio walls. With their
intricate and melodic debut  CD  Primary Colors: Blue  securely fastened in
their catalog, soundscapers Patrick Smith and Steev Geest forge ahead into
familiar, yet predominantly unchartered territory with  In the Loop, an
intelligent, stimulating  mixture of minimalist spacebeats and obscure
samples layered gently upon a hypnotic illbient backdrop.

Venturing into quasi-drum&bass arenas with tracks 'Becoming Visible' and
'Keep Your Eyes Peeled', Fingerpaint flirt graciously with their
equipment, allowing  rampant percussion loops to slam violently against a
twisted chorus of distorted sampled vocals and staccatoed, searing
beats.  'Occupation Zone' and the album closer 'In the Loop' offer a fresh
innovative look into Fingerpaint's continued development as premier
domestic sound architects. The stylistic navagation and construction heard
on In the Loop avoids he usual textbook classification stereotype,
highlighting the unique talents of Geest and Smith who manipulate sounds in
unorthodox ways. Fingerpaint's ability to interpret and expand the
conceptual nature of illbient make the whole experience that much more
fashionable.  Brad, Digital Artifact #12.


                 http://www.fingerpaint.net
--============_-1282418589==_ma============
Content-Type: text/enriched; charset="us-ascii"

We are happy to announce the release of our second FingerPaint CD,
<underline>In the Loop</underline>.  Audio samples are available at our
site. As a special to LD members we are making this available for a
limited time at $10 postpaid in the US, add an additional $2 for
destinations outside the US. make your check or money order out to:


Patrick Smith

P.O. Box 5364

Takoma Park, MD 20913


Attached are two  reviews.




Fingerpaint- In The Loop (FNGP 9901)

http://www.fingerpaint.net

This is the second release by Fingerpaint of which I am aware of. For
the

most part it's quiet an enjoyable experience, based on loops, special

effects, at times somewhat atonal. Almost haunting and alien,
Fingerpaint

none the less keep up an interesting range of electronic sounds which

mirrors some of the moods explored on Primary Colors: Blue. There are

moments of serene ambience interspersed with trippy electronics. Keep
Your

Eyes Peeled (or I'll peel 'em for ya ) kind of reminds me of
electrofunk

Miles Davis, a bit mad, a bit out there. I quite enjoy the clutter of
noise

that is created in the process. In The Loop is as beautiful a piece of

music as you will ever hear. My ears pick up on an Eno sample, though
for

the moment I can't quite place it. The piece is far too short, and when
it

ends you almost feel cheated. Becoming Visible has an early 80's
analogue

feel to it, revisiting Tangerine Dream circa Phaedra / Rubycon. There
are

lots of trippy space sounds employed, as well as an up tempo rhythm
pattern

which keeps the piece moving along nicely . I get the impression these
guys

like to inhabit the bottom end of the synthesiser. At times the guitar

becomes distorted, violent slashes of sound cut across the palate of
sound

as the alien soundscapes once again make their presence felt.
Occupation

Zone has a child like innocence about it, with effects and treatments

occurring in the background. The last time I heard anything quite so

strange was on a Burt Bacharach cover on Zorn's Tzadik label, where
Kramer

reinvented whatever Bacharach number he was performing to the point it

became unrecognisable. Enormous Expansion is classic dark ambient
again.

'Sounds' occurring repetitively in the background, sinister and evil

atmospheres pervade the piece. Fingerpaint have a lot to offer for
those

that are ready to take the plunge into their strange and private
world.

Though not always pleasant to listen to they are an outfit that
nonetheless

deserve a far greater audience.



Hans Stoeve

c/o Power Spot 89.7FM

Sydney, Australia


http://www.users.bigpond.com/nadabrahma

reviews / interviews / cd's for sale / the ultimate Jon Hassell
webpage




FINGERPAINT

In the Loop

FNGP Recordings


	The ambient electronic collective from Takoma Park Maryland known to
the world as Fingerpaint have embarked on a new dimensional journey,
whereby their  

soothing, yet seductively enigmatic sounds can be administered in
larger dosages to audiences beyond the confines of their studio walls.
With their intricate and melodic debut  CD  Primary Colors: Blue 
securely fastened in their catalog, soundscapers Patrick Smith and
Steev Geest forge ahead into familiar, yet predominantly unchartered
territory with  In the Loop, an intelligent, stimulating  mixture of
minimalist spacebeats and obscure samples layered gently upon a
hypnotic illbient backdrop.  


Venturing into quasi-drum&bass arenas with tracks 'Becoming Visible'
and 'Keep Your Eyes Peeled', Fingerpaint flirt graciously with their 

equipment, allowing  rampant percussion loops to slam violently against
a twisted chorus of distorted sampled vocals and staccatoed, searing 

beats.  'Occupation Zone' and the album closer 'In the Loop' offer a
fresh innovative look into Fingerpaint's continued development as
premier 

domestic sound architects. The stylistic navagation and construction
heard on In the Loop avoids he usual textbook classification
stereotype, 

highlighting the unique talents of Geest and Smith who manipulate
sounds in unorthodox ways. Fingerpaint's ability to interpret and
expand the 

conceptual nature of illbient make the whole experience that much more
fashionable.  Brad, <underline>Digital Artifact #12.



</underline>                 http://www.fingerpaint.net

--============_-1282418589==_ma============--

From Loopers-Delight-request@annihilist.com  Fri Jun 18 07:29:56 1999
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From: Anthony Mullen <anthony.mullen@KSCL.com>
To: Loopers-Delight@annihilist.com
Subject: RE: Auto Loop Finding - apols - a clearer definition of need
Date: Fri, 18 Jun 1999 11:42:20 +0100
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Hi,

I should have been a little clearer....I was thinking of an automated batch
tool to run through loads of 'nearly looped WAVs' and create loopable
versions with the extra kick/cymbal/whatever trimmed from the end of the
sound.

I use recycle but doing it for ooomphty thousand loops will only scare my
wrists......I'm sure someone mentioned a shareware PC util at some stage for
doing this....

Thanks
Anthony

From Loopers-Delight-request@annihilist.com  Fri Jun 18 08:06:59 1999
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From: "Douglas Lawrence" <douglas-lawrence@home.com>
To: <Loopers-Delight@annihilist.com>
Subject: RE: trying to buy a Headrush, any leads?
Date: Fri, 18 Jun 1999 07:12:17 -0400
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They have them at Russo's Music Center in Trenton, NJ for $175.00. I just
picked mine up there last week. Give them a call at (609)888-0620. I'm not
sure whether they ship or not. They have the whole Akai pedal in-stock
there.

-----Original Message-----
From: Tom Ritchford [mailto:tom@swirly.com]
Sent: Thursday, June 17, 1999 6:57 PM
To: Loopers-Delight@annihilist.com
Subject: trying to buy a Headrush, any leads?



I need it pretty soon but just heard from zzounds that they're back-ordered
for two weeks.  Anyone have any better ideas on what to do?

	/t


From Loopers-Delight-request@annihilist.com  Fri Jun 18 09:22:50 1999
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Message-ID: <376A3BB9.74C7EBC2@techno.ca>
Date: Fri, 18 Jun 1999 08:29:45 -0400
From: Neil Wiernik <naw@techno.ca>
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To: Loopers-Delight@annihilist.com
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No such tool for batch looping, besides each and every loop has it own
parametter to it.
You would need towrite a script and even that would not work properly.
Why would you want to be so lazy about it all anyhow?  Arent you interested in
being an active part of your art making process?

Neil...

Anthony Mullen wrote:

> Hi,
>
> I should have been a little clearer....I was thinking of an automated batch
> tool to run through loads of 'nearly looped WAVs' and create loopable
> versions with the extra kick/cymbal/whatever trimmed from the end of the
> sound.
>
> I use recycle but doing it for ooomphty thousand loops will only scare my
> wrists......I'm sure someone mentioned a shareware PC util at some stage for
> doing this....
>
> Thanks
> Anthony

--

__________________________________________________________________
Neil Wiernik
naw@techno.ca
http://www.techno.ca/studio/naw
__________________________________________________________________
Projects:
http://www.kiasma.fng.fi/soundbox/
http://www.twelveinch.com/djs.html
http://www.techno.ca/ntac
http://cec.concordia.ca/Radio/Sonic%20Circuit/SonicCircuits2.html
http://www.interaccess.org/aurora/wiernik.html
http://www.er.uqam.ca/nobel/k31320/wier01.htm


From Loopers-Delight-request@annihilist.com  Fri Jun 18 09:39:39 1999
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Date: Fri, 18 Jun 1999 08:45:21 -0400 (EDT)
From: billfox@lucent.com (William_B_Fox)
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Subject: EMUSIC Playlist
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			Playlist for "EMUSIC"

"EMUSIC," an electronic, ambient, and space music show, airs each Thursday
at 11pm on WDIY 88.1 FM, Allentown and Bethlehem, PA and 93.9 FM in
Easton, PA and Phillipsburg, NJ.  http://www.wdiyfm.org/schedule/s_emusic.html

		Show #119		June 17, 1999.
		Host: Bill Fox		http://www.wdiyfm.org
		billfox@fast.net

On this show, I continued the month-long focus on Neu Harmony recording
group, AirSculpture.  Adrian Beasley, John Christian, and Peter Ruczynski
totally improvise their music!  The feature CD at midnight was Europa.

	AirSculpture  :  http://www.softbase.co.uk/as
	Neu Harmony   :  http://www.neuharm.demon.co.uk
	EMUSIC Focus  :  http://www.wdiyfm.org/emusic/playlists/focus.html


ARTIST                  TRACK                    ALBUM (label)
======================= ======================== ==============================
11:00 pm
Mario Schonwalder       The Quiet Room           Two Piece Box (Manikin)
Paul Nagle              Smoke                    Cyber Diver (Neu Harmony)
Fanger & Kersten        New Times                Interkosmos (Manikin)
Paul Mimlitsch          Pastoral 1               Explorations on a Theme (none)
VA [Asana]              Re-Embodiment            Harmonized (Neu Harmony)

12:00 am
AirSculpture            Part 1                   Europa (Neu Harmony)
AirSculpture            Part 2                   Europa (Neu Harmony)
AirSculpture            Part 3                   Europa (Neu Harmony)
AirSculpture            Part 4                   Europa (Neu Harmony)

1:00 am

 * = exerpt
VA = Various Artists (compilation)

On the next EMUSIC, I will conclude the month-long focus on the British
group AirSculpture.  The Feature CD at Midnight will be Thunderhead on
Neu Harmony.

Please visit the WDIY web site and navigate through the schedule to the
EMUSIC pages.  Playlists for every show are there.  Hot links to artists
and labels can be found in the monthly focus section.

From Loopers-Delight-request@annihilist.com  Fri Jun 18 11:14:22 1999
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Date: Fri, 18 Jun 1999 10:47:08 -0400
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From: Michael Tuminello <m1cha3l@earthlink.net>
Subject: Reply from Gibson customer relations...
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Here's the word, as I got it, featuring an interesting use of the semi-colon:

>Good morning;
>
>production of the Echoplex has been temporarily suspended, due to a
>restructuring of Oberheim. We expect to be back in production in about three
>months.
>
>Please stay tuned to our web site at;
>
>http://www.gibson.com
>
>for more information as it becomes available.
>
>Thanks for writing.

MT

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Hey,

I forgot what platform you're working on, but I use a program called
SoundMaker to do basic sound editing, but I bet almost any sample
editing program will do this.

First make a "masterloop" and make it your first track.  Get rid if any
zero crossing artifacts.  You'll need a program that can deal with
multiple tracks/samples at the same time.  Then, put your other samples
on new tracks.  You'll probably need a healthy dollop of RAM.  I use 168
meg. Then, when all your samples, or as many as your RAM will allow to
be open, are loaded, click outside and to the right of the first sample
(it should be the shortest) and drag down and to the left, until all the
ends of the samples are selected.  Then hit the delete key (or whatever
your program calls for)

This is how I do it.  And get that graphics tablet!

Mark

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From: ld thomson <heatshrink@hotmail.com>
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Subject: Re: Fripp & the EH16
Date: Fri, 18 Jun 1999 08:37:04 PDT
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Did being THAT close to his Jazzchorus amp melt your brain??  Did it make 
you cry??


>From: Tim Nelson <tcn62@ici.net>
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: Fripp & the EH16
>Date: Thu, 17 Jun 1999 07:35:45 -0400
>
>At 09:37 AM 6/17/99 +0100, you wrote:
> >
> >> Have everyone forgotten that EH 16 second delay contraption circa 1984?
> >> I've never used one but I think Belew & Fripp were pretty enthused 
>about
>it
> >> when it came.
> >>
> >>
> >I saw Robert Fripp performing with one of these in Liverpool in 1984...
>
>Yeah, I caught Belew on his "Twang Bar King" tour in a small club in Boston
>right around that time. I had a good vantage point; I was right up at his
>monitor, front row, so I got a good gear-view. Belew even described his
>EH16 to the crowd, giving a little demo and referring to it as a
>"Fripp-in-the-Box"; I guess he hadn't had it very long and was pretty
>excited by it. He was using his Roland-equipped customised Jaguars at the
>time, and his JC120 was about 12 feet from my head, pointing right at me.
>
>Tim
>


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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musician's friend has the Headrush for $199.-

From Loopers-Delight-request@annihilist.com  Fri Jun 18 12:18:43 1999
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Stories like that make cry.  A beautiful thing to see no doubt!
I'd be curious to know what his current gear is.


>From: Jim Carter <Jim.Carter@bristol.ac.uk>
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Fripp & the EH16
>Date: Thu, 17 Jun 1999 09:37:51 +0100 (BST)
>
>
> > Have everyone forgotten that EH 16 second delay contraption circa 1984?
> > I've never used one but I think Belew & Fripp were pretty enthused about 
>it
> > when it came.
> >
> >
>I saw Robert Fripp performing with one of these in Liverpool in 1984.
>This was a spontaneous "tour" following cancellation of a recording
>session with the Roches and was in Probe Records which held ca. 30
>people sardine style with many more outside (anyone seen a smaller
>loop venue?).
>He had a floor full of kit including GR300 and 700 synths, custom
>pedal board with the EH16, a Roland SpaceEcho and small mixer
>set up near his left hand (remember he is left handed).
>
>He must have played for about 40 minutes showing great command of
>the EH16 (reversing, overdubbing, reversing again, stretching,
>overbudding, un-stretching(?) and playing incredible lead over the
>top of it all, before fielding questions
>I think this performance left me the loop enthusiast I am today.
>
>I truely hope that DGM will release some material he produced with
>this set-up as it showed the incredible freedom of composition
>that a man under no pressure to "perform" can achieve.
>I saw him perform in Salisbury Cathederal (97) with his TC electronics
>set-up and although this was an awinspiring venue the material
>lacked a certain bite. Ah, the mellowness that comes with age.
>
>Enough ramble - Jim Carter
>


______________________________________________________
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From Loopers-Delight-request@annihilist.com  Fri Jun 18 15:14:55 1999
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Plus...if you order ONLINE vs. via telephone...MF is offering an
additional 5% off all orders...just so ya know :-)

BRENDAN.DEVITT@cicot.itochu.com wrote:

> musician's friend has the Headrush for $199.-

From Loopers-Delight-request@annihilist.com  Fri Jun 18 16:44:58 1999
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From: Phaedebk@aol.com
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Date: Fri, 18 Jun 1999 16:20:11 EDT
Subject: Re: trying to buy a Headrush, any leads?
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Hey-o, 

	Have you tried out http://www.wmcworld.com for Chuck Levin's or 
Musician's Friend http://www.musiciansfriend.com  (I think this is the proper 
url)?

	Another possible choice might be a Zoom 2100, which has turned out to 
be a pretty decent looper, especially once I sussed out a few of the 
multitude of controls on the beastie.  Heads up, it's like a Mac; multitude 
of menus to go through.

	Tchus,

		Lee-ohki.

From Loopers-Delight-request@annihilist.com  Fri Jun 18 20:23:19 1999
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From: PMimlitsch@aol.com
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Date: Fri, 18 Jun 1999 20:02:11 EDT
Subject: Re:  trying to buy a Headrush, any leads?
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In a message dated 6/17/99 11:21:29 PM, you wrote:

<<I need it pretty soon but just heard from zzounds that they're back-ordered
for two weeks.  Anyone have any better ideas on what to do?>>

Russo's Music (609)888-0620 (Hamilton, N.J.) has the Headrush in stock for 
$174.99

From Loopers-Delight-request@annihilist.com  Fri Jun 18 20:53:15 1999
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Date: Fri, 18 Jun 1999 02:40:35 +0100
Subject: Re: In search of the ultimate looper?
From: "Martin Shellard" <martins@pwdu.demon.co.uk>
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>From: "K. Douglas Baldwin" <dbaldwin@suffolk.lib.ny.us>

> From time to time, mention of the EH 16-sec delay comes up. Having owned one
> for a couple of years back in the mid-to-late 80's, I can only say that it
> is better left alone.

If you want pristine digital sounding loops then steer clear of the EH16 but
if you want a great, warm-sounding device that is quick to use and very
musical then accept no substitute.

>  Among other things, it was poorly built, noisy, and
>> had very poor bandwidth.

EH were never known for their build quality, all of your hard-earned went on
sound. As for noisy well, we are talking about early digital technology but
I don't find noise a problem and one man's poor bandwidth is another man's
soulful character.

>  but it has been greatly superceded by what is
>> now available.

No way! Nothing comes close to sounding like my EH! You can get bigger and
"better" but this thing has a sound.

Martin Shellard
-----------------------

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From: PMimlitsch@aol.com
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Date: Fri, 18 Jun 1999 20:26:52 EDT
Subject: Re:  EMUSIC Playlist
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In a message dated 6/18/99 1:39:32 PM, you wrote:

<<11:00 pm
Mario Schonwalder       The Quiet Room           Two Piece Box (Manikin)
Paul Nagle              Smoke                    Cyber Diver (Neu Harmony)
Fanger & Kersten        New Times                Interkosmos (Manikin)
Paul Mimlitsch          Pastoral 1               Explorations on a Theme 
(none)
VA [Asana]              Re-Embodiment            Harmonized (Neu Harmony)>>

Cool :).  Thanks Bill - Paul

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Date: Fri, 18 Jun 1999 20:55:29 -0500
To: Loopers-Delight@annihilist.com
From: Patrick Smith <patrick@his.com>
Subject: Re:  EMUSIC Playlist
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Hey Congrats list Member Paul Mimlitsch...



patrick

>In a message dated 6/18/99 1:39:32 PM, you wrote:
>
><<11:00 pm
>Mario Schonwalder       The Quiet Room           Two Piece Box (Manikin)
>Paul Nagle              Smoke                    Cyber Diver (Neu Harmony)
>Fanger & Kersten        New Times                Interkosmos (Manikin)
>Paul Mimlitsch          Pastoral 1               Explorations on a Theme
>(none)
>VA [Asana]              Re-Embodiment            Harmonized (Neu Harmony)>>
>
>Cool :).  Thanks Bill - Paul

                 http://www.fingerpaint.net

From Loopers-Delight-request@annihilist.com  Fri Jun 18 21:36:00 1999
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Date: Sat, 19 Jun 1999 02:24:06 +0100
Subject: Re: Fripp & the EH16
From: "Martin Shellard" <martins@pwdu.demon.co.uk>
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If you go to:
 vg-8.com/mm/fripp.jpg  
you'll see a schematic of his recent setup.
Martin Shellard

----------
>From: ld thomson <heatshrink@hotmail.com>
>To: Loopers-Delight@annihilist.com
>Subject: Re: Fripp & the EH16
>Date: Fri, Jun 18, 1999, 4:33 pm
>

> Stories like that make cry.  A beautiful thing to see no doubt!
> I'd be curious to know what his current gear is.
>
>
>>From: Jim Carter <Jim.Carter@bristol.ac.uk>
>>Reply-To: Loopers-Delight@annihilist.com
>>To: Loopers-Delight@annihilist.com
>>Subject: Fripp & the EH16
>>Date: Thu, 17 Jun 1999 09:37:51 +0100 (BST)
>>
>>
>> > Have everyone forgotten that EH 16 second delay contraption circa 1984?
>> > I've never used one but I think Belew & Fripp were pretty enthused about
>>it
>> > when it came.
>> >
>> >
>>I saw Robert Fripp performing with one of these in Liverpool in 1984.
>>This was a spontaneous "tour" following cancellation of a recording
>>session with the Roches and was in Probe Records which held ca. 30
>>people sardine style with many more outside (anyone seen a smaller
>>loop venue?).
>>He had a floor full of kit including GR300 and 700 synths, custom
>>pedal board with the EH16, a Roland SpaceEcho and small mixer
>>set up near his left hand (remember he is left handed).
>>
>>He must have played for about 40 minutes showing great command of
>>the EH16 (reversing, overdubbing, reversing again, stretching,
>>overbudding, un-stretching(?) and playing incredible lead over the
>>top of it all, before fielding questions
>>I think this performance left me the loop enthusiast I am today.
>>
>>I truely hope that DGM will release some material he produced with
>>this set-up as it showed the incredible freedom of composition
>>that a man under no pressure to "perform" can achieve.
>>I saw him perform in Salisbury Cathederal (97) with his TC electronics
>>set-up and although this was an awinspiring venue the material
>>lacked a certain bite. Ah, the mellowness that comes with age.
>>
>>Enough ramble - Jim Carter
>>
>
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
> 

From Loopers-Delight-request@annihilist.com  Fri Jun 18 22:04:40 1999
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Date: Fri, 18 Jun 1999 21:48:50 -0400 (EDT)
From: Unit Circle Media <unitcirc@unitcircle.com>
To: Loopers-Delight@annihilist.com
Subject: Re: trying to buy a Headrush, any leads?
In-Reply-To: <3.0.5.32.19990617222905.007a5830@pop.ici.net>
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What do you think of it?

	Kevin


Kevin Goldsmith				kevin@unitcircle.com
Unit Circle Media			http://www.unitcircle.com/

On Thu, 17 Jun 1999, Tim Nelson wrote:

> I ordered one from Musician's Friend late last week, and it arrived today.
> 
> Tim
> 
> At 06:57 PM 6/17/99 -0400, you wrote:
> >
> >I need it pretty soon but just heard from zzounds that they're back-ordered
> >for two weeks.  Anyone have any better ideas on what to do?
> >
> >	/t
> >
> >
> 

From Loopers-Delight-request@annihilist.com  Sat Jun 19 03:41:35 1999
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Date: 18 Jun 99 23:50:26 PDT
From: Dael Franke <DAELFRANKE@netscape.net>
To: Loopers-Delight@annihilist.com
Subject: Hello, darlings. I seek the arms of Time.
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A friend once briefly blessed my humble stereo with a 7.6 second Digitech.
Out of the mesmerizing soup that ensued boiled a tape of myself reading some
favourite short stories while using a tiny R---o S---k microphone and an
assortment of tiny odd objects to create looping backgrounds on the fly. My
head burst into flames and I laughed at the wonder of it all. Did Digitech
make anything better/more userish/more memoryish? Am I looking for an
eight-second Time Machine? I just saw one on that wonderfully filthy Daddy's
used stuff site for $229. I'm not a tech-head at all, and I haven't seen
anything else in action. Whatta'ya'think? What are your favourites and why?  
chaetophile@hotmail.com       thanks.

Dael T. Franke

____________________________________________________________________
Get your own FREE, personal Netscape WebMail account today at http://webmail.netscape.com.

From Loopers-Delight-request@annihilist.com  Sat Jun 19 13:16:28 1999
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Date: Sat, 19 Jun 1999 10:32:04 -0700
From: scott kungha drengsen <kungha@earthlink.net>
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An online label; Guitar Nine Records http://www.guitar9.com
(whom other people on the list may find interesting as well) 
Has named me one of the top undiscovered artists for the month of June.
(hmm,I wonder how long I can work this "undiscovered"angle?)
                               Happy Looping-  scott kungha D.

From Loopers-Delight-request@annihilist.com  Sat Jun 19 14:27:49 1999
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Message-ID: <onU4APAzk9a3EwjS@waterleat.demon.co.uk>
Date: Sat, 19 Jun 1999 18:53:55 +0100
To: Loopers-Delight@annihilist.com
From: Lee Fletcher <lee@waterleat.demon.co.uk>
Subject: Re: trying to buy a Headrush, any leads?
References: <01JCJJMJA2DO00MBBT@kira.team400.ie>
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I've been chasing the Headrush for weeks. I spoke to Akai recently who
told me that they would be delivered to stores by the end of June. Most
UK retailers however (well, the few who've actually heard of this unit!)
say that it's more likely to be early/mid July. Good luck!

Soho Soundhouse are selling the Zoom 2100 for 130 UK Pounds (including
the expression pedal.) A bargain price for this surprisingly good unit. 


Alan.Maguire wrote :

>     Any loopers here living in London? I'll be there for the weekend and 
>     I'm hoping to pick up a Headrush, or maybe some other cheap looper 
>     device - I'd really appreciate any info re availability, where to look 
>     etc...
>     
>        Regards,
>                Alan.

-- 
Lee Fletcher

From Loopers-Delight-request@annihilist.com  Sat Jun 19 14:56:04 1999
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Date: Sat, 19 Jun 1999 19:39:56 +0100
To: Loopers-Delight@annihilist.com
From: Lee Fletcher <lee@waterleat.demon.co.uk>
Subject: Loopers Delight CD - Volume 3
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Fellow Loopers,

Since joining this list a few months ago I have never seen any mention
of the 3rd Loopers Delight CD project. The Project Info Page gives April
1998 as the deadline, and I have drawn a blank with the Mailing List
Archive.

Is this project still alive? Any info would be most appreciated.

I recently purchased Volume Two which makes for great listening. I'm not
normally one for compilations, however this is not a 'normal'
compilation! Great to hear loops with so many accents.

Cheers,

Lee Fletcher

From Loopers-Delight-request@annihilist.com  Sat Jun 19 15:27:30 1999
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Date: Sat, 19 Jun 1999 15:07:12 -0500
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From: Patrick Smith <patrick@his.com>
Subject: Re: Loopers Delight CD - Volume 3
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On 6/19/99 Lee fletcher said:

>Fellow Loopers,
>
>Since joining this list a few months ago I have never seen any mention
>of the 3rd Loopers Delight CD project. The Project Info Page gives April
>1998 as the deadline, and I have drawn a blank with the Mailing List
>Archive.
>
>Is this project still alive? Any info would be most appreciated.
>
>I recently purchased Volume Two which makes for great listening. I'm not
>normally one for compilations, however this is not a 'normal'
>compilation! Great to hear loops with so many accents.
>
>Cheers,
>
>Lee Fletcher

hi lee,

I think LD #3 is stuck in a feedback loop somewhere...too bad. I love #2
and even #1 for that matter. The first project never made it out to the
public atlarge. These group processes can get real boged down in so many
places. Currently 28 members of this list have ben circulating 4 cassettes
whih are now being burnd to CD. I do not think this will be available to
the larger looping public however. Stick around though and visit the
various web sites. There are some great musicians on this list.

patrick

                 http://www.fingeerpaint.net

From Loopers-Delight-request@annihilist.com  Sat Jun 19 16:19:18 1999
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Date: Sat, 19 Jun 1999 12:49:45 -0700
From: Clifford Novey <clifsound@earthlink.net>
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Hi all,

I just wanted to find out if anyone knows of info sources on the net
that could help me to understand time signatures better- I am trying to
get a grip on how the 8th/beat setting and the current time sig in my
dr-5 interact with one another and I would like to understand it- I know
it is not difficult but any help would be appreciated-

I have a gig tonight and will be using my EDP for the first time on an
outing- I will have 3 loops set up and drum patterns to match-
NOTE- I discovered that if you ever need to re-sync your drum mach w/
the EDP you can mute the loop,  stop/start the drum mach and un-mute the
loop at beat 1 and it re-synchs with the drum mach as long as you have
mute set to "start" and not "continuous"- I was very glad to discover
this-

Take care,

Cliff

From Loopers-Delight-request@annihilist.com  Sat Jun 19 20:35:49 1999
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Date: Sat, 19 Jun 1999 18:52:56 +0000
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congrats on being a famous unknown! skol.

bobdog

From Loopers-Delight-request@annihilist.com  Sat Jun 19 20:36:56 1999
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From: PMimlitsch@aol.com
Message-ID: <86da4bde.249d8f71@aol.com>
Date: Sat, 19 Jun 1999 20:27:29 EDT
Subject: Looper Search
To: Loopers-Delight@annihilist.com
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Here's a site with quite an extensive list of music related sites where one 
may track down that elusive "vintage" loop tool one's been searching for:
<<http://www.servtech.com/~nuuj/nuuj.html>>

From Loopers-Delight-request@annihilist.com  Sat Jun 19 21:18:31 1999
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From: Nemoguitt@aol.com
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Date: Sat, 19 Jun 1999 20:47:12 EDT
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In a message dated 6/19/99 11:36:48 PM Mid-Atlantic Daylight Time, 
PMimlitsch@aol.com writes:

<< http://www.servtech.com/~nuuj/nuuj.html >>

great site........thanks........michael

From Loopers-Delight-request@annihilist.com  Sat Jun 19 22:27:07 1999
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Date: Sat, 19 Jun 1999 21:29:57 -0400
Subject: Re: Loopers-Delight-d Digest V99 #250
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Hi,

I'm coming from New Hampshire down I-93 to Boston. Can you give me 
directions to the Middle East Restaurant?

Thanks,
John

----------
>From: Loopers-Delight-d-request@annihilist.com
>To: Loopers-Delight-d@annihilist.com
>Subject: Loopers-Delight-d Digest V99 #250
>Date: Fri, Jun 18, 1999, 3:22 AM
>

> Boston Loopers Collective II
>  Monday June 21st
>   Middle East Restaurant - Downstairs
>    Central Square in Cambridge, MA
>
> The show will start at 8:00 and end at 11:00pm

From Loopers-Delight-request@annihilist.com  Sat Jun 19 22:31:26 1999
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Date: Sat, 19 Jun 1999 21:21:33 -0400
From: theorcolus <theorcolus@earthlink.net>
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Organization: 144 MUSIC
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Subject: Jef Lee Johnson & David C Gross at the Knitting Factory 6/23
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Just a note to let you know that Jef is out on the road and filling in
for him will be Alexander Rastopchin on guitar. Hope some of you can
make it!


David C Gross
www.geocities.com/SunsetStrip/Venue/7773

The Knitting Factory presents in the "Old Office"
74 Leonard St.
212-219-3006

June 23rd 1999  8 PM & 9:30 PM

Charles Burnham-violin
Lance Carter-drums
David C Gross-6 string fretless bass,electronics/loops
Jef Lee Johnson-guitar

"This is some far out funk!"

From Loopers-Delight-request@annihilist.com  Sun Jun 20 00:58:58 1999
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Date: Sat, 19 Jun 1999 23:26:37 -0500
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From: "L. Stafford" <r4c@winternet.com>
Subject: New Danelectro analog "tape" delay
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Just picked one up today.  It has a very warm analog sound, and while it
doesn't have all the features of the headrush (I have a boomerang for long
loops) it does have a nice warm, smooth sound to it.  Controls are:
Mix, Speed, Repeats (Decay), Hi-cut & lo-hi (short long) selector.  

Worth checking out for a tasty sounding analog "tape" delay.  It has about
1 1/2-2 secs. delay time (at a guess, it doesn't say in the manual).  I am
a string player so I can't really vouch for how it sounds w/ guitar, but I
would assume (considering its probably geared towards guitar-like things
;)) that it sounds as good.  Like anything else, play w/ one yourself.
Goes for 70-80 bucks new, your mileage may vary.  Even cooler than this
toy, I discovered "Smokey Amps" (www.smokeyamps.com).  The coolest sounding
(and smallest) solid state amp/fuzz box I've come across (for a mere 25
bucks).  I may just ditch my 2 ton rackmount. *grin*  It's built into a
pack of smokes and features an average sounding 2 inch speaker (what do you
expect) but it sounds REALLY good when you plug it into a cab.  I was
fairly impressed that something so tiny could sound so big (and so good).
How cool is that? ;)  Now if they could only fit an echoplex & rackmount fx
into a matchbox I could fit my entire rig into a violin case.  


Lorren Stafford
Richard For Cerebellum/A Most Happy Sound
http://www.winternet.com/~r4c

"We ask ourselves whether truly this is the beginning 
of a new world or whether perhaps the world...is about
to perish.  There are people who earnestly and seriously
fear this, where music becomes the slave of the machine..."

From Loopers-Delight-request@annihilist.com  Sun Jun 20 02:45:54 1999
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From: Tom S <ths@interaccess.com>
Subject: Re: Fripp & the EH16
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Hi!

	Here are a link to Fripp's Discipline site if you haven't been there. It's
got a discussion on soundscapes and the equipment used: 
http://www.disciplineglobalmobile.com/index.htm

	Also, another interesting looper/guitarist is Michael Brook. I've enjoyed
his music a great deal, he records with Eno, Hassell, Fripp, Sylvian, and
others. A great guitarist, I saw him with Fripp when they performed with
David Sylvian. Brook opened up the show solo, and his looping stuff was
outrageous. The link is :
http://the-fringe.com/brook/instrumentation/index.html

	Enjoy!

Tom 
ths@interaccess.com


At 02:24 AM 6/19/99 +0100, you wrote:
>If you go to:
> vg-8.com/mm/fripp.jpg  
>you'll see a schematic of his recent setup.
>Martin Shellard
>
>----------
>>From: ld thomson <heatshrink@hotmail.com>
>>To: Loopers-Delight@annihilist.com
>>Subject: Re: Fripp & the EH16
>>Date: Fri, Jun 18, 1999, 4:33 pm
>>
>
>> Stories like that make cry.  A beautiful thing to see no doubt!
>> I'd be curious to know what his current gear is.
>>
>>
>>>From: Jim Carter <Jim.Carter@bristol.ac.uk>
>>>Reply-To: Loopers-Delight@annihilist.com
>>>To: Loopers-Delight@annihilist.com
>>>Subject: Fripp & the EH16
>>>Date: Thu, 17 Jun 1999 09:37:51 +0100 (BST)
>>>
>>>
>>> > Have everyone forgotten that EH 16 second delay contraption circa 1984?
>>> > I've never used one but I think Belew & Fripp were pretty enthused about
>>>it
>>> > when it came.
>>> >
>>> >
>>>I saw Robert Fripp performing with one of these in Liverpool in 1984.
>>>This was a spontaneous "tour" following cancellation of a recording
>>>session with the Roches and was in Probe Records which held ca. 30
>>>people sardine style with many more outside (anyone seen a smaller
>>>loop venue?).
>>>He had a floor full of kit including GR300 and 700 synths, custom
>>>pedal board with the EH16, a Roland SpaceEcho and small mixer
>>>set up near his left hand (remember he is left handed).
>>>
>>>He must have played for about 40 minutes showing great command of
>>>the EH16 (reversing, overdubbing, reversing again, stretching,
>>>overbudding, un-stretching(?) and playing incredible lead over the
>>>top of it all, before fielding questions
>>>I think this performance left me the loop enthusiast I am today.
>>>
>>>I truely hope that DGM will release some material he produced with
>>>this set-up as it showed the incredible freedom of composition
>>>that a man under no pressure to "perform" can achieve.
>>>I saw him perform in Salisbury Cathederal (97) with his TC electronics
>>>set-up and although this was an awinspiring venue the material
>>>lacked a certain bite. Ah, the mellowness that comes with age.
>>>
>>>Enough ramble - Jim Carter
>>>
>>
>>
>> ______________________________________________________
>> Get Your Private, Free Email at http://www.hotmail.com
>> 
>
>

From Loopers-Delight-request@annihilist.com  Sun Jun 20 05:34:11 1999
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From: Michael Peters <mpeters@csi.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: I want LDCD Vol 1 -  I want LDCD Vol 1 -  I want LDCD Vol 1 -  
Date: Sun, 20 Jun 1999 11:09:22 +0200
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> I recently purchased Volume Two which makes for great listening. I'm not
> normally one for compilations, however this is not a 'normal'
> compilation! Great to hear loops with so many accents.

wait until you hear volume one - imho a way better representation of loop 
music than volume two.

Now where is volume one? Ray Peck did a wonderful job putting wonderful 
music together, and now nothing happens - just a couple of CDR copies exist 
(the ones that went to the musicians). This thing clearly deserves becoming 
more famous!!! keeping it secret would really be a waste.

Afaik, Matt McCabe who put together Vol2 was supposed to take care of this 
but I guess there was so little success with Vol2 that he doesn't feel too 
enthusiastic about putting effort into Vol1 ...

Matt? Ray? Kim? Any news about this?

*	Michael Peters:		mpeters@csi.com
*	escape veloopity:		electronic guitar loop music
*	hop - fractals in motion: 	strange attractors
*	http://ourworld.compuserve.com/homepages/Mpeters


From Loopers-Delight-request@annihilist.com  Sun Jun 20 13:23:56 1999
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Date: Sun, 20 Jun 1999 12:50:58 -0500
From: Mark Sottilaro <msottila@mailbox.syr.edu>
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Doesn't being named the top undiscovered artists immediately make you
discovered and therefore exempt for the title?

Congratulations anyway!

Mark

From Loopers-Delight-request@annihilist.com  Sun Jun 20 13:37:08 1999
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Subject: Small
References: <4.1.19990619231030.00ac5670@mail.winternet.com>
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Hey,

The Danelectro post that talks about the small Smoky Amps made me think
about a new type of speaker that I've heard about that uses very small
electrostatic drivers and varies the phase of several ultrasonic
(infrasonic?) frequencies to create a beat (interference) frequency in
the range of human hearing.  Supposedly, the thing is the size of a CD
or so, and can produce very large sound levels with very low wattage
because of it's efficiency.  CAN YOU IMAGINE THE IMPLICATIONS?  KEEPING
YOUR SPEAKER CABINETS IN YOUR GUITAR CASE!

Has any one heard of these speakers?  Are they being marketed yet? Is
this all to distract me from the UFO cover-up?

Inquiring minds want to know!

Mark Spookylaro.

From Loopers-Delight-request@annihilist.com  Sun Jun 20 14:41:43 1999
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In a message dated 6/20/99 4:37:09 PM Mid-Atlantic Daylight Time, 
msottila@mailbox.syr.edu writes:

<< Has any one heard of these speakers?  Are they being marketed yet? Is
 this all to distract me from the UFO cover-up?
  >>

mark....how do you think these speakers got here......."small" grey 
men........michael

From Loopers-Delight-request@annihilist.com  Sun Jun 20 14:43:50 1999
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Mark Spookylaro wrote:

>The Danelectro post that talks about the small Smoky Amps made me think
>about a new type of speaker that I've heard about that uses very small
>electrostatic drivers and varies the phase of several ultrasonic
>(infrasonic?) frequencies to create a beat (interference) frequency in
>the range of human hearing.  Supposedly, the thing is the size of a CD
>or so, and can produce very large sound levels with very low wattage
>because of its efficiency.  CAN YOU IMAGINE THE IMPLICATIONS?  KEEPING
>YOUR SPEAKER CABINETS IN YOUR GUITAR CASE!

acoustic heterodyning is the name of the technique, I believe...

and the speakers are incredibly small, postage stamp sized.
you could get deafening sound from a quarter-watt speaker,
so I'm told.

However there are several downsides.

The first is that they are extremely directional... you could hear
immense sound, I could hear nothing.  The second is that they haven't
made it out of the lab into speakers yet as they are so new.

	/t

From Loopers-Delight-request@annihilist.com  Sun Jun 20 21:21:12 1999
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Subject: Re: I want LDCD Vol 1 -  I want LDCD Vol 1 -  I want LDCD Vol 1 - 
	 
From: "Matt and Kristy McCabe" <mkmccabe@earthlink.net>
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>Afaik, Matt McCabe who put together Vol2 was supposed to take care of this 
>but I guess there was so little success with Vol2 that he doesn't feel too 
>enthusiastic about putting effort into Vol1 ...

I simply volunteered to sell Volume 1 through Marathon Records if it became
available in quantity.
__________________________________
Matthew F. McCabe
Finley Sound Design
http://www.finleysound.com

From Loopers-Delight-request@annihilist.com  Mon Jun 21 01:25:33 1999
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Subject: Re: Time signatures
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At 12:49 PM -0700 6/19/99, Clifford Novey wrote:
>Hi all,
>
>I just wanted to find out if anyone knows of info sources on the net
>that could help me to understand time signatures better- I am trying to
>get a grip on how the 8th/beat setting and the current time sig in my
>dr-5 interact with one another and I would like to understand it- I know
>it is not difficult but any help would be appreciated-

I'm not going to teach you time signatures, but here's some echoplex stuff
that might help.

The "8ths/beat" parameter on the echoplex has a somewhat confusing name. It
should be called "8ths/cycle."  The basic idea is, "when using midi clock,
how many eighth notes will equal the basic loop length?"

For example, say you are receiving a midi clock for 120 BPM (eighth note is
.25sec), and 8th/beat is set to 16. The basic loop length on the echoplex
will be equal to 16 eighth notes, which is 4 seconds at 120BPM. If the
echoplex is sending clock out with this same setting, and you record a 2
second loop, you will generate clock at 240BPM. Record an 8 second loop and
it will be 60BPM (16 eighth notes in 8 seconds, each eighth is .5 seconds).


>I have a gig tonight and will be using my EDP for the first time on an
>outing- I will have 3 loops set up and drum patterns to match-
>NOTE- I discovered that if you ever need to re-sync your drum mach w/
>the EDP you can mute the loop,  stop/start the drum mach and un-mute the
>loop at beat 1 and it re-synchs with the drum mach as long as you have
>mute set to "start" and not "continuous"- I was very glad to discover
>this-

yes, that's a way to do it for now. In the next version we have "Realign"
functions that will give you lots of capbability to stop and start loops
and get them back in sync again. (for either master or slave setups.)  You
can even intentionally get them out of phase, and then ReAlign them back in
phase and back in sync again. Pretty damn cool, I must say! And very
useful. You can thank Claude for "encouraging" us on this one, and giving
us lots of good ideas for it.

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


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Subject: Re: I want LDCD Vol 1 -  I want LDCD Vol 1 -  I want LDCD Vol 1 -
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At 2:09 AM -0700 6/20/99, Michael Peters wrote:
>> I recently purchased Volume Two which makes for great listening. I'm not
>> normally one for compilations, however this is not a 'normal'
>> compilation! Great to hear loops with so many accents.
>
>wait until you hear volume one - imho a way better representation of loop
>music than volume two.
>
>Now where is volume one? Ray Peck did a wonderful job putting wonderful
>music together, and now nothing happens - just a couple of CDR copies exist
>(the ones that went to the musicians). This thing clearly deserves becoming
>more famous!!! keeping it secret would really be a waste.
>
>Afaik, Matt McCabe who put together Vol2 was supposed to take care of this
>but I guess there was so little success with Vol2 that he doesn't feel too
>enthusiastic about putting effort into Vol1 ...
>
>Matt? Ray? Kim? Any news about this?

I think all that needs to happen is producing a significant number of
copies and getting them to Matt. Can you folks on the volume 1 CD organize
yourselves to do that? Maybe if some of you have CD-R burners, you can each
make a batch? Otherwise, take up a collection to get it duplicated....Last
I heard from Ray, he had several hundred CD case inserts for it.

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


From Loopers-Delight-request@annihilist.com  Mon Jun 21 11:40:42 1999
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Date: Mon, 21 Jun 1999 11:04:53 -0500
From: Mark Sottilaro <msottila@mailbox.syr.edu>
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I haven't been following the MPEG technology, but is there a way that if
someone sends money to someone they could just download an MPEG version
of the CD and then burn their own CD?  This may be the future.  Frankly,
I've never even heard an MPEG'ed file.  Are they good?  Anyway, this
could be a way for small kids like us to get the music out.  I've been
thinking about doing it anyway with my own music.  Even if I do if for
free, I'm still making about the same on it as I do now!  Actually, with
what it costs to play in a club (see: Evil PA fees) it might be more
lucrative than the possibility of a negative gross!

Sincerely yours,

Mark

From Loopers-Delight-request@annihilist.com  Mon Jun 21 12:59:24 1999
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Subject: Re: Small
Date: Mon, 21 Jun 99 09:51:44 -0700
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you might find this link interesting:

http://www.atcsd.com/

6/20/99 11:02 AM   Tom Ritchford (tom@swirly.com) wrote:

>Mark Spookylaro wrote:
>
>>The Danelectro post that talks about the small Smoky Amps made me think
>>about a new type of speaker that I've heard about that uses very small
>>electrostatic drivers and varies the phase of several ultrasonic
>>(infrasonic?) frequencies to create a beat (interference) frequency in
>>the range of human hearing.  Supposedly, the thing is the size of a CD
>>or so, and can produce very large sound levels with very low wattage
>>because of its efficiency.  CAN YOU IMAGINE THE IMPLICATIONS?  KEEPING
>>YOUR SPEAKER CABINETS IN YOUR GUITAR CASE!
>
>acoustic heterodyning is the name of the technique, I believe...
>
>and the speakers are incredibly small, postage stamp sized.
>you could get deafening sound from a quarter-watt speaker,
>so I'm told.
>
>However there are several downsides.
>
>The first is that they are extremely directional... you could hear
>immense sound, I could hear nothing.  The second is that they haven't
>made it out of the lab into speakers yet as they are so new.
>
>	/t
>
>


Matt Peterson
Project Manager, Media Services
XOOM.com, Inc.
300 Montgomery St., 3rd Floor
San Francisco CA 94104
415-288-2505    FAX: 415-288-2575    matt@xoom.com
NASDAQ: XMCM

From Loopers-Delight-request@annihilist.com  Mon Jun 21 14:46:29 1999
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From: ld thomson <heatshrink@hotmail.com>
To: bec@murple.com, hartas@yahoo.com, oranges70@hotmail.com,
        missk@interlog.com, north@pccinternet.com, sol@nbnet.nb.ca,
        nicole.kiras@butlergroup.co.uk, funtime_aliens@hotmail.com,
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        mlemyre@interlog.com, laurabartko@yahoo.com, maximum@idirect.com,
        monsta@interlog.com, rforsley@iname.com
Subject: SOUNDSCAPING & SCRABBLE - WEDNESDAY JUNE 23RD
Date: Mon, 21 Jun 1999 11:35:52 PDT
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Just a reminder that this Wednesday night (June 23rd, 1999)
Lorne Thomson will be creating soundscapes live at THE GRAPEFRUIT MOON
which is located 968 Bathurst St Toronto Ontario Canada.
The festivities begin at 8:30 and will continue through out the evening as 
the spirit leads.

Its tomorrow's music, created with yesterday's technology..
BUT TODAY!

Hope to see you there.


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

From Loopers-Delight-request@annihilist.com  Mon Jun 21 14:51:42 1999
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From: Todd Madson <crash@waste.org>
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Subject: Loopdiscs....
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Um, what's the deal regarding the Looper's Delight compilations?

I take it two volumes have been created:
-Sounds like Volume I exists, but barely.
-Volume II exists too, but I know no more.
-Volume III was in preparation but nothing resulted.

I've been running a CD-R burner at my place for a while now.  Maybe
I should contribute a loop or two.

Todd Madson
Musician, Mountain Biker, Stunt Kite Flyer, BeOS/MacOS/Linux/WinNt user.
http://www.waste.org/~crash/index.html

From Loopers-Delight-request@annihilist.com  Mon Jun 21 18:17:06 1999
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From: Daniel Ferguson <Breakz@hom.net>
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Does anyone use a sampler for silence looping? A few EMU E4XT ultras
might do this well.



best regards,
Daniel

From Loopers-Delight-request@annihilist.com  Tue Jun 22 01:18:10 1999
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Date: Tue, 22 Jun 1999 00:14:15 -0500
To: Loopers-Delight@annihilist.com
From: Jeff & Vonda McLeod <subversive@mindspring.com>
Subject: Re: Adrian Belew's Loops
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Howdy,
	Just saw Adrian Belew in Nashville, TN. What a show! Here's what he says
is in store:

An album of looping (BELEWPS)
A huge box set of his material called DUST
A new GUITAR AS... CD (this one's jungle sounds--animals and rhythms,
produced by his guitar...)
A new Bears CD

	He used the Johnson amps to loop with long delays, and he managed to work
them into everyting from whacko guitar wipeouts to King Crimson ditties. A
fantastic show. I'd encourage everyone on the list who's interested to go
see the man play. Plus, he's such a nice guy! He hangs out after the show
(this one was nearly 2 hours long . . . his hometown, y'know...), and signs
things and talks with everyone. Heck, he even took questions and requests
during the set. Just a great show!
Adios,
Jeff McLeod
__________________________________________
This is not here--
And now is almost over... 
http://members.xoom.com/Gezoleen/
http://members.xoom.com/edkempertrio/

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>-Volume II exists too, but I know no more.

Information on Volume 2 can be found at www.finleysound.com/Looper_CD.html.

__________________________________
Matthew F. McCabe
Finley Sound Design
http://www.finleysound.com

From Loopers-Delight-request@annihilist.com  Tue Jun 22 03:14:03 1999
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Subject: AW: I want LDCD Vol 1 -  I want LDCD Vol 1 -  I want LDCD Vol 1 - 	
Date: Tue, 22 Jun 1999 08:10:54 +0200
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hi Matt,

> I simply volunteered to sell Volume 1 
> through Marathon Records if it became
> available in quantity.

I see. 

May I ask how Vol. 2 is going? Is it being sold at all? 
I wonder if it's worth at all making a quantity of Vol. 1, or if it would be more sensible to sell manually burnt CDRs on demand.

-Michael

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Is Adrian Belew really from Nashville????????  Huh????

Micah

From Loopers-Delight-request@annihilist.com  Tue Jun 22 05:34:40 1999
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Date: Tue, 22 Jun 1999 11:25:28 +0200
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From: haeusle <haeusle@aon.at>
Subject: echoplex, reply from Michael Ayers!!!!!!!!!
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if you get this message twice, please apolygize


shiny happy loopers, 

that's what i got from oberheim/ opcode/ gibson (whoever...)

about the same reply as our list member Michael Tuminello got.

what about you?

did someone else hear anything?

come one, let's keep the pressure on'em!

we don't take no as an answer ;-)


lorenz

<smaller>with a motu 2408 in a few days!!! *happy*

</smaller>


At 09:46 21.06.99 -0500, you wrote:

>Good morning;

>

>Production of the Echoplex has been temporarily suspended, due to a

>restructuring of Oberheim. We expect to be back in production in about
three

>months.

>

>Please stay tuned to our web site at;

>

>http://www.gibson.com

>

>for further information as it develops.

>

>Thanks for writing.

>

>

>

>

>-----Original Message-----

>From: Rob McLemore 

>Sent: Friday,June 18,1999 1:00 PM

>To: Michael Ayers

>Subject: FW: echoplex

>

>

> haeusle@aon.at

>

>-----Original Message-----

>From: haeusle

>To: relations@gibson.com

>Sent: 6/18/99 12:51 PM

>Subject: echoplex

>

>hi there!

>

>there are a lot of rumours going around the edp. could you please

>clarify

>the situation? is it still produced? when is it introduced to europe?

>

>greetings from austria, 

>lorenz

>

>

From Loopers-Delight-request@annihilist.com  Tue Jun 22 08:17:21 1999
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Date: Tue, 22 Jun 1999 07:50:45 -0400 (EDT)
From: Adam Levin <alevin@DarkAether.Net>
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Subject: Solaris/Dark Aether Project in DC area Friday
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Hi Folks, just a quick reminder about our show with Solaris in the
Washington DC area this Friday. In addition to the information about the
show (at the bottom), I'm including a full Solaris bio:

SOLARIS was formed in Hungary in 1980 by university friends Istvan Cziglan
(guitar), Attila Kollar (flute), Attila Seres (bass), Vilmos Toth (drums)
and Robert Erdesz (synthesizers). Their name arises from a novel by
science fiction author Stanislaw Lem.  The original members were united by
their love of science fiction and progressive/electronic music artists
such as Vangelis, Mike Oldfield, Tangerine Dream, and Jethro Tull.  They
initially released a couple of singles (songs later to appear on the 1990
album).  Ray Bradbury's famous novel served as the inspiration for their
first full length recording Martian Chronicles, released on the
state-owned Hungaroton label in 1985, with Laszlo Gomor on drums and Tamas
Pocs on bass.  Now re-released on CD, this album is considered a defining
moment in 80s progressive rock with its haunting, intricate, and
classically influenced flute/synth/guitar compositions.

Even though Martian Chronicles sold close to 40,000 units, the state-owned
record company was more interested in disco-pop, and refused to release a
second Solaris effort.  After some members took part in the highly
successful Hungarian pop outfit Napoleon Boulevard, Solaris was given the
green light to release the double LP 1990, featuring superb symphonic
compositions from throughout the band's history.  Some tracks featured the
talents of Gabor Kisszabo on bass and Csaba Bogdan on guitar in addition
to the previous lineup.

Much to the band's surprise, they were invited by organizer Greg Walker to
perform at Progfest 1995 in Los Angeles.  Solaris floored the audience
with an incredibly tight performance, which was immortalized on the 2-CD
set Live in Los Angeles, with members of all band incarnations present.  
The concert rejuvenated the band, which garnered other festival
invitations, and was signed by Periferic Records. The past year has been a
busy one for Solaris, with the release of Attila Kollar's solo CD Musical
Witchcraft (featuring all Solaris members), and the adventurous new CD
Nostradamus, Book of Prophecies.  This soon-to-be prog rock classic is
based loosely on the cryptic quatrains of the famous French philosopher
and prophet(?), and weaves ethnic music flavorings, Latin operatic vocals,
and an edgier guitar presence into the classic Solaris sound.

Unfortunately Live in Los Angeles is the last Solaris recording to feature
Istvan Cziglan.  Illness forced him to be unable to perform at concerts or
to take part in the Nostradamus project.  In late December 1998, he passed
away suddenly.  Though deeply saddened, the rest of Solaris wants to keep
the musical legacy of their dear friend "Czigi" alive and create new
music. We are absolutely delighted to have this world class Hungarian
ensemble at the Phantasmagoria Club in Washington.. 

---------------------------------------------------------------------
CONCERT INFORMATION:

The legendary Hungarian progressive rock group Solaris will be making
their first US East Coast performance along with The Dark Aether Project
at 8pm on Friday June 25th 1999 at Phantasmagoria (301-949-8886) located
at 11319 Elkin Street in Wheaton MD. Admission is $15 at the door for this
all ages show.

Solaris' unique musical identity is based on a dynamic blend of virtuoso
flute, guitar and keyboards balanced by a driving rhythm section woven
into dynamic compositions that blur the lines between classical, jazz and
rock music. Solaris will be performing in support of their new release
_Nostradamus_ - their first studio album of new material in nearly a
decade.

Solaris is:
           
Csaba Bogdán - Guitar
Robert Erdész - Keyboards
László Gömör - Drums
Gábor Kisszabó - Bass
Tamás Pócs - Bass
Attila Kollár - Flute/Vocals 

The Dark Aether Project's music has been described as "jazz-inflected,
often minimalistic...classy... mature musicianship without
pretentiousness" by Progression magazine and "..intense and blistering
lead work...amazing loops and shimmering textures that are at once
haunting and dreamlike...worthy of attention." by Expose. The Dark Aether
Project will perform in support of their latest album _Feed The Silence_.
See http://www.DarkAether.Net/ for more information.

The Dark Aether Project is:

Adam Levin - Warr 8 String Touch Guitar/Keyboards/Loops
Yaman Aksu - Guitar/Hammond Organ
Ray Weston - Vocals
Allen Brunelle - Drums/Percussion/Keyboards

Directions to Phantasmagoria:        
Take DC Beltway (495) toward Silver Spring.  
Exit at Rt 97 (Georgia Ave) North towards Wheaton
Go 2-3 miles on Georgia, keeping to the right
Turn right on University Blvd (after Safeway)
Take first right onto Elkin.
Phantasmagoria is on the left





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At 03:25 AM 6/22/99 -0500, you wrote:
>Is Adrian Belew really from Nashville????????  Huh????

Lately so. Previously he lived in my old haunts in east-central Ill Annoy
and then took an Artist-In-Residence position in Lake Geneva at the old
Playboy Mansion cum recording studio. Pun not intending.

Hasta -> Rico

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Date: Tue, 22 Jun 1999 10:42:27 -0500
Subject: JamMan FS, Austin area, $350
From: "Travis Hartnett" <hartne.t@apple.com>
To: "Looper's Delight" <Loopers-Delight@annihilist.com>
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I found this in the Austin paper, so if you're in the area...



       MERCHANDISE - Musical Instruments

       ALESIS ADAT-black face, $850. Alan & Heath 16-channel mixing board,
$650. Lexicon Jam-man, $350. All in excellent condition. Call 452-5668. 

From Loopers-Delight-request@annihilist.com  Tue Jun 22 16:12:38 1999
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Date: Tue, 22 Jun 1999 14:20:08 -0500
From: Micah <micah@iamerica.net>
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Subject: Belew's Loops and other stuff
References: <70CA3F163AFED21197F100805FBB030F32C046@whi_exchange.malcolmpirnie.com>
	 <3.0.6.32.19990622001415.007f3100@pop.mindspring.com> <3.0.5.32.19990622081459.0080a180@mindspring.com>
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Huh, I was just in Nashville last week at a Cubase clinic.  I would have
liked to have seen him play.  Oh well, I'll catch him.  Speaking of Cubase,
is anyone using this software as a means of looping??? (among other things)
Also, is anybody using the MOTU 1224 24-bit machine with their computers???

Micah

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From: jordanpease@webtv.net (Jordan Pease)
Date: Tue, 22 Jun 1999 12:54:45 -0700 (PDT)
To: Loopers-Delight@annihilist.com
Subject: Re: JamMan FS, Austin area, $350
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Thanks !

I called at 1pm pacific and it was just sold !

From Loopers-Delight-request@annihilist.com  Tue Jun 22 16:57:30 1999
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Date: Tue, 22 Jun 1999 22:23:11 +0200
To: Loopers-Delight@annihilist.com
From: Leo Cavallo <cavallo@dada.it>
Subject: Re: Belew's Loops and other stuff
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Hi

I'm using Cubase VST ('cos I write for the italian Cubase Magazine... ;) )
on a PC system, with the MOTU2408 installed. it's real heaven.... :)
ciao
leo


At 14.20 22/06/99 -0500, you wrote:
>Huh, I was just in Nashville last week at a Cubase clinic.  I would have
>liked to have seen him play.  Oh well, I'll catch him.  Speaking of Cubase,
>is anyone using this software as a means of looping??? (among other things)
>Also, is anybody using the MOTU 1224 24-bit machine with their computers???
>
>Micah
>
>
>

From Loopers-Delight-request@annihilist.com  Tue Jun 22 19:49:19 1999
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Date: Tue, 22 Jun 1999 19:42:13 -0400 (EDT)
From: Unit Circle Media <unitcirc@unitcircle.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: Re: AW: I want LDCD Vol 1 -  I want LDCD Vol 1 -  I want LDCD Vol
 1 -  
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> May I ask how Vol. 2 is going? Is it being sold at all? 
> I wonder if it's worth at all making a quantity of Vol. 1, or if it would be more sensible to sell manually burnt CDRs on demand.
> 
For this kind of project, doing CDRs might make a lot more sense, or just
putting together a website and posting mp3s...

Kevin

From Loopers-Delight-request@annihilist.com  Wed Jun 23 06:10:40 1999
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Subject: Re: AW: I want LDCD Vol 1 -  I want LDCD Vol 1 -  I want LDCD Vol
	 1 - 	
From: "Matt and Kristy McCabe" <mkmccabe@earthlink.net>
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Michael and interested folks...

>May I ask how Vol. 2 is going? Is it being sold at all? 
>I wonder if it's worth at all making a quantity of Vol. 1, or if it would 
>be more sensible to sell manually burnt CDRs on demand.

Volume 2 has been selling steadily...about 1 to 2 discs per week.  I
estimate we have about 125 to 150 copies left.  

Matt

__________________________________
Matthew F. McCabe
Finley Sound Design
http://www.finleysound.com

From Loopers-Delight-request@annihilist.com  Wed Jun 23 08:32:29 1999
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Date: 	Wed, 23 Jun 1999 06:44:36 -0500 (CDT)
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From: Todd Madson <crash@waste.org>
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Subject: Compilation Distribution Ideas
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I think the idea of a website with MP3s and downloadable cover art is
the best and most realistic idea, then each individual can burn their
own copy.

With the right encoding level (160kbps) you get very close to CD
quality (better than the 128 kbps where I can hear aliasing 
happening).

Cover art could be created by committee or by an individual (heck,
several different versions of cover art could be created).  Then
they could be encoded with Adobe Acrobat as a downloadable .pdf
that could be printed on a suitable color printer.

The only problem arises when you have an individual who has no CD 
burning equipment.  Then we could talk about volunteering making 
sets depending on the geographical area of the individuals who 
want it.

Todd Madson
Musician, Mountain Biker, Stunt Kite Flyer, BeOS/MacOS/Linux/WinNt user.
http://www.waste.org/~crash/index.html

From Loopers-Delight-request@annihilist.com  Wed Jun 23 11:33:31 1999
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From: Anthony Mullen <anthony.mullen@KSCL.com>
To: Loopers-Delight@annihilist.com, Neil Wiernik <naw@techno.ca>
Subject: RE: Auto Loop Finding - apols - a clearer definition of need
Date: Wed, 23 Jun 1999 15:07:37 +0100
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Neil - eat me - it's definitely possible to have such a tool - think about
it a little harder.

The issue isn't of laziness - more the fact that I'm painting a big ceiling
and I need a few robots to fill some colours in.

Thanks for your help anyway.

Anthony

> ----------
> From: 	Neil Wiernik[SMTP:naw@techno.ca]
> Sent: 	18 June 1999 13:29
> To: 	Loopers-Delight@annihilist.com
> Subject: 	Re: Auto Loop Finding - apols - a clearer definition of need
> 
> No such tool for batch looping, besides each and every loop has it own
> parametter to it.
> You would need towrite a script and even that would not work properly.
> Why would you want to be so lazy about it all anyhow?  Arent you
> interested in
> being an active part of your art making process?
> 
> Neil...
> 
> Anthony Mullen wrote:
> 
> > Hi,
> >
> > I should have been a little clearer....I was thinking of an automated
> batch
> > tool to run through loads of 'nearly looped WAVs' and create loopable
> > versions with the extra kick/cymbal/whatever trimmed from the end of the
> > sound.
> >
> > I use recycle but doing it for ooomphty thousand loops will only scare
> my
> > wrists......I'm sure someone mentioned a shareware PC util at some stage
> for
> > doing this....
> >
> > Thanks
> > Anthony
> 
> --
> 
> __________________________________________________________________
> Neil Wiernik
> naw@techno.ca
> http://www.techno.ca/studio/naw
> __________________________________________________________________
> Projects:
> http://www.kiasma.fng.fi/soundbox/
> http://www.twelveinch.com/djs.html
> http://www.techno.ca/ntac
> http://cec.concordia.ca/Radio/Sonic%20Circuit/SonicCircuits2.html
> http://www.interaccess.org/aurora/wiernik.html
> http://www.er.uqam.ca/nobel/k31320/wier01.htm
> 

From Loopers-Delight-request@annihilist.com  Wed Jun 23 12:02:50 1999
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Date: Wed, 23 Jun 1999 10:35:52 -0400
To: Loopers-Delight@annihilist.com
From: Michael Tuminello <m1cha3l@earthlink.net>
Subject: re:  echoplex, reply from Michael Ayers!!!!!!!!!
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Is it just me, or has it been 3 months for a while now...?

I didn't post it to the list, but I followed up that with a request for a
lost of Oberheim dealers in North America, because I went into Rogue Music
here in New York and the guy there told me I might check midwestern dealers
or odd places to see if they might somehow still have stock.

The Gibson guy said in response something like "as far as I know, there are
no echoplexes anywhere.  Sometimes there are used ones on ebay."  That's
paraphrasing, but I do distinctly remember the word anywhere, which at
least he didn't capitalize...

Looks like it could be a long wait.   Like I said, I'm fairly sure I could
find postings in the archive from a month ago that said 3 months.

MT

From Loopers-Delight-request@annihilist.com  Wed Jun 23 12:05:34 1999
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Date: Wed, 23 Jun 1999 15:56:02 +0100
From: Gareth Whittock <whiteoak@dial.pipex.com>
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I seem to recall another Audio Mulch looper out there somewhere.
I just found a 12 and.... wait for it........60 second stereo delay VST
plug in. It works a treat
Just though you'd like to know.

Gareth

From Loopers-Delight-request@annihilist.com  Wed Jun 23 12:55:54 1999
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From: John Neilson <jneil@echonyc.com>
Message-Id: <199906231551.LAA25534@echonyc.com>
Subject: New Music Auction site (and a pricey EDP!)
To: Loopers-Delight@annihilist.com
Date: Wed, 23 Jun 1999 11:51:47 -0400 (EDT)
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I visited Harmony Central this morning and noticed that they
have recently gotten into the Ebay-style web auction thing:
http://harmonycentral.digibid.com/

This one caught my eye.  It's an EDP that apparently went for
a cool $1180...

http://harmonycentral.digibid.com/auctions/items/2878.htm

From Loopers-Delight-request@annihilist.com  Wed Jun 23 13:21:12 1999
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Date: Wed, 23 Jun 1999 09:41:33 -0700 (PDT)
From: Randy Jones <ranjones@yahoo.com>
Subject: Re: AudioMulch loopers?
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Where?
Randy
> I just found a 12 and.... wait for it........60
> second stereo delay VST
> plug in. It works a treat
> Just though you'd like to know.
> 
> Gareth
> 
> 

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com

From Loopers-Delight-request@annihilist.com  Wed Jun 23 14:51:17 1999
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Date: Wed, 23 Jun 1999 14:00:37 -0400
From: Legion <legion@voicenet.com>
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Subject: LD CD # 1 Reissue  - PLEASE READ
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I have been talking to Ray Peck (originator of VOL. I Looper's Delight
CD) and I believe we are going to reissue it now in all it's glory
including the great cover art and insert which Ray very genrously paid a
lot of $$ for initially.

There are still a few details to go through but it looks like I'll be
buying a batch of the printed covers from Ray pressing DAO Cdrs on high
qaulity Cds and taking orders via my indie label Help Wanted
Productions. I'll press up a bunch of CDrs and have them ready in a week
or so. Price TBA but it will be at or as close to cost as I can get. 

If you are interested in buying a copy please send me an email so I know
what the demand might be for the intial run. After that I'll carry the
CD in the catalog for as long as orders are coming in.

More info to follow as soon as things are official.

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From Loopers-Delight-request@annihilist.com  Wed Jun 23 16:46:49 1999
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Subject: Re: LD CD # 1 Reissue  - PLEASE READ
Date: Wed, 23 Jun 99 13:22:18 -0700
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From: Matt Peterson <matt@xoom.com>
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yes, I would like to purchase one copy of LD CD #1
Matt Peterson

6/23/99 11:00 AM   Legion (legion@voicenet.com) wrote:

>I have been talking to Ray Peck (originator of VOL. I Looper's Delight
>CD) and I believe we are going to reissue it now in all it's glory
>including the great cover art and insert which Ray very genrously paid a
>lot of $$ for initially.
>
>There are still a few details to go through but it looks like I'll be
>buying a batch of the printed covers from Ray pressing DAO Cdrs on high
>qaulity Cds and taking orders via my indie label Help Wanted
>Productions. I'll press up a bunch of CDrs and have them ready in a week
>or so. Price TBA but it will be at or as close to cost as I can get. 
>
>If you are interested in buying a copy please send me an email so I know
>what the demand might be for the intial run. After that I'll carry the
>CD in the catalog for as long as orders are coming in.
>
>More info to follow as soon as things are official.


Matt Peterson
Project Manager, Media Services
XOOM.com, Inc.
300 Montgomery St., 3rd Floor
San Francisco CA 94104
415-288-2505    FAX: 415-288-2575    matt@xoom.com
NASDAQ: XMCM

From Loopers-Delight-request@annihilist.com  Wed Jun 23 18:09:44 1999
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Message-ID: <2148EC143F29D1118BE000805FC13CD0DB55E4@migarexch01.maritz.com>
From: "Liebig, Steuart A." <LiebigSA@Maritz.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: helping hands???
Date: Wed, 23 Jun 1999 16:52:29 -0400
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i have a friend whose eh 16-second delay just developed a nice hum (there
was a really nice high-pitched squeal that lasted about 10-20 seconds during
a set break, capacitor death?).

anyone have any ideas about people who are competent to fix these thangs?

thanks,

stig

From Loopers-Delight-request@annihilist.com  Wed Jun 23 19:08:51 1999
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i have a friend whose eh 16-second delay just developed a nice hum (there
was a really nice high-pitched squeal that lasted about 10-20 seconds during
a set break, capacitor death?).

anyone have any ideas about people who are competent to fix these thangs?

thanks,

stig

----------
probably a couple of things fried.  Hum probably is a bad resistor?? Open it up and push some parts around.  If you've got a soldering iron ($12) and a radio shack nearby, you should be able to figure it out.  Just replace fried or old parts with parts of equal values (and equal tolerance and make sure you get the polarity right).

bd

From Loopers-Delight-request@annihilist.com  Wed Jun 23 20:14:33 1999
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From: Kriist@aol.com
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Date: Wed, 23 Jun 1999 19:54:48 EDT
Subject: Re: LD CD # 1 Reissue  - PLEASE READ
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im interested

rodrigo

In a message dated 6/23/99 2:51:10 PM Eastern Daylight Time, 
legion@voicenet.com writes:

<< If you are interested in buying a copy please send me an email so I know
 what the demand might be for the intial run. After that I'll carry the
 CD in the catalog for as long as orders are coming in.
 
 More info to follow as soon as things are official.
  >>

From Loopers-Delight-request@annihilist.com  Wed Jun 23 20:55:34 1999
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From: Nemoguitt@aol.com
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Date: Wed, 23 Jun 1999 20:22:38 EDT
Subject: Re: LD CD # 1 Reissue  - PLEASE READ
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i would be interested in the LD CD 1.........please keep us 
posted........michael

From Loopers-Delight-request@annihilist.com  Wed Jun 23 22:41:29 1999
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From: KILLINFO@aol.com
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Date: Wed, 23 Jun 1999 22:22:04 EDT
Subject: Re: helping hands EH 16 Se
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In a message dated 6/23/99 2:09:46 PM, LiebigSA@Maritz.com writes:

>i have a friend whose eh 16-second delay just developed a nice hum (there
>was a really nice high-pitched squeal that lasted about 10-20 seconds during
>a set break, capacitor death?).
>
>anyone have any ideas about people who are competent to fix these thangs?

I used to own a couple of these things some years ago. One of them needed 
repair once so I called the folks at Sovtek. They gave me the name of a 
Vietnamese gent in NYC (a Mr. Dang I believe) that used to assemble them when 
they were originally made. He now runs a tidy little business repairing EH 
stuff he used to make. He's good, very resonable and quick.

Sovetek get requests for repair on old EH stuff all the time. It never hurts 
to ask. They can steer you in the right direction. 

I'd give you the name and address of the guy myself if I still had it. It's 
been 4 years or more now I'd say. I sold the units to a fellow on the list by 
the name of Trevor but I haven heard from him in a while.

Ted Killian

From Loopers-Delight-request@annihilist.com  Thu Jun 24 00:01:33 1999
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Date: Wed, 23 Jun 1999 20:50:10 -0700
From: Clifford Novey <clifsound@earthlink.net>
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Hey, a late but better-than-never thanks to Kim for the help on time
signatures- the term "8ths per beat" is confusing-  Also looking forward
to the new features you mentioned- sounds interesting- Thanks again-

Cliff

From Loopers-Delight-request@annihilist.com  Thu Jun 24 01:15:33 1999
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From: Phaedebk@aol.com
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Date: Thu, 24 Jun 1999 01:10:43 EDT
Subject: Re: LD CD # 1 Reissue  - PLEASE READ
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Hey there, be interested in this disk and the second one, too?
How much?

Lee-ohki.

From Loopers-Delight-request@annihilist.com  Thu Jun 24 01:49:55 1999
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From: DainL@AustinTX.net (Dain R. Luscombe)
To: <Loopers-Delight@annihilist.com>
Subject: noisy noisy jamman
Date: Thu, 24 Jun 1999 23:31:29 -0500
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I've been upgrading the h*ll out of my trusty jamman lately, full memory/bob
sellon's AWESOME software, but no for some reason I'm getting an awful lot
of noise all of the sudden. did I knock something off the circuit in my chip
changing frenzy?

thanks
please hurry and make it be good news...
dain

From Loopers-Delight-request@annihilist.com  Thu Jun 24 05:03:46 1999
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Dain,

Could you please tell me how you obtained Bob Sellon's update?? I just upgraded
my JamMan to 32 seconds and would love to upgrade to Bob's chip!

Cliff

"Dain R. Luscombe" wrote:

> I've been upgrading the h*ll out of my trusty jamman lately, full memory/bob
> sellon's AWESOME software, but no for some reason I'm getting an awful lot
> of noise all of the sudden. did I knock something off the circuit in my chip
> changing frenzy?
>
> thanks
> please hurry and make it be good news...
> dain

From Loopers-Delight-request@annihilist.com  Thu Jun 24 07:38:50 1999
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Date: Thu, 24 Jun 1999 07:31:46 -0500
To: Loopers-Delight@annihilist.com
From: David Myers <dmgraph@pulsewidth.com>
Subject: Re: New Music Auction site (and a pricey EDP!)
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I get the feeling that this whole auction thing is good for the
sellers--the Echoplex is wonderful, but twelve hundred bucks?  Has anyone
here done well as a buyer?  Is it worth going through all those various
auctions every day to find a Deltalab Echotron or something?  Or will it
necessarily cost $800?

David Myers

>I visited Harmony Central this morning and noticed that they
>have recently gotten into the Ebay-style web auction thing:
>http://harmonycentral.digibid.com/
>
>This one caught my eye.  It's an EDP that apparently went for
>a cool $1180...
>
>http://harmonycentral.digibid.com/auctions/items/2878.htm



From Loopers-Delight-request@annihilist.com  Thu Jun 24 07:54:56 1999
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Date: 	Thu, 24 Jun 1999 06:34:20 -0500 (CDT)
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From: Todd Madson <crash@waste.org>
To: Loopers-Delight@annihilist.com
Subject: LD Vol 3...
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Who is collating tracks for Looper's Delight Volume 3?

How much does it cost to get on the CD?
Is there a time limit for a track to be submitted?
Is there a limit on number of tracks to be submitted?

Anyone know the guidelines and when this thing will be set in stone?

I heard someone say that it was supposed to be finalized in April but
then nothing happened.  Truth?

Todd Madson
Musician, Mountain Biker, Stunt Kite Flyer, BeOS/MacOS/Linux/WinNt user.
http://www.waste.org/~crash/index.html

From Loopers-Delight-request@annihilist.com  Thu Jun 24 11:32:57 1999
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Nothing new about digibid.com, except their "strategic alliance" with
Harmony Central and the concomitant domain personalizing. It's been best
for high-end audio-video equipment to date but it could be that moving
Waldorfs is where the commissions gravy is mot likely to be found...

BTW, that self-same EDP was at a high bid of $480 last Friday before
closing @ $1180 this Monday -- an eventful weekend. A fruit ripens
slowly and drops quickly. What'd you call me?

-----------------------------------------------------------------
   ~      > --- James Keepnews --- <  "Don't quote anybody, Sir!"
 (.-.)    > -- Multimedia Yahoo -- <
    \                 *                           -- Krishnamurti
   -      > -  keepnews@node.net - <
-----------------------------------------------------------------

> I visited Harmony Central this morning and noticed that they
> have recently gotten into the Ebay-style web auction thing:
> http://harmonycentral.digibid.com/
>
> This one caught my eye.  It's an EDP that apparently went for
> a cool $1180...
>
> http://harmonycentral.digibid.com/auctions/items/2878.htm
>

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From: "Brendan Flick" <bflick@bellsouth.net>
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Subject: Re: noisy noisy jamman
Date: Thu, 24 Jun 1999 09:26:47 -0400
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-No help on the noise problem, but could you PLEASE tell how you got a hold
of Bob Sellons chip? I haven't been able to get any leads on it - Thanks -
Brendan

-----Original Message-----
From: Dain R. Luscombe <DainL@AustinTX.net>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Thursday, June 24, 1999 2:09 AM
Subject: noisy noisy jamman


>I've been upgrading the h*ll out of my trusty jamman lately, full
memory/bob
>sellon's AWESOME software, but no for some reason I'm getting an awful lot
>of noise all of the sudden. did I knock something off the circuit in my
chip
>changing frenzy?
>
>thanks
>please hurry and make it be good news...
>dain
>
>

From Loopers-Delight-request@annihilist.com  Thu Jun 24 11:58:18 1999
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From: Sean Witters <seanwitters@hotmail.com>
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Date: Thu, 24 Jun 1999 06:52:55 PDT
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Dain,

How did you get the Sellon upgrade and how much was it?  I've e-mail Bob 
twice with no reply, maybe I have the wrong address?

Thanks, Sean


_______________________________________________________________
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From Loopers-Delight-request@annihilist.com  Thu Jun 24 12:00:54 1999
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From: "Dennis W. Leas" <dennis@mdbs.com>
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Subject: Re: LD CD # 1 Reissue  - PLEASE READ
Date: Thu, 24 Jun 1999 09:06:06 -0500
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>If you are interested in buying a copy please send me an email so I know
>what the demand might be for the intial run. After that I'll carry the
>CD in the catalog for as long as orders are coming in.

Put me down for one copy.  Thanks!

Dennis Leas
-----------------------------
dennis@mdbs.com


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Date: Thu, 24 Jun 1999 16:26:51 +0100
From: Gareth Whittock <whiteoak@dial.pipex.com>
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> Subject: Re: AudioMulch loopers?
> Date: Wed, 23 Jun 1999 09:41:33 -0700 (PDT)
> From: Randy Jones <ranjones@yahoo.com>
Hey Randy,
Go to
http://acidfreak.future.easyspace.com/index.html

all this is free too.
Enjoy

Do you know about the 10second loopers with reverse/ bidirectional pitch
changing features too email me if you want more info.

Cheers

Gareth
> Where?
> Randy
> > I just found a 12 and.... wait for it........60
> > second stereo delay VST
> > plug in. It works a treat
> > Just though you'd like to know.
> >
> > Gareth
> >
> >

From Loopers-Delight-request@annihilist.com  Thu Jun 24 12:01:22 1999
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Date: Thu, 24 Jun 1999 09:52:48 -0500
Subject: tc 2290 FS $1300
From: "Travis Hartnett" <hartne.t@apple.com>
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Someone was asking about these recently.  From Harmony Central:

t.c. electronics 2290 delay

Asking Price: US$1300
Condition: Mint
Age: N/A
Description:

       t.c. 2290 delay perfect condition. the best digital delay you can
get. I used it for guitar but it has many
       applications. comes with manual. let me know if you have any
questions. thanks!

Seller: charlie hitchcock, 805 564 8902
E-mail: charliehitchcock@hotmail.com (Profile)
Location: SANTA BARBARA, CA
Post Date: 6/23/99

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Date: Thu, 24 Jun 1999 13:35:00 -0400
From: Legion <legion@voicenet.com>
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WOW!

Thanks for all the response so far. I think we have about 30 or so
potential orders in a little over a day and they keep coming. As a
result of this I'm thinking of actually outsourcing the duplication. I
can CDR a dozen or so but I'd like to press up more than the initial
order so we have some down the road there and there and in these numbers
it's a lot easier to get a bigger comapny to do it. As a result I really
need ot get a good count on how many I need to buy please if you haven't
already, send me an email with how many copies you may want. 

If you already sent me an email Thanks! and don't send me another (I'm
trying not to double count) At this rate it looks like we're looking at
a price of $10 per CD with cover including shipping in the US and $11 in
canada and elsewhere. 

I'll continue to take potential orders unitl monday and then I'll palce
an order for everyone who said they wanted one and a couple dozen more
and we'll get cracking on getting them made. Once I have the completed
CDs in hand with the covers and all then I'll post ordering info.

Again, THANKS for the encouragement. Ray has been sitting on $300 worth
of covers for years and I'm ready to drop at least that on pressing,
mailers, etc. so it's nice to see the CD will get out there and not
collect dust and hopefully we'll finally bail the costs of this great
project out.

D_

-----------------------------------------------------------------------
     HELP WANTED PRODUCTIONS - Http://www.voicenet.com/~legion
"Bringing you the best in Organic Electronic music since we started..."
     
Home of the Unusual Instrument and Recording Gallery with pictures and
info of Tube recorders, Omnichords, weird guitars, Casios, and more.

From Loopers-Delight-request@annihilist.com  Thu Jun 24 14:14:06 1999
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From: ld thomson <heatshrink@hotmail.com>
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Subject: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
Date: Thu, 24 Jun 1999 10:36:25 PDT
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I would like to thank those of you who came down to the GRAPEFRUIT MOON last 
night in support of my soundscaping efforts.  The night was a definate 
success, and no one threw scrabble pieces at me.  The reaction from those 
who I did not know was extremely positive and it was also great to see 
friends both old and new.

In regards to an on going debate within the "loopers" community regarding 
the effects of soundscaping on time (both perceived and actual), the staff 
of the GFM noted to me later that they felt they "were in two places at 
once" and "felt disconnected from the physical".  Maybe it was the heat.

At one point during the last soundscape of the evening ALL of my equipment 
shut off with a big thud..then three seconds later came back on and just 
continued going (which is impossible, I should have lost the loop) as if 
nothing had happened.  What was also interesting about that was how some 
people perceived the shutdown as being a split second, myself feeling it was 
about 3 seconds, and others seeing it as a minute shut down.  A ghost in the 
machine?
God stopping by for a visit?  A rip in the space/time continuum?
Perhaps some questions are best left unanswered.

Lorne Thomson
Toronto, Canada


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From Loopers-Delight-request@annihilist.com  Thu Jun 24 14:29:34 1999
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From: DainL@AustinTX.net (Dain R. Luscombe)
To: <Loopers-Delight@annihilist.com>
Subject: Re: noisy noisy jamman
Date: Fri, 25 Jun 1999 11:53:30 -0500
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for everyone who mailed me about the bob sellon software, I got his email
off of his webpage which you can reach from the looper's delight page. He
did note that he was stopping the production soon, but I had no trouble
getting my copy of the software.

thanks
dain

From Loopers-Delight-request@annihilist.com  Thu Jun 24 15:10:18 1999
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Date: Thu, 24 Jun 1999 14:51:39 EDT
Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
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In a message dated 6/24/99 1:14:05 PM Central Daylight Time, 
heatshrink@hotmail.com writes:

<< and "felt disconnected from the physical".  Maybe it was the heat.
 
 At one point during the last soundscape of the evening ALL of my equipment 
shut off with a big thud..then three seconds later came back on and just 
continued going (which is impossible, I should have lost the loop) as if 
nothing had happened.  What was also interesting about that was how some 
people perceived the shutdown as being a split second, myself feeling it was 
about 3 seconds, and others seeing it as a minute shut down.  A ghost in the 
machine? God stopping by for a visit?  A rip in the space/time continuum? >>

I think you answered it yourself above.  I don't believe it really happened 
in this world.  Maybe in the one you created though.

k
learning to speak to my EDP

From Loopers-Delight-request@annihilist.com  Thu Jun 24 17:21:01 1999
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From: ld thomson <heatshrink@hotmail.com>
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Date: Thu, 24 Jun 1999 12:39:34 PDT
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>From: KB305@aol.com
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
>Date: Thu, 24 Jun 1999 14:51:39 EDT
>
>I think you answered it yourself above.  I don't believe it really happened
>in this world.  Maybe in the one you created though.
>
>k
>learning to speak to my EDP
>

Please explain what you mean by this.  Are you suggesting I actually crossed 
some invisible line between universes??  I have no problem with the IDEA of 
that.  In fact I like the idea.  But I have a hard time such a thing could 
occur due to me.  Maybe its a cosmic confidence issue.

and if I create a world why can't I have one with a beachfront property??  
Or do I need an echoplex for that sort of thing.

Have any other loopers had this kind of weird ghost in the machine occurance 
during performance.  (although I don't want to revive that time/drug thread 
again)


______________________________________________________
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From Loopers-Delight-request@annihilist.com  Thu Jun 24 20:57:43 1999
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In a message dated 6/24/99 4:21:04 PM Central Daylight Time, 
heatshrink@hotmail.com writes:

<< Please explain what you mean by this.  Are you suggesting I actually 
crossed some invisible line between universes??  I have no problem with the 
IDEA of that.  In fact I like the idea.  But I have a hard time such a thing 
could occur due to me.  Maybe its a cosmic confidence issue.>>

I suggest that the phenomenon of your gear appearing to go down with a 
'thud', as you put it, was actually a door being opened into a world outside 
of this one, beyond this one, running at perpendicular lines to this one.  A 
time outside of our time.  All electronics would doubtless undergo some sort 
of change at that interstice; your own nervous system changed very slowly, it 
being more malleable, but the hard-wired gear in your rig resisted until it 
could no more, and when it went, it may have made that 'thud'.  Then again, 
you may have heard a thud that came from within, or somewhere else.
 
<< and if I create a world why can't I have one with a beachfront property??  
Or do I need an echoplex for that sort of thing.>>

How do you know you don't already have beachfront property in that world?  
Having an echoplex (to the extent that we can 'have' anything, as loopers, 
much in the same way that I 'have' a cat) certainly facilitates that, and 
speeds that process, but it is not strictly essential.
 
<< Have any other loopers had this kind of weird ghost in the machine 
occurrence during performance.  (although I don't want to revive that 
time/drug thread again) >>

(a)  Yes, I'm sure they have.
(b)  That Time/Drug Thread -- what a great title!  I'm using it!

Kevin
from my house to yours

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From: Hawkeye255@aol.com
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Date: Thu, 24 Jun 1999 20:38:34 EDT
Subject: Re: LDCD # 1 Reissue  - PART TWO
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Count me in for CD#1 (&2, &3)!

Thanks,
	Bill Reiter

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From: Nemoguitt@aol.com
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Date: Thu, 24 Jun 1999 21:24:27 EDT
Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
To: Loopers-Delight@annihilist.com
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lorne.........wish i would have been there.......michael

From Loopers-Delight-request@annihilist.com  Thu Jun 24 21:55:34 1999
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Date: Thu, 24 Jun 1999 21:43:55 -0400
To: Loopers-Delight@annihilist.com
From: Tim Nelson <tcn62@ici.net>
Subject: Re: LDCD # 1 Reissue  - PART TWO
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I'd like a copy of #1 as well.

Tim Nelson

From Loopers-Delight-request@annihilist.com  Thu Jun 24 22:45:46 1999
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Date: Thu, 24 Jun 1999 22:34:35 -0400
Subject: hi
From: "Christopher White" <magicicada@mindspring.com>
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i sthere anyone here who uses a mac with motu 2408 for creating loops and
such.. i have this setup but i am still learning it.. can someone give me
some tips please?

From Loopers-Delight-request@annihilist.com  Thu Jun 24 23:02:45 1999
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Reply-To: "Tom Lambrecht" <hideo@concentric.net>
From: "Tom Lambrecht" <hideo@concentric.net>
To: <Loopers-Delight@annihilist.com>
Subject: Re: about the $4.95 Cd's
Date: Thu, 24 Jun 1999 22:02:39 -0500
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 jeff and concern-ed loopers

remember the inceredible 1/3 price CD's

got my entire 10 cd order for $53 and change . . . some pretty esoteric
stuff, too ranging from Inlakesh (didgeridu trance group) to Dino Saluzzi on
ECM and Squarepusher's rotted note . . .

(yeah, Kim--only one guy--I know)

all seem to be the original manufacturor's discs (and I have one or two of
them from the library for comparison)

so, happy endings for all and the threat to the recording industry is not
the MPEG after all, right . . .

BUT WAIT . . .

i go back to the site with a list of about 25 things or so I want to get . .
.

my bookmark comes up as a screen displaying "no SKU available" or something
to that effect

i click on the music box and about a dozen Cds appear--Backstreet Boys,
Jamiroquai and that ilk . . .  at $8.95 apiece (and WAY overpriced at that)

and that is it--apparently their entire music selection--I punched Miles
Davis in to the search box that formerly gave me a page of $4.95 selections
and "no match found"

the golden goose is dead--undoubtedly killed by Tower, CDNow and everyone
else who want to make an honest 200% markup on those little silver frisbees

probably just as well--I'd never make my own noise with all these $5 Cds
flowing in  ;)

drone on~~~~~~~~~~~~~

Tom Lambrecht
hideo@concentric.net

-----Original Message-----
From: Collins <collinsclan@sprintmail.com>
To: Tom Lambrecht <hideo@concentric.net>
Date: Tuesday, June 22, 1999 10:01 PM
Subject: Re: about the $4.95 Cd's


>Tom,
>
>Did you get the CD's yet? I'm sure the people on LD would like to know how
>your dealings with them went.
>
>Jeffrey Collins
>
>A Strange View of Music
>
>Showcasing the music of
>Jeffrey Collins and Ken Rubenstein
>
>www.geocities.com/SunsetStrip/Stadium/1429/STRANGETONES.html
>
>"I TRUST IMPULSE, CREATIVE INTUITION, AND UNMOTIVATED
>SPONTANEITY, BUT ABOVE ALL RESPONSIVE ACTION WITH
>AS MANY FILTERS THAT ONE CAN AVOID." Robert Rauschenberg
>
>-----Original Message-----
>From: Tom Lambrecht <hideo@concentric.net>
>To: Collins <collinsclan@sprintmail.com>; Loopers-Delight@annihilist.com
><Loopers-Delight@annihilist.com>
>Date: Thursday, June 03, 1999 2:08 PM
>Subject: Re: about the $4.95 Cd's
>
>
>>Jeff:
>>
>>I checked this site and ran a couple of my usual "stump the record club"
>>choices thru and these guys had 'em including a locally
produced-extrremely
>>small production disc--
>>
>>thought to myself, "there's no way K-Tel could have tooled up a run of
>>this--sooooooo I ordered a couple of things to check it out
>>
>>In th event that these are produced by K-Tel, by copyright law, don't the
>>artists have to be paid royalties on these discs anyway . . .?
>>
>>(I thought the Internet was the only place where that was'nt the case)
>>
>>anyway, keep you posted as I am an advocate of artists getting their
>>royalties as much as anyone else on this list
>>
>>Tom Lambrecht
>>hideo@concentric.net
>>
>>
>>-----Original Message-----
>>From: Collins <collinsclan@sprintmail.com>
>>To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
>>Date: Thursday, June 03, 1999 12:17 PM
>>Subject: about the $4.95 Cd's
>>
>>
>>>I think that anyone who orders from this place at myshopnow will not only
>>>end up getting a CD that is NOT like the original but will take some well
>>>deserved $$ out of the artist hands. Now do you really want to cheat an
>>>artist who's work you admire?
>>>
>>>Jeffrey Collins
>>>
>>>A Strange View of Music
>>>
>>>http://www.geocities.com/SunsetStrip/Stadium/1429/STRANGETONES.html
>>>
>>>
>>
>>
>
>

From Loopers-Delight-request@annihilist.com  Thu Jun 24 23:34:45 1999
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Message-ID: <19990625025806.15975.qmail@wwcst088.netaddress.usa.net>
Date: 24 Jun 99 19:58:06 PDT
From: Dael Franke <DAELFRANKE@netscape.net>
To: Loopers-Delight@annihilist.com
Subject: Count me in, my spicy new friends.
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Yes please, I'll order a copy of one and also two. Ten bucks each sounds fine
to me, and also dandy. I do like the idea of several different downloadable
covers available, although I'll probably make my own. Hmmm. perhaps I should
send y'all a design or two. 
I was given a cd by the band Woo, called It's Cosy Inside. It is very very
fine work. Can anyone tell me anything about this amazing artifact and its
mysterious creators? I speak of the cd, not the planet.
Wonder.
Chaetophile
chaetophile@hotmail.com

____________________________________________________________________
Get your own FREE, personal Netscape WebMail account today at http://webmail.netscape.com.

From Loopers-Delight-request@annihilist.com  Fri Jun 25 00:19:05 1999
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Date: Thu, 24 Jun 1999 23:54:28 EDT
Subject: Re: Count me in, my spicy new friends.
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In a message dated 6/24/99 10:34:46 PM Central Daylight Time, 
DAELFRANKE@netscape.net writes:

<< I was given a cd by the band Woo, called It's Cosy Inside. It is very very
 fine work. Can anyone tell me anything about this amazing artifact and its
 mysterious creators?  >>

About 20 years ago I had an LP by a band called Woo.  Can't remember the 
title.
It was nice too.
k

From Loopers-Delight-request@annihilist.com  Fri Jun 25 02:15:36 1999
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From: "Javier Miranda V." <gnominus@earthling.net>
To: <Loopers-Delight@annihilist.com>
Subject: RE: AudioMulch loopers?
Date: Thu, 24 Jun 1999 22:55:57 -0700
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Dude, pass the URL; I'm ultrainterested in experimenting with a long loop in
my computer.  I too use AudioMulch -- sometimes.

  | -----Original Message-----
  | From: Gareth Whittock [mailto:whiteoak@dial.pipex.com]
  | Sent: Wednesday 23 June 1999 7:56 AM
  | To: Loopers-Delight@annihilist.com
  | Subject: Re: AudioMulch loopers?
  |
  |
  | I seem to recall another Audio Mulch looper out there somewhere.
  | I just found a 12 and.... wait for it........60 second stereo delay VST
  | plug in. It works a treat
  | Just though you'd like to know.
  |
  | Gareth
  |
  |

From Loopers-Delight-request@annihilist.com  Fri Jun 25 02:29:19 1999
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From: "Javier Miranda V." <gnominus@earthling.net>
To: <Loopers-Delight@annihilist.com>
Subject: RE: helping hands???
Date: Thu, 24 Jun 1999 22:56:01 -0700
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Yeah, I'd like to know too cause mine's been dead for years.

  | -----Original Message-----
  | From: Liebig, Steuart A. [mailto:LiebigSA@Maritz.com]
  | Sent: Wednesday 23 June 1999 1:52 PM
  | To: 'Loopers-Delight@annihilist.com'
  | Subject: helping hands???
  | 
  | 
  | i have a friend whose eh 16-second delay just developed a nice 
  | hum (there
  | was a really nice high-pitched squeal that lasted about 10-20 
  | seconds during
  | a set break, capacitor death?).
  | 
  | anyone have any ideas about people who are competent to fix 
  | these thangs?
  | 
  | thanks,
  | 
  | stig
  | 
  | 

From Loopers-Delight-request@annihilist.com  Fri Jun 25 03:59:10 1999
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From: "Javier Miranda V." <gnominus@earthling.net>
To: <Loopers-Delight@annihilist.com>
Subject: RE: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
Date: Fri, 25 Jun 1999 00:27:07 -0700
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My point exactly.  There is something to this we can't quite explain fully
yet.

  | -----Original Message-----
  | From: ld thomson [mailto:heatshrink@hotmail.com]
  | Sent: Thursday 24 June 1999 10:36 AM
  | To: Loopers-Delight@annihilist.com
  | Subject: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
  |
  | In regards to an on going debate within the "loopers" community
  | regarding
  | the effects of soundscaping on time (both perceived and
  | actual), the staff
  | of the GFM noted to me later that they felt they "were in two places at
  | once" and "felt disconnected from the physical".  Maybe it was the heat.
  |
  | At one point during the last soundscape of the evening ALL of
  | my equipment
  | shut off with a big thud..then three seconds later came back on
  | and just
  | continued going (which is impossible, I should have lost the
  | loop) as if
  | nothing had happened.  What was also interesting about that was
  | how some
  | people perceived the shutdown as being a split second, myself
  | feeling it was
  | about 3 seconds, and others seeing it as a minute shut down.  A
  | ghost in the
  | machine?
  | God stopping by for a visit?  A rip in the space/time continuum?
  | Perhaps some questions are best left unanswered.

From Loopers-Delight-request@annihilist.com  Fri Jun 25 08:26:03 1999
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Message-ID: <377370D9.206A@prodigy.net>
Date: Fri, 25 Jun 1999 07:06:49 -0500
From: Steve Dee <stevedee@prodigy.net>
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Organization: Prodigy Internet
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Put me down for a CD. Thanks.
 
Steve
http://pages.prodigy.net/stevedee

From Loopers-Delight-request@annihilist.com  Fri Jun 25 11:31:14 1999
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Date: Fri, 25 Jun 1999 10:50:07 -0400 (EDT)
From: Adam Levin <alevin@DarkAether.Net>
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Subject: Washington Post...
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...reviews our latest CD today. To see online:

http://www.washingtonpost.com/wp-srv/WPlate/1999-06/25/053l-062599-idx.html

-Adam

---
       "...if one strives at hearing for the sake of constant virtue,
       out of seeking liberation from cyclic existence, gradually one 
                           becomes a Hearer."
                           - Chandrakirti

              T h e   D a r k   A e t h e r   P r o j e c t
                       http://www.darkaether.net/


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Anyone who has an EH-16 that doesn't work...If you're interested in selling 
I'm looking for one that I can fix up.  Just another toy that i'd like to 
have in the collection

Thanks!

Brendan


>From: "Javier Miranda V." <gnominus@earthling.net>
>Reply-To: Loopers-Delight@annihilist.com
>To: <Loopers-Delight@annihilist.com>
>Subject: RE: helping hands???
>Date: Thu, 24 Jun 1999 22:56:01 -0700
>
>Yeah, I'd like to know too cause mine's been dead for years.
>
>   | -----Original Message-----
>   | From: Liebig, Steuart A. [mailto:LiebigSA@Maritz.com]
>   | Sent: Wednesday 23 June 1999 1:52 PM
>   | To: 'Loopers-Delight@annihilist.com'
>   | Subject: helping hands???
>   |
>   |
>   | i have a friend whose eh 16-second delay just developed a nice
>   | hum (there
>   | was a really nice high-pitched squeal that lasted about 10-20
>   | seconds during
>   | a set break, capacitor death?).
>   |
>   | anyone have any ideas about people who are competent to fix
>   | these thangs?
>   |
>   | thanks,
>   |
>   | stig
>   |
>   |
>
>


_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

From Loopers-Delight-request@annihilist.com  Fri Jun 25 13:40:55 1999
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Date: Fri, 25 Jun 1999 17:29:58 +0100
To: Legion <legion@voicenet.com>
Cc: Loopers-Delight@annihilist.com
From: Lee Fletcher <lee@waterleat.demon.co.uk>
Subject: LD CD # 1 Reissue - PLEASE READ
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In message <377120C5.11D9@voicenet.com>, Legion <legion@voicenet.com>
writes

>If you are interested in buying a copy please send me an email so I know
>what the demand might be for the intial run. After that I'll carry the
>CD in the catalog for as long as orders are coming in.

I'll take a copy.

Lee Fletcher

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Date: Fri, 25 Jun 1999 13:28:17 -0400
From: Andreas Willers <AWillers@compuserve.com>
Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
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time is only relative, especially in performance, isn't it?

From Loopers-Delight-request@annihilist.com  Fri Jun 25 14:13:04 1999
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Date: Fri, 25 Jun 1999 13:51:04 -0400 (EDT)
From: billfox@lucent.com (William_B_Fox)
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Subject: EMUSIC Top 20
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WDIY 88.1 FM "EMUSIC" Top 20 report to New Age Voice for June, 1999.
(Shows #116 to #120; 27-May-1999 to 24-June-1999
Reported in alphabetical order by album title.
Compiled by Bill Fox, billfox@fast.net

ARTIST - ALBUM TITLE - LABEL
============================
Telomere - Astral Currents - Evenfall
AirSculpture - Attrition System - Neu Harmony
Ian Boddy - Box of Secrets - DiN
Deborah Martin - Deep Roots, Hidden Water - Spotted Peccary
Redshift - Down Time - Champagne Lake
AirSculpture - Europa - Neu Harmony
Various - Harmonized - Neu Harmony
AirSculpture - Impossible Geometries - Neu Harmony
Liveform - In Harmony - Salisbury Sound
Robert Rich - Inner Landscapes - Hypnos
Ron Boots & Friends - Joie de Vivre - Groove
Bjorn Folgelberg - KarooshiPorn - Ninetysix Sounds
Cassiel - Listen/Move - Atomic City
Various - Mind Out - Wandering Aimlessly
Biff Johnson - Mirage at the Crossroads - P&C Broad Vista
Various - Soundscape Gallery Volume 3 - Lektronic Soundscapes
AirSculpture - Thunderhead - Neu Harmony
Stephen Parsick - Traces of the Past - Spheric
Mario Schonwalder - Two Piece Box - Manikin
Various - Weightless, Effortless - Hypnos

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			Playlist for "EMUSIC"

"EMUSIC," an electronic, ambient, and space music show, airs each Thursday
at 11pm on WDIY 88.1 FM, Allentown and Bethlehem, PA and 93.9 FM in
Easton, PA and Phillipsburg, NJ.  http://www.wdiyfm.org/schedule/s_emusic.html

		Show #120		June 24, 1999.
		Host: Bill Fox		http://www.wdiyfm.org
		billfox@fast.net

On this show, I concluded the month-long focus on Neu Harmony recording
group, AirSculpture.  Adrian Beasley, John Christian, and Peter Ruczynski
totally improvise their music!  The feature CD at midnight was Thunderhead.

	AirSculpture  :  http://www.softbase.co.uk/as
	Neu Harmony   :  http://www.neuharm.demon.co.uk
	EMUSIC Focus  :  http://www.wdiyfm.org/emusic/playlists/focus.html


ARTIST                  TRACK                    ALBUM (label)
======================= ======================== ==============================
11:00 pm
VA [UBB]                Avus                     Syntonic Waves Vol 7 (Spheric)
VA [Under the Dome]     Launch                   Harmonized (Neu Harmony)
Lambert Ringlage        Immersion                Dimensions of Dreams (Spheric)
Jiannis                 Zoomland II              Nightsessions (Spheric)
Stephen Parsick         Cosmic Jellyfish         Traces of the Past (Spheric)
Stephen Parsick         Green Depth              Traces of the Past (Spheric)
Steve Roach             A Few More Moments *     Quiet Music (Fortuna)

12:00 am
AirSculpture            Dark Design              Thunderhead (Neu Harmony)
AirSculpture            Aerostatis               Thunderhead (Neu Harmony)
AirSculpture            Polarvoid                Thunderhead (Neu Harmony)
AirSculpture            Pogofish                 Thunderhead (Neu Harmony)
AirSculpture            Thunderhead *            Thunderhead (Neu Harmony)

1:00 am

 * = exerpt
VA = Various Artists (compilation)

On the next EMUSIC, I will begin a the month-long focus on Steve Roach.
This prolific composer is the master of tribal ambient and constantly
forges new sonic territory to explore.  The Feature CD at Midnight will
be Dream Circle, a Timeroom Editions release.

Please visit the WDIY web site and navigate through the schedule to the
EMUSIC pages.  Playlists for every show are there.  Hot links to artists
and labels can be found in the monthly focus section.

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><< Have any other loopers had this kind of weird ghost in the machine
>occurrence during performance.  (although I don't want to revive that
>time/drug thread again) >>


Well, er, yes. At my son's baptism, I performed a piece on (amplified) solo
acoustic guitar which I wrote for him while awaiting his "arrival", titled
"Awaiting Your Arrival". I had everything set up and sound-checked
beforehand, but when I began the piece, my signal went dead for *precisely
three seconds*. I can say this factually since the piece sits at about 60
BPM and I "lost" about 3 beats. Yet it seemed like an eternity. It was most
certainly a visitation by the same benevolent angels who sweep down at the
most disconcerting times to bring chaos into highly charged emotional
moments, allowing us to peek into that alternative universe where such chaos
is irrelevant, and therefore feels (in this concensus reality) like a vast
expansion of linear time since we value/fear such chaos so readily. By the
way *no one else* noticed any break in the sound except for another
guitarist (my son's godfather). Do you think I'll be able to tell him this
story in the so-called "future" without making reference to drugs? :-)
    By the way, my family loves Scrabble. Lots of scores in the low-to-mid
400's at family reunions.


From Loopers-Delight-request@annihilist.com  Fri Jun 25 15:25:19 1999
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Message-ID: <3773D4EE.285AA9BE@dial.pipex.com>
Date: Fri, 25 Jun 1999 20:13:50 +0100
From: Gareth Whittock <whiteoak@dial.pipex.com>
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Check out  http://acidfreak.future.easyspace.com/index.html and download
the JSpack. JS is this French guy who's written the looper plugin.
The jspack has some wild plugins in it the most wonderful being the
minisample. This will trap up to 10s of sound, (Stereo). When you've
trapped it you can
1	Reverse it
2	Bidirectionalise(?) it 
3	Take it up to double speed
4	Take it RIGHT down to sub audio, (watch your speakers go in and out
:). In fact you can slow it down to a dead stop - wild!
I use a midi trigger to toggle between record and play, (in effect tap
delay) and use a midi pedal to alter the speed of the sample. There's
nothing stopping you setting up a mixer and running half a dozen of
these beauties in parallel either though it can be a bit of a headache
keeping track (sic) of what's going on.

Enjoy,

Gareth

> Where?
> Randy
> > I just found a 12 and.... wait for it........60
> > second stereo delay VST
> > plug in. It works a treat
> > Just though you'd like to know.

From Loopers-Delight-request@annihilist.com  Fri Jun 25 15:35:29 1999
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From: "Steven Kraninger" <stevek@msidata.com>
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Subject: Re: noisy noisy jamman
Date: Fri, 25 Jun 1999 14:07:11 -0500
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Hi,

Sorry for bothering you but ...

I have been trying to get hold of the Jam Man upgrade by E-mailing Bob
Sellon and have been getting no replys.  How did you get your upgrade?

Thanks Much
stevek@msidata.com

>I've been upgrading the h*ll out of my trusty jamman lately, full
memory/bob
>sellon's AWESOME software, but no for some reason I'm getting an awful lot
>of noise all of the sudden. did I knock something off the circuit in my
chip
>changing frenzy?
>
>thanks
>please hurry and make it be good news...
>dain
>

From Loopers-Delight-request@annihilist.com  Fri Jun 25 15:40:53 1999
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From: Nectars@aol.com
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Date: Fri, 25 Jun 1999 15:06:59 EDT
Subject: Digitech Rds 7.6 question
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Hello all,
I recently picked up this unit, and I have a few questions about it. FIrst, 
is there any way to eleminate the pause between each sample. (loops)  Second, 
what does the toggle switch do? (the thing that enables you to select the 
dely sample mode and the normanl trigger sample mode?
any help is appreciated,
thanks

From Loopers-Delight-request@annihilist.com  Fri Jun 25 16:22:58 1999
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Date: Fri, 25 Jun 1999 15:02:05 -0500
Subject: Infernal Machine
From: "Travis Hartnett" <hartne.t@apple.com>
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I remember a post a few years back discussing a guy who make recordings 
using four 7.6sec Time Machines linked together through a mixer, but without
a traditional sound source.  I thought this was released under the name
"Infernal Machine", but I can't find anything in the LD archives.  Can
anyone help me out with info?

Travis Hartnett

From Loopers-Delight-request@annihilist.com  Fri Jun 25 17:51:30 1999
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Message-ID: <3773F19D.FDB5601E@node.net>
Date: Fri, 25 Jun 1999 17:16:14 -0400
From: James Keepnews <keepnews@node.net>
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Organization: * - node - *
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There's been a 2290 on consignment for months out of mind on the Rogue Music website, for a
whopping $5 less than this Harmony Central classified ad. However, given this unit's
long-consigned condition, perhaps the consignor is now prepared to talk turkey and/or further
discounts. I'd been trying to save up for it myself but, to my great dismay and consternation,
the local Bloodmobile will not entertain the notion of blood donation "futures". You may not
be under the same economic constraints: go ahead on to http://www.roguemusic.com/news.html

BTW -- Those in search of Bob Sellon may or may not be aware that his website is
http://people.ne.mediaone.net/sellon/bob.htm. If he's not replying to e-mail, this may not be
an ideal contact locus for the man -- the impression I get is that he's phasing out of this
business of looping -- but the site does make for some occasionally absorbing reading,
specifically his first-hand account re: the development of the JamMan
(http://people.ne.mediaone.net/sellon/HISTORY.htm). When I grow up, I wanna be be a signal
processing star...

-----------------------------------------------------------------
   ~      > --- James Keepnews --- <  "Don't quote anybody, Sir!"
 (.-.)    > -- Multimedia Yahoo -- <
    \                 *                           -- Krishnamurti
   -      > -  keepnews@node.net - <
-----------------------------------------------------------------

> Subject: tc 2290 FS $1300
> Date: Thu, 24 Jun 1999 09:52:48 -0500
> From: "Travis Hartnett" <hartne.t@apple.com>
> To: "Looper's Delight" <Loopers-Delight@annihilist.com>
>
> Someone was asking about these recently.  From Harmony Central:
>
> t.c. electronics 2290 delay
>
> Asking Price: US$1300
> Condition: Mint
> Age: N/A
> Description:
>
>        t.c. 2290 delay perfect condition. the best digital delay you can
> get. I used it for guitar but it has many
>        applications. comes with manual. let me know if you have any
> questions. thanks!
>
> Seller: charlie hitchcock, 805 564 8902
> E-mail: charliehitchcock@hotmail.com (Profile)
> Location: SANTA BARBARA, CA
> Post Date: 6/23/99

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To: Loopers-Delight@annihilist.com
From: Tim Nelson <tcn62@ici.net>
Subject: Patch bay articles in EM
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Someone recently mentioned having seen an article on patchbay configuration
in a back issue of Electronic Musician. When I asked if anyone knew when
this piece ran, some of you contacted me and said you'd like to know too. I
asked EM through their website, and got the following info (BTW, Ms.
Singer's idea of taking "so long to get back to" me was only a few days!): 
>
>Sorry it's taken us so long to get back to you about your request for the old
>patch bay article.  We've found the following:
>
>1. June 1996; Recording Musician column: Patch-Bay Profiles (3 configurations
>shown)
>
>2. September 1995; Square One column: Patch Me Through (patch-bay basics)
>
>3. January 1993; EM Guide to MIDI Patch Bays and Processors (a feature
article)
>
>Here are a few older articles:
>
>4. May 1992; Recording Musician column: The Patch Bay
>
>5. June 1988; two articles: Using a Patch Bay and Build an Eight-in,
Eight-out
>MIDI Patch Bay."
>
>Hope that helps!  Soon we'll have an article archive up and running on our
>website, emusician.com, so the process should be a lot easier!
>
>Alexandra Singer
>Circulation Coordinator
>Electronic Musician

From Loopers-Delight-request@annihilist.com  Sat Jun 26 03:16:24 1999
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From: David Myers <dmgraph@pulsewidth.com>
Subject: Re: Infernal Machine
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>I remember a post a few years back discussing a guy who make recordings
>using four 7.6sec Time Machines linked together through a mixer, but without
>a traditional sound source.  I thought this was released under the name
>"Infernal Machine", but I can't find anything in the LD archives.  Can
>anyone help me out with info?
>
>Travis Hartnett

Look no further, Travis.  The name was "Arcane Device".  The music section
of my website isn't really developed at present, but there is a discography
and a bit of info.  One of these days I'll get around to including photos &
diagrams of the "feedback machines", but hell, a person has to earn a
living and whatnot....  Could those posts really have been a few years ago?


http://www.pulsewidth.com


From Loopers-Delight-request@annihilist.com  Sat Jun 26 04:08:21 1999
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From: haeusle <haeusle@aon.at>
Subject: tc 2290
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talked to a guy from tc last monday and asked him about the 2290. he told
me that this unit is still produced, BUT you can't get the upgrade chip you
need for longer looping & delay times (this chip is pretty old and not
produced anymore - for years now!)

--lorenz

From Loopers-Delight-request@annihilist.com  Sat Jun 26 07:24:56 1999
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From: SoundFNR@aol.com
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Date: Sat, 26 Jun 1999 07:07:55 EDT
Subject: Re: Compilation Distribution Ideas
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In a message dated 23/06/99 13:32:25 GMT Daylight Time, crash@waste.org 
writes:

> the idea of a website with MP3s and downloadable cover art is
>  the best and most realistic idea, 
Yes, but where are we going to get 100Mbytes or so on a server?
Could be in addition to the current CDs
Would jpegs be as good for the cover?

 Also Microsoft are bringing out their own version of mp3,
apparently with better quality and smaller files.(Worth considering)
Hope they won't be charging for the software though.

Andy Butler

From Loopers-Delight-request@annihilist.com  Sat Jun 26 07:26:58 1999
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Date: Sat, 26 Jun 1999 13:14:46 +0200
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From: Leo Cavallo <cavallo@dada.it>
Subject: Re: AudioMulch looper
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tell us more about your setup!!!!

have you multiple Midi Ins in your computer?

how do you use Audiomulch?

why don't we all Audiomulch users exchange patches? 

I've build a tri-Minisampler patch ideal for looping and making noises (for
Audiomulch 081b, not 082)
The stereo Sound In signal is divided and send to 2 different mini samplers,
with indipentent MIDI controlled Function (stop, play, rec), sense
(direct/reverse/bi) and speed. Doing so I can record in a sampler while the
other is playing half speed reverse... or either samplers playing while I
change one playback direction, pitch, etc... 
the mix of the 2 samplers goes to a 3rd mini-sampler, usually set in Stop
mode (bypass) but ready to switch to Rec to capture and process the noises
from the other 2 samplers. this is the basic setup... but you can add others
FX to each path to vary the results... 
really great prog for sound designing... IMO still not affidable for live
playing... too much crashes... 

how much latency do you get with your sound card?
am I wrong saying that v.082b doesn't support more VST plugins? I couldn't
find them....

ciao
leo



ciao
leo

At 20.13 25/06/99 +0100, you wrote:
>Check out  http://acidfreak.future.easyspace.com/index.html and download
>the JSpack. JS is this French guy who's written the looper plugin.
>The jspack has some wild plugins in it the most wonderful being the
>minisample. This will trap up to 10s of sound, (Stereo). When you've
>trapped it you can
>1	Reverse it
>2	Bidirectionalise(?) it 
>3	Take it up to double speed
>4	Take it RIGHT down to sub audio, (watch your speakers go in and out
>:). In fact you can slow it down to a dead stop - wild!
>I use a midi trigger to toggle between record and play, (in effect tap
>delay) and use a midi pedal to alter the speed of the sample. There's
>nothing stopping you setting up a mixer and running half a dozen of
>these beauties in parallel either though it can be a bit of a headache
>keeping track (sic) of what's going on.
>
>Enjoy,
>
>Gareth
>
>> Where?
>> Randy
>> > I just found a 12 and.... wait for it........60
>> > second stereo delay VST
>> > plug in. It works a treat
>> > Just though you'd like to know.
>
>
>

From Loopers-Delight-request@annihilist.com  Sat Jun 26 08:46:01 1999
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From: "Douglas Lawrence" <douglas-lawrence@home.com>
To: <Loopers-Delight@annihilist.com>
Subject: Electro-Harmonix Repairs
Date: Sat, 26 Jun 1999 08:24:59 -0400
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A while back someone was looking for repairs on E-H pedals. I found this
post on alt.guitar.effects. I have not dealt with this guy, so I can't vouch
for his quality of work ...


ELECTRO-HARMONIX STOMPBOXES - REPAIRS AND CUSTOM UPGRADES BY THE
ENGINEER THAT DESIGNED THEM

Your old E-H pedal can sound as good as or better than new. Few repair
techs have the information and knowledge necessary to do PROFESSIONAL
WORK on this equipment. I was the CHIEF ELECTRONICS DESIGN ENGINEER with
E-H for five years, and am now an independent consultant. If I designed
it, I CAN FIX OR REDESIGN IT!

All work guaranteed for 30 days, parts and labor. For a free estimate,
please accurately describe the problem with your unit or the custom mod
you want. E-mail to hdavis@pop.interport.net

I BUY TOO - Not worth fixing? Don't throw it out! I may buy it if it's
structurally intact. That means the PC board is not physically broken
and the box is not bent or rusted. Some paint scratching OK. E-mail for
information.

"Howard Davis"
<hdavis@pop.interport.net>

From Loopers-Delight-request@annihilist.com  Sat Jun 26 10:57:54 1999
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From: "Jenni Leeds" <jennil@bellsouth.net>
To: <Loopers-Delight@annihilist.com>
Subject: Tom Recchion
Date: Sat, 26 Jun 1999 09:34:48 -0500
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Dear Loopers, his stuff is really good. Has anyone heard this album. I think
it's only for those who like warped
sounds. Peace.

  Artist: RECCHION, TOM
Title: Chaotica
Label: BIRDMAN RECORDS
Format: CD
Price: $11.00
Catalog Number: BMR 007
"Alumni from the legendary L.A.F.M.S. releases his first full-length, which
is a celebration of the tape loop medium. Simultaneously exotic and chaotic.
Sounds like a cross between a David Lynch soundtrack and an Esquivel album
that's been left out in the rain." Recorded during 1985-86 at Foundation
Boo, Tom utilizes pre-recorded stereo tape-loops, records, cassettes, analog
and digital effects and keyboards (no samplers) to create a mind-blowing
array of dizzying sound. Totally exceptional in every way.

Jamie

From Loopers-Delight-request@annihilist.com  Sat Jun 26 11:06:44 1999
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References: <199906252002.NAA03582@scv3.apple.com>
Date: Sat, 26 Jun 1999 10:59:45 -0400
To: Loopers-Delight@annihilist.com
From: Tom Ritchford <tom@swirly.com>
Subject: Re: Infernal Machine
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>>I remember a post a few years back discussing a guy who make recordings
>>using four 7.6sec Time Machines linked together through a mixer, but without
>>a traditional sound source.  I thought this was released under the name
>>"Infernal Machine", but I can't find anything in the LD archives.  Can
>>anyone help me out with info?
>>
>>Travis Hartnett
>
>Look no further, Travis.  The name was "Arcane Device".  The music section
>of my website isn't really developed at present, but there is a discography
>and a bit of info.  One of these days I'll get around to including photos &
>diagrams of the "feedback machines", but hell, a person has to earn a
>living and whatnot....  Could those posts really have been a few years ago?
>
>
>http://www.pulsewidth.com

Arcane Device is highly recommended, IMHO, for lovers of real electronic
music.  My first disk (Fetish, also with PGR) was found lying on a rack
of other CDs at Tower Records and purchased precisely because of its
enigmatic cover.  The first few moments of the CD convinced me I had done
the right thing.

http://www.pulsewidth.com/pages/ArcaneDevice.html

has the discography.

	/t

From Loopers-Delight-request@annihilist.com  Sat Jun 26 11:28:16 1999
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From: David Myers <dmgraph@pulsewidth.com>
Subject: Mackie experts
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I am planning out a new feedback/looping setup and need a cheap but high
quality small mixer.  Ideally it should have four postfader aux sends for
the various loopers' paths; that's the rub.  And I'm tired of building
electronics to attain what might be had commercially, so that's out.

The Mackie 1202VLZ is in many ways just perfect--if it only had a send or
two more!  I'm aware that the insert jacks on channels 1-4 can serve as a
sort of send, but that's not exactly the best solution.  Are there any
Mackie experts here who can give me some tips?  Any way to make use of the
alt 3/4 bus?  I'm looking at the block diagram here, and there's obviously
loads of flexibility, but haven't figured it yet.

Also, does anyone have experience with the new "Pro" VLZ's?  Mackie's info
says "frequency response is virtually from DC to light".  What I really
would like is a top end around microwave, but heck....

David Myers


From Loopers-Delight-request@annihilist.com  Sat Jun 26 11:35:03 1999
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From: SoundFNR@aol.com
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Date: Sat, 26 Jun 1999 11:27:30 EDT
Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
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In a message dated 24/06/99 20:10:17 GMT Daylight Time, KB305@aol.com writes:

> At one point during the last soundscape of the evening ALL of my equipment 
>  shut off with a big thud..then three seconds later came back on and just 
>  continued going (which is impossible, I should have lost the loop)

3 seconds is exactly the time it takes someone to  pull out the power plug
for you amplifier, realise their mistake, and put it back again.
...........................Coincdence???!

Andy butler 

From Loopers-Delight-request@annihilist.com  Sat Jun 26 11:46:19 1999
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From: SoundFNR@aol.com
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Date: Sat, 26 Jun 1999 11:27:31 EDT
Subject: Vortex psuedo-wah
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heres a copy of a recent correspondance
thought I ought to share


>        I received your e mail address from Todd Madson. I am trying to find 
> a        wah-wah program for my Lexicon Vortex using a cc pedal. Any  
> information              would be very much appreciated.  
> 										
										
		THANX !								
										
      JESSE C. STRACK

I'll look into that, there's no way to get the exact Wah-Wah effect from the 
vortex
but I do have the following "autowah" patch

Sweep A
Mix					64
Output				64
modFX LVL			64
Echo FX LVL		1
morph				any
env					36
		
Rate1				2>>>>1	   *
Depth1				37
res1				50
rate2				any
depth2				1
res2				50

* you have to start the patch with Rate1 set to 2, then listen to the output
which will change in terms of  "Wah depth" as rate 2 cycles .
Change Rate1 to 1 when you get the sound you want. (set for max effect)

Once you've got this set up I reckon you could assign  the pedal to 
Depth1 and change env to 1. Let me know how you get on.

Andy Butler
Lexicon Vortex Database (new section on undocumented features)
http://members.aol.com/soundfnr/vortex.htm

 

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Date: Sat, 26 Jun 1999 12:15:23 -0400
To: Loopers-Delight@annihilist.com
From: Tom Ritchford <tom@swirly.com>
Subject: Re: Mackie experts
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David Myers wrote:
[Mackie 1202VLZ]
>Any way to make use of the
>alt 3/4 bus?  I'm looking at the block diagram here, and there's obviously
>loads of flexibility, but haven't figured it yet.

The 3/4 bus in the 1202 and one of the 16xx units is seductive but
I rarely do end up using it.  As you've probably read, the idea is that
any channels that are muted actually are fed into the special alt 3/4 "bus"
(which is really just an extra pair of outputs).

You can use this as an extra pair of sends but there are two problems.

The first is that you have to mute a channel to send it.  That means if
you want to hear ANY of the dry signal, it has to come from the effects
unit, which means monkeying with the wet/dry balance on the unit if it has
one.  This means, for example, that you can't EQ just the effect on a
channel.

The second is more insidious... your friendly Mute switch no longer means
"silence this channel" but "send it at full volume to my effects unit".

The potential for rather dramatic errors is obvious I think, particularly
if other people may adjust your board at some point.


Sends are comparatively expensive to add, necessitating at least one
extra component per channel as well as the circuitry for the send,
and are also consumptive of board space (same argument).

but what I wouldn't give for a 16-track, 6 send mixer that I could
carry around.


["Pro" VLZ's?]

Hadn't heard of these.

>Mackie's info says "frequency response is virtually from DC to light".

+/-0.1db from 20Hz to 100KHz is very impressive, Neve quality.

>What I really
>would like is a top end around microwave, but heck....

Give it up, I've been told that air has a maximum transmission frequency that's
less than a gigahertz.  (though I couldn't find a single reference to back
this up.)

	/t

From Loopers-Delight-request@annihilist.com  Sat Jun 26 14:22:00 1999
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Subject: Re: Mackie experts
From: "Christopher White" <magicicada@mindspring.com>
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i own a 1604 vlz pro and it "tis da bomb"...this is my setup in action i
have a SP808 which i am selling and resorting to minidisk recorders that are
feed thru a bunch of delays as well as my q2 and MPX 1 from lexi which has
some nice programmable features on it... i will be editing and arranging
songs on my new MOTU 2408. ANyone know of some nice loop editors for a MAC
let me know...please
----------
>From: David Myers <dmgraph@pulsewidth.com>
>To: Loopers-Delight@annihilist.com
>Subject: Mackie experts
>Date: Sat, Jun 26, 1999, 11:53 AM
>

>I am planning out a new feedback/looping setup and need a cheap but high
>quality small mixer.  Ideally it should have four postfader aux sends for
>the various loopers' paths; that's the rub.  And I'm tired of building
>electronics to attain what might be had commercially, so that's out.
>
>The Mackie 1202VLZ is in many ways just perfect--if it only had a send or
>two more!  I'm aware that the insert jacks on channels 1-4 can serve as a
>sort of send, but that's not exactly the best solution.  Are there any
>Mackie experts here who can give me some tips?  Any way to make use of the
>alt 3/4 bus?  I'm looking at the block diagram here, and there's obviously
>loads of flexibility, but haven't figured it yet.
>
>Also, does anyone have experience with the new "Pro" VLZ's?  Mackie's info
>says "frequency response is virtually from DC to light".  What I really
>would like is a top end around microwave, but heck....
>
>David Myers
>
>

From Loopers-Delight-request@annihilist.com  Sat Jun 26 16:53:53 1999
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From: Tim Nelson <tcn62@ici.net>
Subject: Re: Mackie experts
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I'm in the same boat as David Meyers; I want to upgrade to a more flexible
and less noisy board and am looking for something affordable, 10 to 16
channels with a lot of sends so I can assign different amounts of each
channel's signal to various looping devices. Anyone found a mixer which is
particularly suited to a looper's needs?

Tim


From Loopers-Delight-request@annihilist.com  Sat Jun 26 18:09:47 1999
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From: "Future Perfect" <artmusic@gte.net>
To: <Loopers-Delight@annihilist.com>
Subject: RE: Mackie experts
Date: Sat, 26 Jun 1999 17:39:59 -0400
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I do use a Mackie 1202VLZ in my looping rig (which, hint hint, you can read
about the setup at my page), but I loop with the Plex and the 2 seconds of
delay on my guitar preamp only. I use the Alt 3/4 to send the guitar, guitar
synth, and Plex sounds to a single channel, so i can control the overall
volume and mix my sounds better with my vocalist. For my setup, the Mackie
rocks- its small, quiet, and I can use it home for PC recording.

Dave Eichenberger- guitars.loops.devices
http://home1.gte.net/artmusic/dave
 
'Future Perfect' - art music
http://home1.gte.net/artmusic/

From Loopers-Delight-request@annihilist.com  Sat Jun 26 18:29:41 1999
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Date: Mon, 26 Jul 1999 17:13:57 -0500
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David Myers wrote:
> 
> I am planning out a new feedback/looping setup and need a cheap but high
> quality small mixer.  Ideally it should have four postfader aux sends for
> the various loopers' paths; that's the rub.  And I'm tired of building
> electronics to attain what might be had commercially, so that's out.
> 
> The Mackie 1202VLZ is in many ways just perfect--if it only had a send or
> two more!  I'm aware that the insert jacks on channels 1-4 can serve as a
> sort of send, but that's not exactly the best solution.  Are there any
> Mackie experts here who can give me some tips?  Any way to make use of the
> alt 3/4 bus?  I'm looking at the block diagram here, and there's obviously
> loads of flexibility, but haven't figured it yet.
> 
> Also, does anyone have experience with the new "Pro" VLZ's?  Mackie's info
> says "frequency response is virtually from DC to light".  What I really
> would like is a top end around microwave, but heck....
> 
> David Myers

  The 16 channel Alesis console, the 1602, I think, is a good mixer and
has 6 aux sends. I used one in a band a few years ago. While I believe
the Mackie gear sounds better, this is an inexpensive choice if you need
many auxes.

-- 
Motley

From Loopers-Delight-request@annihilist.com  Sat Jun 26 23:01:05 1999
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Date: Sat, 26 Jun 1999 22:34:57 -0500
To: Loopers-Delight@annihilist.com
From: David Myers <dmgraph@pulsewidth.com>
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For the general assistance of all (perhaps), I will set forth the
envisioned solution to my admittedly particular difficulty.  Don't I wish
that there were the usual sends available in greater quantity on the 1202
VLZ, but....  I see that if I have loop device one's output coming in on
channel two (for example), and loop device two on channel three, I can
Y-cord the inputs of these channels to channels 5/6 and 7/8 respectively,
then select "alt 3/4 bus" for those channels, and create a "send" (two,
actually, with hard-panning 5/6 left and 7/8 right) for the two and three
channels alone.  The advantage over using the insert points being that at
least I have pot control over the sends' output--as well as EQ on what is
sent.  Of course "mute" on any channel is lost, but some crazy goodness
might be had by thus momentarily sending a channel over 3/4 to whatever
awaits....

Thanks to all for the responses.

David Myers


From Loopers-Delight-request@annihilist.com  Sat Jun 26 23:13:10 1999
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Date: Sat, 26 Jun 1999 21:34:42 -0500
From: Micah <micah@iamerica.net>
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> talked to a guy from tc last monday and asked him about the 2290. he told
> me that this unit is still produced, BUT you can't get the upgrade chip you
> need for longer looping & delay times (this chip is pretty old and not
> produced anymore - for years now!)

I would not expect the 2290 to last much longer.  TC can no longer provide
memory expansion because they no longer have a supplier for the necessary
ribbon connector that is used to hook up the upgrade chips.  This ribbon cable
came from somewhere in the far east, and the company that produced it has been
out of business for a while.  So any 2290 you pick up today will never have
more than 4 seconds of sampling (well...8 seconds if you put the unit into
"double sampling" time, but the audio will be degraded a little).  They have
also discontinued both of their footcontrol units for the 2290.  This makes the
2290 nearly useless as a live performance looping device.  This also means you
can only access the 2290's 5 fx loops via many front panel button presses.
After all this, when you consider the fact that the 2290 is still an incredibly
expensive device, I don't see how it's gonna stick around much longer.  If TC
would considerably drop the price, it might still be a viable unit for the
present and future.  But as it stands you can spend less money on other units
that will actually give you more combined options than the 2290.  In its
defense it is still is a great sounding delay though.

Micah

From Loopers-Delight-request@annihilist.com  Sun Jun 27 02:54:24 1999
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From: Hawkeye255@aol.com
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You might also want to take a look at Spirit's line of small mixers as well.  
Aaaaand I saw a used Tascam 8-track, four buss mixer the other day with four 
aux's at a music-go-round for $299 (originally $2500).  I don't remember the 
model number...

Btw: a mixer 'played' as an instrument hasn't been discussed much on this 
list in recent memory but my mixer is definitely used as if it were one.  In 
fact, I couldn't accomplish 80% of what I do do without 'playing it' 
constantly during a set.  (I can't wait to get my hands on a digital mixer 
that is midi controlled.  (lust ...lust)...."desire is the root of all 
suffering"...and I guess I choose to suffer.)  ;-)

	Bill       

From Loopers-Delight-request@annihilist.com  Sun Jun 27 03:35:04 1999
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My mixer is a Spirit Folio SX by Soundcraft (100mm faders), 12 individual 
inputs + 4 stereo pairs, 3 aux's and it's light weight and has a good solid 
handle for carrying around.  I got rid of my Mackie 1604VLZ to buy this.  
I've never used anything cleaner in this price range. Made in the UK.

	Bill

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-------- Original Message --------
Subject: Bucketheadland Announcements, 6/26/99
Date: Sat, 26 Jun 1999 23:48:42 -0700
From: Psycho Buddy <shredder@bucketheadland.com>
To: bingebuddies@bucketheadland.com

Fellow Bingebuddies:

It's been a long time since we've sent out news from the coop.

Lots of exciting things have happened, and there are many more to come.



First off, for those of you with your heads in the sand, Buckethead is 
touring with Primus on the OZZFEST tour this summer.  There are still a
lot of dates and locations.  Check them out at:

http://www.bucketheadland.com/attractions.html

There are also some non-OZZFEST dates listed.



Second, there are a few new albums available, and some coming soon.

Travis Dickerson Recording Studios has two Viggo Mortensen albums on 
which Buckethead plays.  (These are not for the feint of heart!).  TDRS
will 
also have the new Death Cube K album when it's available.  Check out:

http://www.tdrsmusic.com/

for more info.



Third, Cyberoctave will be releasing Buckethead's new album, Monsters
and 
Robots, on Sept. 21st.   I'm working on getting some sound clips up. 
You can 
currently get more info at:

http://www.cyberoctave.com

There will be a page for the album on Bucketheadland as soon as
possible.
[This one's gonna be killer!]



Also, there's some new batch at the toystore.  

Two new Binge videos (6 and 7) are available.  These are more
performance 
oriented than the others, and have some pretty cool stuff on them.

We've finally got copies of "13th Scroll" (Cobra Strike)  available as
well.

Buckethead's toystore can be found at:

http://www.bucketheadland.com/toystore



And the Bucketboard is now a thriving community.  Correspond with other
fans, get info 
about concerts, albums and other stuff at:

http://www.bucketheadland.com/bucketboard
[Thanks for the art, hostbot!]


Shredder

p.s. Remeber to check out the toystore for cool Buckethead merchandise!

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Hi Leo,
Firstly - get .82 asap it remembers all VST parameters and the latency
is less than on .81, (about 69 ms on my system- which I can deal with).
It's also much more stable though I didn't find the previous version too
bad.
I will be doing a live gig with it next Wednesday. I use a Zoom 8080
acts as a midi controller mainly to switch things on and off such as
samplers and delays. I often use a pedal to control filter cutoff on my
North Pole plugin which is excellent. I don't have any one way of
working overall. I suppose that's the beauty of having such a flexible
system. I use the ring mod, granular synthesis, North pole, pithch
shifting and Xverb reverb a lot. The latter is able to produce an
infinite reverb which is an effect I've been looking for ever since I
heard it on an old AMS unit. One of my favourite tricks is to insert a
signal modifier into a dealy path try it with ring mod it adds more
enharmonic components to the sound on each pass.
I do have multiple midi in's on my P200 but I only use one for AM. I'd
be into exchanging AM patches too. I don't quite know what you mean by 

> am I wrong saying that v.082b doesn't support more VST plugins? I couldn't
> find them....

.82 can run as many plugins as you like, (provided your processor
doesn't overload

Ciao,
Gareth

> tell us more about your setup!!!!
> 
> have you multiple Midi Ins in your computer?
> 
> how do you use Audiomulch?
> 
> why don't we all Audiomulch users exchange patches?
> 
> I've build a tri-Minisampler patch ideal for looping and making noises (for
> Audiomulch 081b, not 082)
> The stereo Sound In signal is divided and send to 2 different mini samplers,
> with indipentent MIDI controlled Function (stop, play, rec), sense
> (direct/reverse/bi) and speed. Doing so I can record in a sampler while the
> other is playing half speed reverse... or either samplers playing while I
> change one playback direction, pitch, etc...
> the mix of the 2 samplers goes to a 3rd mini-sampler, usually set in Stop
> mode (bypass) but ready to switch to Rec to capture and process the noises
> from the other 2 samplers. this is the basic setup... but you can add others
> FX to each path to vary the results...
> really great prog for sound designing... IMO still not affidable for live
> playing... too much crashes...
> 
> how much latency do you get with your sound card?

> 
> ciao
> leo

From Loopers-Delight-request@annihilist.com  Sun Jun 27 14:42:38 1999
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Reply-To: "Stephen P. Goodman" <sgoodman@earthlight.net>
From: "Stephen P. Goodman" <sgoodman@earthlight.net>
To: "EarthLight Newsletter" <newsletter@earthlight.net>
Subject: Return of Me, AND The LOTW
Date: Sun, 27 Jun 1999 11:12:19 -0700
Organization: EarthLight Productions
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Greetings, All!

I've just returned from two needed weeks of vacation in the UK and =
Scotland, full of renewed energy, new material and lots of plans for it. =
 Also, tons of photographs and diary-esque entries which I will be =
posting online within the week.

In the meantime a new Loop Of The Week is posted in the Studios page for =
your downloading and enjoyment.  It hopefully reflects the state of mind =
one has when one sees the removal of barriers real and imagined, to say =
nothing of the sheer pleasure of the trip.  And of course, the company =
kept there. :)

See you soon!  Or vice versa...

Stephen Goodman * It's the Loop of the Week!
EarthLight Productions * http://www.earthlight.net/Studios.html

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<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-8859-1" =
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href=3D"file://C:\Program Files\Common Files\Microsoft =
Shared\Stationery\">
<STYLE>BODY {
	BACKGROUND-POSITION: left top; BACKGROUND-REPEAT: repeat-y; COLOR: =
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<BODY background=3Dcid:003201bec0c8$98774ca0$4f32dacf@sgoodman =
bgColor=3D#ffffff>
<DIV>Greetings, All!</DIV>
<DIV>&nbsp;</DIV>
<DIV>I've just returned from two needed weeks of vacation in the UK and=20
Scotland, full of renewed energy, new material and lots of plans for =
it.&nbsp;=20
Also, tons of photographs and diary-esque entries which I will be =
posting online=20
within the week.</DIV>
<DIV>&nbsp;</DIV>
<DIV>In the meantime a new Loop Of The Week is posted in the Studios =
page for=20
your downloading and enjoyment.&nbsp; It hopefully reflects the state of =
mind=20
one has when one sees the removal of barriers real and imagined, to say =
nothing=20
of the sheer pleasure of the trip.&nbsp; And of course, the company kept =
there.=20
:)</DIV>
<DIV>&nbsp;</DIV>
<DIV>See you soon!&nbsp; Or vice versa...</DIV>
<DIV>&nbsp;</DIV>
<DIV>Stephen Goodman * It's the Loop of the Week!<BR>EarthLight =
Productions * <A=20
href=3D"http://www.earthlight.net/Studios.html">http://www.earthlight.net=
/Studios.html</A></DIV></BODY></HTML>

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BEGIN:VCARD
VERSION:2.1
N:Goodman;Stephen P.
FN:Stephen P. Goodman
ORG:EarthLight Productions
TEL;HOME;VOICE:626-458-7760
TEL;CELL;VOICE:626-521-1528
ADR;HOME;ENCODING=3DQUOTED-PRINTABLE:;;743 Sierra Vista =
Avenue=3D0D=3D0A#N;Alhambra;CA;91801-4528;USA
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URL:
URL:http://www.earthlight.net
EMAIL;PREF;INTERNET:sgoodman@earthlight.net
REV:19990627T181219Z
END:VCARD

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From Loopers-Delight-request@annihilist.com  Sun Jun 27 17:02:29 1999
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From: "Jean or Colin Jenkinson" <jeancolin@earthlink.net>
To: <Loopers-Delight@annihilist.com>
Subject: Fw: Sound Scaping Stick
Date: Sun, 27 Jun 1999 13:53:26 -0700
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Howdy
=20
I will be performing a solo soundscaping set at Common Grounds  Thursday =
night  the 22nd of July10-12pm. Admission is FREE. =20
=20
Common Grounds (818) 882-3666
9250 Reseda blvd Northridge CA USA
(corner of Reseda and Prairie)
=20
Colin Jenkinson | nosnikneJ niloC

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
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<HEAD>

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http-equiv=3DContent-Type><!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 =
HTML//EN">
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<DIV><FONT face=3DArial size=3D2><BR>&nbsp;</DIV></FONT>
<DIV><FONT color=3D#000000 size=3D2>Howdy</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>I will be performing a solo soundscaping set at =
Common=20
Grounds&nbsp; Thursday night&nbsp; the 22nd of July10-12pm. Admission is =

FREE.&nbsp; </FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Common Grounds (818) 882-3666</FONT></DIV>
<DIV><FONT size=3D2>9250 Reseda blvd Northridge CA USA</FONT></DIV>
<DIV><FONT size=3D2>(corner of Reseda and Prairie)</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Colin Jenkinson | nosnikneJ =
niloC</FONT></DIV></BODY></HTML>

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From Loopers-Delight-request@annihilist.com  Mon Jun 28 06:17:40 1999
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Date: Mon, 28 Jun 1999 11:58:55 +0200
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Hi Gareth

latency is about 30 ms on my MOTU2408... pretty good I think...

At 10.23 27/06/99 +0100, you wrote:
>Hi Leo,
>Firstly - get .82 asap it remembers all VST parameters and the latency
>is less than on .81, (about 69 ms on my system- which I can deal with).
>It's also much more stable though I didn't find the previous version too
>bad.

yes, you're right... I did'nt use 0.82b cause I thought there was no VST
support (strange...) but the problem was just no plugins were in the right
folder... 


>I will be doing a live gig with it next Wednesday. 

how do you use it for live playing? which instruments going in Audiomulch?
Are you using a laptop? which model and soundcard?
tell us more about your live set... and if Audiomulch is stable enough for
stage playing! 


I use a Zoom 8080
>acts as a midi controller mainly to switch things on and off such as
>samplers and delays. I often use a pedal to control filter cutoff on my
>North Pole plugin which is excellent. I don't have any one way of
>working overall. I suppose that's the beauty of having such a flexible
>system. I use the ring mod, granular synthesis, North pole, pithch
>shifting and Xverb reverb a lot. The latter is able to produce an
>infinite reverb which is an effect I've been looking for ever since I
>heard it on an old AMS unit. 

Xverb? can you say more about this plug ins? where did you find it?

I use my new Yamaha RM1x (hardware sequencer with 16 assignable knobs) as
MIDI controller.
The knobs switch sampler functions, speed and direction. In my last
Audiomulch setup I'm using up to 4 minisamplers at the time, in various
serial/parallel configurations. Initially I've used the Northpole but now
I've added the Waldorf plug in as main filter thing. the filter is better
IMO (no distortion even at higher settings). 

One of my favourite tricks is to insert a
>signal modifier into a dealy path try it with ring mod it adds more
>enharmonic components to the sound on each pass.
>I do have multiple midi in's on my P200 but I only use one for AM. I'd
>be into exchanging AM patches too. I don't quite know what you mean by 
>
>> am I wrong saying that v.082b doesn't support more VST plugins? I couldn't
>> find them....
>
>.82 can run as many plugins as you like, (provided your processor
>doesn't overload

PII350.... ;)

ciao
leo

PS if you wanna trade patches e-mail me privately


>
>Ciao,
>Gareth
>
>> tell us more about your setup!!!!
>> 
>> have you multiple Midi Ins in your computer?
>> 
>> how do you use Audiomulch?
>> 
>> why don't we all Audiomulch users exchange patches?
>> 
>> I've build a tri-Minisampler patch ideal for looping and making noises (for
>> Audiomulch 081b, not 082)
>> The stereo Sound In signal is divided and send to 2 different mini samplers,
>> with indipentent MIDI controlled Function (stop, play, rec), sense
>> (direct/reverse/bi) and speed. Doing so I can record in a sampler while the
>> other is playing half speed reverse... or either samplers playing while I
>> change one playback direction, pitch, etc...
>> the mix of the 2 samplers goes to a 3rd mini-sampler, usually set in Stop
>> mode (bypass) but ready to switch to Rec to capture and process the noises
>> from the other 2 samplers. this is the basic setup... but you can add others
>> FX to each path to vary the results...
>> really great prog for sound designing... IMO still not affidable for live
>> playing... too much crashes...
>> 
>> how much latency do you get with your sound card?
>
>> 
>> ciao
>> leo
>
>
>

From Loopers-Delight-request@annihilist.com  Mon Jun 28 10:41:04 1999
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From: "Dennis W. Leas" <dennis@mdbs.com>
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Subject: Re: Mackie experts
Date: Mon, 28 Jun 1999 09:23:24 -0500
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Great website, Dave!  I really enjoyed it!

Dennis Leas
-----------------------------
dennis@mdbs.com

-----Original Message-----
From: Future Perfect <artmusic@gte.net>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Saturday, June 26, 1999 5:10 PM
Subject: RE: Mackie experts


I do use a Mackie 1202VLZ in my looping rig (which, hint hint, you can read
about the setup at my page), but I loop with the Plex and the 2 seconds of
delay on my guitar preamp only. I use the Alt 3/4 to send the guitar, guitar
synth, and Plex sounds to a single channel, so i can control the overall
volume and mix my sounds better with my vocalist. For my setup, the Mackie
rocks- its small, quiet, and I can use it home for PC recording.

Dave Eichenberger- guitars.loops.devices
http://home1.gte.net/artmusic/dave

'Future Perfect' - art music
http://home1.gte.net/artmusic/



From Loopers-Delight-request@annihilist.com  Mon Jun 28 12:00:12 1999
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From: ld thomson <heatshrink@hotmail.com>
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Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
Date: Mon, 28 Jun 1999 08:48:32 PDT
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>
>3 seconds is exactly the time it takes someone to  pull out the power plug
>for you amplifier, realise their mistake, and put it back again.
>............................Coincdence???!
>
>Andy butler
>

Pulling the plug on my amp is impossible since my amp was beside me and 
plugged in behind me.  Cutting the power to my amp would not turn of my GR 
300, my Dimension 12, my GP8, my DIGITEC 2 second delay, and the SE-70.  If 
a breaker or fuse had been thrown it would have effected the lights  in the 
Cafe, the fan etc.  I am not some new age dreamer. I do not watch the 
x-files.  And I know what my gear can and can not do.  You can not shut it 
ALL off and then turn it all back on
and not lose the loop.  This is why I'm bothered by what happened.
No coincdence Andy.  I was there, and I've tried to duplicate it by killing 
my powerbar mid-loop.  the result.  I lost everything and the
effects units reset themselves.  They didn't return to the patch they were 
on before they were shut off.


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

From Loopers-Delight-request@annihilist.com  Mon Jun 28 13:06:36 1999
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Date: Mon, 28 Jun 1999 12:45:23 -0400
To: Loopers-Delight@annihilist.com
From: Tom Ritchford <tom@swirly.com>
Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
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>This is why I'm bothered by what happened.
>No coincdence Andy.  I was there, and I've tried to duplicate it by killing
>my powerbar mid-loop.  the result.  I lost everything and the
>effects units reset themselves.  They didn't return to the patch they were
>on before they were shut off.

if it was a voltage drop rather than an outage, your memory might have
kept its state even though the amplifier couldn't amplify and the display
couldn't display.

suppose eg someone had turned a heavy air-conditioner on the line, realized
their mistake, and turned it off again (3 seconds).


or it coulda bin one a' them new-fangled geomagnetic abnormalities.

	/t

From Loopers-Delight-request@annihilist.com  Mon Jun 28 13:18:38 1999
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Date: Mon, 28 Jun 1999 11:57:56 -0500
Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
From: "Travis Hartnett" <hartne.t@apple.com>
To: Loopers-Delight@annihilist.com
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We perceive our perceptions.
Why obsess over this?  
Maybe it happened, maybe it didn't.  Maybe it lasted a while, maybe it was
really quick.  Time is funny when you're on stage.

Travis Hartnett

----------
>From: Tom Ritchford <tom@swirly.com>
>To: Loopers-Delight@annihilist.com
>Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
>Date: Mon, Jun 28, 1999, 11:45 AM
>

>>This is why I'm bothered by what happened.
>>No coincdence Andy.  I was there, and I've tried to duplicate it by killing
>>my powerbar mid-loop.  the result.  I lost everything and the
>>effects units reset themselves.  They didn't return to the patch they were
>>on before they were shut off.

From Loopers-Delight-request@annihilist.com  Mon Jun 28 13:21:12 1999
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Date: Mon, 28 Jun 1999 10:02:10 -0700
From: lance glover <baumhaus@earthlink.net>
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andy butler wrote:

> Also Microsoft are bringing out their own version of mp3...

>
> Hope they won't be charging for the software though.

are we talking about the same microsoft here?

:-)

lance g.

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Colin wrote:

> Howdy I will be performing a solo soundscaping set at Common Grounds
> Thursday night  the 22nd of July10-12pm. Admission is FREE. Common
> Grounds (818) 882-36669250 Reseda blvd Northridge CA USA(corner of
> Reseda and Prairie) Colin Jenkinson | nosnikneJ niloC

rats! i'm out of town that week. put me on your mailing list, tho...

lance g.

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Colin wrote:
<blockquote TYPE=CITE><font color="#000000"><font size=-1>Howdy</font></font>&nbsp;<font size=-1>I
will be performing a solo soundscaping set at Common Grounds&nbsp; Thursday
night&nbsp; the 22nd of July10-12pm. Admission is FREE.</font>&nbsp;<font size=-1>Common
Grounds (818) 882-3666</font><font size=-1>9250 Reseda blvd Northridge
CA USA</font><font size=-1>(corner of Reseda and Prairie)</font>&nbsp;<font size=-1>Colin
Jenkinson | nosnikneJ niloC</font></blockquote>

<p><br>rats! i'm out of town that week. put me on your mailing list, tho...
<p>lance g.
</body>
</html>

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From: "K. Douglas Baldwin" <dbaldwin@suffolk.lib.ny.us>
To: <Loopers-Delight@annihilist.com>, <Loopers-Delight-d@annihilist.com>
Subject: Akai Headrush review
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-This is way behind the curve, but I thought you'd all like to know that the
Akai Headrush (and other Akai pedals) will finally be reviewed in "Guitar"
magazine (the U.S. publication formerly known as "Guitar for the Practicing
Musician") by yours truly. There were so many postings about a month ago
(which I have kept for reference) that I'm sure more was covered then than
can fit in a relatively short magazine review. But rest assured it (and the
other pedals, which look very interesting, with lots of "expression"
options) will be put through it's paces by a dedicated loophead.
    Any updates on use, problems to look for, etc. will be appreciated.

From Loopers-Delight-request@annihilist.com  Mon Jun 28 14:48:00 1999
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From: "Jean or Colin Jenkinson" <jeancolin@earthlink.net>
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Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
Date: Mon, 28 Jun 1999 11:13:52 -0700
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Power Dip or Surge?

Colin Jenkinson | nosnikneJ niloC
-----Original Message-----
From: ld thomson <heatshrink@hotmail.com>
To: Loopers-Delight@annihilist.com <Loopers-Delight@annihilist.com>
Date: Monday, June 28, 1999 9:05 AM
Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE


>
>
>>
>>3 seconds is exactly the time it takes someone to  pull out the power plug
>>for you amplifier, realise their mistake, and put it back again.
>>............................Coincdence???!
>>
>>Andy butler
>>
>
>Pulling the plug on my amp is impossible since my amp was beside me and
>plugged in behind me.  Cutting the power to my amp would not turn of my GR
>300, my Dimension 12, my GP8, my DIGITEC 2 second delay, and the SE-70.  If
>a breaker or fuse had been thrown it would have effected the lights  in the
>Cafe, the fan etc.  I am not some new age dreamer. I do not watch the
>x-files.  And I know what my gear can and can not do.  You can not shut it
>ALL off and then turn it all back on
>and not lose the loop.  This is why I'm bothered by what happened.
>No coincdence Andy.  I was there, and I've tried to duplicate it by killing
>my powerbar mid-loop.  the result.  I lost everything and the
>effects units reset themselves.  They didn't return to the patch they were
>on before they were shut off.
>
>
>______________________________________________________
>Get Your Private, Free Email at http://www.hotmail.com
>
>

From Loopers-Delight-request@annihilist.com  Mon Jun 28 16:31:04 1999
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From: PJBMHB@aol.com
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Date: Mon, 28 Jun 1999 16:21:36 EDT
Subject: Re: Mackie experts
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i second that. totally interesting website. useful even. good job dave! =-) PJ

From Loopers-Delight-request@annihilist.com  Mon Jun 28 16:59:16 1999
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From Loopers-Delight-request@annihilist.com  Mon Jun 28 16:47:19 1999
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From: SoundFNR@aol.com
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Date: Mon, 28 Jun 1999 16:39:45 EDT
Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
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In a message dated 28/06/99 19:48:09 GMT Daylight Time, 
jeancolin@earthlink.net writes:

>  Cutting the power to my amp would not turn of my GR
>  >300, my Dimension 12, my GP8, my DIGITEC 2 second delay,
 
Hence the power to your amp could be cut off (=no sound)without losing the 
loop.

That's why I think your experience probably has a rational and mundane 
explanation.

...................but
Like you , I prefer the more interesting and inspiring version.
I apologise for trying to make humour at your expense

Andy Butler


  

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From: jordanpease@webtv.net (Jordan Pease)
Date: Mon, 28 Jun 1999 13:59:37 -0700 (PDT)
To: Loopers-Delight@annihilist.com
Subject: Roland SP-808
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Does anybody use the Roland SP-88 Groove Sampler for looping ?

Does it emulate the Lexicon Jamman ?

What about the Roland MC-303 or MC-505 ?

Thanks. Jordan Pease

From Loopers-Delight-request@annihilist.com  Mon Jun 28 17:25:44 1999
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From: David Kirkdorffer <DKirkdorffer@exapps.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>,
        "'Loopers-Delight-d-request@annihilist.com'"
	 <Loopers-Delight-d-request@annihilist.com>
Subject: EDP Buy - The Numbers so far...
Date: Mon, 28 Jun 1999 17:15:40 -0400
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For those with an interest, so far I have collected the following
submissions to the EDP-Buy list

A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP IF I CAN FIND ONE" ORDER FORM 
USA & CANADA	- 19
EUROPE		- 5
TOTAL		- 24
B. "ONLY 99% OR LESS COMMITED" ORDER FORM

USA & CANADA	- 8 
EUROPE		- 1

TOTAL			- 9



Grand Total		33


My goal is 50. We have a way to go yet.

Here are the details agin....


	I cannot think of a better way to stimulate GIBSON into Echoplex
Digital Pro (EDP) production than a long list of profitable orders waiting
to be fulfilled!
	With that in mind, I'm starting a list of people who really want to
buy a NEW EDP. This list will be submitted to whoever picks up the
production of the EDP at Gibson.
	Clearly we can't KNOW the price of the unit at this time, so please
assume it will be in the same $600-$700 range as before. Hopefully we will
be able to negotiate ourselves a good price and have priority on new units.
However, I will NOT be accepting any money. I will not be a middleman. 
	BUT, I WILL make sure this list is in the hands of people who can
get the EDP produced again!
	I am providing two forms (below): 
	A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP 
	IF I CAN FIND ONE" ORDER FORM 
			B. "ONLY 99% OR LESS COMMITED" ORDER FORM
		If you are ABSOLUTELY COMMITED and seriously want to buy an
EDP, then use FORM A.
		If you're on the fence or uncommitted to paying $600-$700
for an NEW EDP, then use FORM B. 
		Please paste the appropriate form text into an email
message, fill it out, and email it to me at DKirkdorffer@exapps.com
<mailto:DKirkdorffer@exapps.com>. Please use the exact text below, so I can
keep everything organized.
		Thanks!
		David Kirkdorffer


FORM A
A. "ABSOLUTELY 100% COMMITED TO BUY AN EDP IF I CAN FIND ONE" ORDER FORM

Please provide the following details in the following format:

A. NAME:
A. MAILING ADDRESS:
A. DAY PHONE:
A. NIGHT PHONE:
A. E-MAIL:
A. NUMBER OF EDP'S YOU WANT TO ORDER:
A. DATE YOU SUBMIT YOUR REQUEST TO GROUP BUY II:

A. HOW MANY EDP'S DO YOU ALREADY OWN?

A. DO YOU ALREADY OWN ANOTHER "LOOPER"?

A. WHAT INSTRUMENT(S) DO YOU PLAY?


FORM B
B. "ONLY 99% OR LESS COMMITED" ORDER FORM

Please provide the following details in the following format:

B. NAME:
B. MAILING ADDRESS:
B. DAY PHONE:
B. NIGHT PHONE:
B. E-MAIL:
B. NUMBER OF EDP'S YOU WANT TO ORDER:
B. DATE YOU SUBMIT YOUR REQUEST TO GROUP BUY II:

B. HOW MANY EDP'S DO YOU ALREADY OWN?

B. DO YOU ALREADY OWN ANOTHER "LOOPER"?

B. WHAT INSTRUMENT(S) DO YOU PLAY?




From Loopers-Delight-request@annihilist.com  Mon Jun 28 21:59:27 1999
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Date: Mon, 28 Jun 1999 18:28:23 -0700 (PDT)
From: "Rev. Doubt-Goat" <dgoat@rocketmail.com>
Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
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93

---ld thomson <heatshrink@hotmail.com> wrote:
 You can not shut it 
> ALL off and then turn it all back on
> and not lose the loop.  This is why I'm bothered by
what happened.
> No coincdence Andy.  I was there, and I've tried to
duplicate it by killing 
> my powerbar mid-loop.  the result.  I lost
everything and the
> effects units reset themselves.  They didn't return
to the patch they were 
> on before they were shut off.

Actually, I've had a power flucuation that dumped all
the lights off on my rack, but did not lose the loop
or settings on the pedals. I can only speculate that
that what was experienced was NOT a "black-out", but
more like a "brown-out".

93
Rev. Doubt-Goat
===
          The Homepages of the Doubt-Goat

               The Darsan Trio
               Sekhet Maat Oasis, O.T.O.
               Lion & Serpent

          http://www.easystreet.com/~twilliam

_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com

From Loopers-Delight-request@annihilist.com  Tue Jun 29 02:32:11 1999
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From: trent1@iinet.net.au
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Subject: Re: Roland SP-808
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>Does anybody use the Roland SP-88 Groove Sampler for looping ?
>
>Does it emulate the Lexicon Jamman ?
>
>What about the Roland MC-303 or MC-505 ?
>
>Thanks. Jordan Pease
>
 Hey Jordan! Not in your life!!! the groove sampler only processes
  loops of a pre-determined time frame, so you can't just dump in a live 
guitar track in as you would somehow have to be perfectly in sinc. with
the time meter.
 Cheers, Trent!!!

From Loopers-Delight-request@annihilist.com  Tue Jun 29 05:34:14 1999
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Date: Tue, 29 Jun 1999 03:29:44 -0400 (EDT)
From: Unit Circle Media <unitcirc@unitcircle.com>
To: Loopers-Delight@annihilist.com
Subject: Re: Mackie experts
In-Reply-To: <l03110700b39aa3742bb6@[38.26.16.16]>
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On Sat, 26 Jun 1999, David Myers wrote:

> The Mackie 1202VLZ is in many ways just perfect--if it only had a send or
> two more!  I'm aware that the insert jacks on channels 1-4 can serve as a
> sort of send, but that's not exactly the best solution.  Are there any
> Mackie experts here who can give me some tips?  Any way to make use of the
> alt 3/4 bus?  I'm looking at the block diagram here, and there's obviously
> loads of flexibility, but haven't figured it yet.
> 
	I do exactly this with my 1202.  I use the 1 and 2 sends and then
use the 3/4 bus to send stereo to another effects processor.  I then run
the output of that processor back into the board, works great.  It means
that you won't be able to mix a dry sound with the wet through the board,
but for what I'm doing that doesn't matter so much.

Kevin


Kevin Goldsmith				kevin@unitcircle.com
Unit Circle Media			http://www.unitcircle.com/


From Loopers-Delight-request@annihilist.com  Tue Jun 29 11:03:13 1999
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Date: Tue, 29 Jun 1999 09:54:58 -0500
Subject: JamMan FS $400
From: "Travis Hartnett" <hartne.t@apple.com>
To: "Looper's Delight" <Loopers-Delight@annihilist.com>
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>From Harmony Central:


Lexicon Jamman

Asking Price: US$400
Condition: Mint
Age: N/A
Description:

       Hi!
       I've got a Jamman for sale.
       8 seconds (not expanded, but you can get the chips almost anywhere).
       In near mint condition.
       Works pefectly.
       Comes with FOOT SWITCH, POWER SUPPLY, BOX, MANUAL, ETC.
       Sorry, no trades.
       Thanks.

Seller: Mr. Reese, .
E-mail: anlar@uaa.alaska.edu (Profile)
Post Date: 6/29/99

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JORDAN -
    i just bought a used sp 808 + i'll keep you posted -peace,
                            paul

Jordan Pease wrote:

> Does anybody use the Roland SP-88 Groove Sampler for looping ?
>
> Does it emulate the Lexicon Jamman ?
>
> What about the Roland MC-303 or MC-505 ?
>
> Thanks. Jordan Pease



From Loopers-Delight-request@annihilist.com  Tue Jun 29 12:34:35 1999
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Date: Tue, 29 Jun 1999 10:15:11 -0400
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From: Michael Tuminello <m1cha3l@earthlink.net>
Subject: EDP and EGB
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Hey -

Just started reading Escher Godel & Bach - The Eternal Golden Braid, a
pulitzer-prize winning book about "strange loops" in art, math and music,
and couldn't help but think it might interest people on the list (David
Hofstadter is the author).  (there's probably a 200-post thread on this
that I missed last month, but...)

MT

PS:  perhaps you should add a "going to buy a boomerang if it really takes
3 months to get an EDP" category to the Buy List II.  I'm leaning that
way...

From Loopers-Delight-request@annihilist.com  Tue Jun 29 13:50:07 1999
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From: "Jonathan El-Bizri" <jbiz@linkexchange.com>
To: <Loopers-Delight@annihilist.com>
Subject: RE: EDP and EGB
Date: Tue, 29 Jun 1999 10:44:49 -0700
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I would be surprised if it takes less than 6.

bIz


-----Original Message-----
From: Michael Tuminello [mailto:m1cha3l@earthlink.net]
Sent: Tuesday, June 29, 1999 7:15 AM
To: Loopers-Delight@annihilist.com
Subject: EDP and EGB


Hey -

Just started reading Escher Godel & Bach - The Eternal Golden Braid, a
pulitzer-prize winning book about "strange loops" in art, math and music,
and couldn't help but think it might interest people on the list (David
Hofstadter is the author).  (there's probably a 200-post thread on this
that I missed last month, but...)

MT

PS:  perhaps you should add a "going to buy a boomerang if it really takes
3 months to get an EDP" category to the Buy List II.  I'm leaning that
way...


From Loopers-Delight-request@annihilist.com  Tue Jun 29 14:10:47 1999
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Date: Tue, 29 Jun 1999 13:16:05 -0500
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From: Mike <eponine@netnet.net>
Subject: belew/headrush
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first off I went to the Belew show in Milwaukee and it lived up to all the
reveiws that it has already produced on the list so no reason to rehash. I
did want to add though that I gave him a copy of vol.2 hey who knows maybe
he'll visit.

second is a question for all the present owners of an akai headrush
The new AMS catalog says that it has a looping mode that features
11.9 seconds of looping and delay times from 10ms to 5.9 seconds
these stat's seem to conflict with what I had initialy heard so I gues I
want to know how much loop time is avalible???

Thanks 
Mike
eponine@netet.net

From Loopers-Delight-request@annihilist.com  Tue Jun 29 14:03:51 1999
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Date: 29 Jun 99 13:56:19 -0400
From: "Jonathan Matis" <matis@freedomhouse.org>
Subject: Maryland or DC area...
To: Loopers Delight <Loopers-Delight@annihilist.com>
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Hello loopers:

I've been off the list for a few years, and now have relocated to the Washington DC area.

When I used to live in Texas, I met up with a collaborator via this list and we did some good work.

Are there any loopers in the DC area looking to collaborate in a live performance improv type group?

Please reply to me, not the list.

Thanks,
Jon Matis
email me at:
matis@freedomhouse.org  or
j_matis@yahoo.com

From Loopers-Delight-request@annihilist.com  Tue Jun 29 15:54:41 1999
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Date: Tue, 29 Jun 1999 20:40:06 +0100
To: Loopers-Delight@annihilist.com
From: Lee Fletcher <lee@waterleat.demon.co.uk>
Subject: Another 'Headrush' Review
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For those who may be interested.

The latest (August) issue of UK magazine 'Guitarist' features a two page
review of Akai's new pedal range. The Headrush scores well (4.5 out of
5) in general terms (build, sound quality, etc.) No mention is made of
any audible 'click' when using the loop recorder, however I seriously
doubt that the Reviewer checked this function out properly, seeing it as
little more than a gimmick! I quote from the article:-

"Whether a guitarist would have the courage to use the Loop function
live is open to debate... I can't see that it would have much use for
replaying vast passages, but for sound effects and the like it could be
perfect."  !!!

Although the Headrush is finally getting some exposure in the UK press,
there are still no units available for purchase! I have one on back
order with my local store and will post any useful info' to the list
when it turns up.

Lee Fletcher

K. Douglas Baldwin wrote:-

>-This is way behind the curve, but I thought you'd all like to know that the
>Akai Headrush (and other Akai pedals) will finally be reviewed in "Guitar"
>magazine (the U.S. publication formerly known as "Guitar for the Practicing
>Musician") by yours truly. There were so many postings about a month ago
>(which I have kept for reference) that I'm sure more was covered then than
>can fit in a relatively short magazine review. But rest assured it (and the
>other pedals, which look very interesting, with lots of "expression"
>options) will be put through it's paces by a dedicated loophead.
>    Any updates on use, problems to look for, etc. will be appreciated.

From Loopers-Delight-request@annihilist.com  Tue Jun 29 17:42:31 1999
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Message-ID: <37793ABC.92FA0829@sfsu.edu>
Date: Tue, 29 Jun 1999 14:29:32 -0700
From: Matt Davignon <mdavig@sfsu.edu>
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I just want to make sure that the following people are getting (CF) mail
from me, and that I have their addresses typed in correctly.

Rob Switzer
Dennis W. Leas
Morgan Hamilton Lang
Raul Bonell Thomas
David Orton

If you guys have not been getting mail from me, please let me know at
mdavig@sfsu.edu

matt davignon

From Loopers-Delight-request@annihilist.com  Tue Jun 29 19:04:17 1999
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From: PMimlitsch@aol.com
Message-ID: <732a2bbe.24aaa77b@aol.com>
Date: Tue, 29 Jun 1999 18:49:31 EDT
Subject: Re:  belew/headrush-LOOP TIME
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In a message dated 6/29/99 6:10:40 PM, you wrote:

<<second is a question for all the present owners of an akai headrush
The new AMS catalog says that it has a looping mode that features
11.9 seconds of looping and delay times from 10ms to 5.9 seconds
these stat's seem to conflict with what I had initialy heard so I gues I
want to know how much loop time is avalible???
>>

If you just want to do a single layered loop then you have 23.8 sec.  For a 
multi layered (infinite number) loop then you have 11.9 sec.
In delay mode you have from 0 to 23.8 sec. of delay time with a variable (via 
knob twiddling) number of fading repeats ("feedback lvl") from 1 to infinite 
(could be used as a looper by layering delays then turning the "feedback" 
knob to max. then bypassing the unit via an A/B switch - like using the 
Jman's delay mode for looping. 
In "Tape/ echo" mode your max delay time is 5.9 sec. but you have 4 - 5.9 sec 
delays (emulating 4 tape heads supposedly). I say "supposedly" because I 
haven't messed with that mode yet. 
- Paul << http://members.aol.com/pmimlitsch/ >>

From Loopers-Delight-request@annihilist.com  Tue Jun 29 19:58:58 1999
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From: "Future Perfect" <artmusic@gte.net>
To: <Loopers-Delight@annihilist.com>
Subject: RE: Mackie experts
Date: Tue, 29 Jun 1999 19:54:55 -0400
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Thanks to all the kind words about my website. I basically created the
'looping' portion of it to serve as a little tutorial, since I get asked all
the time about what I am doing with all the flashing lights when I play.


Dave Eichenberger- guitars.loops.devices
http://home1.gte.net/artmusic/dave
 

From Loopers-Delight-request@annihilist.com  Tue Jun 29 21:45:11 1999
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Date: Tue, 29 Jun 1999 21:49:10 -0400
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From: Tim Nelson <tcn62@ici.net>
Subject: Re: Headrush
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>>second is a question for all the present owners of an akai headrush
>>The new AMS catalog says that it has a looping mode that features
>>11.9 seconds of looping and delay times from 10ms to 5.9 seconds
>>these stat's seem to conflict with what I had initialy heard so I gues I
>>want to know how much loop time is avalible???
>>
>>Thanks 
>>Mike
>>eponine@netet.net
>>
>Hi Mike,
>
>It all depends on the mode you're using. 
>
>In the TAPE ECHO simulation mode, you've got between 10ms and 5.9 sec. with
>4 different output jacks so you can bounce your echoes to different amps or
>mixer channels/pan positions.
>
>In the NORMAL DELAY mode, you set your time by tap tempo, max. 23.8 sec.
>
>In the LOOPING mode, you CAN get a loop 23.8 seconds long, but if you want
>to overdub onto it, the max. time is 11.9 secs. A little light comes on at
>8.9 seconds to warn you the window of overdub opportunity is about to
>close. If you try to overdub onto a loop that's exceeded 11.9 sec, nothing
>happens...
>
>Check out Alan Imberg's review on the LD site; it's very comprehensive.
>
>Tim
>

From Loopers-Delight-request@annihilist.com  Tue Jun 29 23:33:35 1999
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Date: Tue, 29 Jun 1999 23:34:25 -0400
Subject: Re: Feed the Silence
From: "Christopher White" <magicicada@mindspring.com>
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congrats my friend
----------
>From: Adam Levin <alevin@DarkAether.Net>
>To: loopers-delight@annihilist.com
>Subject: Feed the Silence
>Date: Tue, Jun 29, 1999, 11:18 PM
>

>The following review is from pages 96-97 of the latest issue (#31) of
>Progression Magazine - available at your local Tower music store news
>stand:
>
>The Dark Aether Project: Feed The Silence (CD, 51:57); Dark Aether DAP2.
>
>It took about eight minutes before I was convinced that Dark Aether
>Project was onto something with their second disc, but convinced I
>remained. They open with what sounds like a sample from an old atomic-bomb
>scare documentary, out of which comes a heavy wave of wind. A Floyd-ish
>keyboard figure emerges, then leaves as, even more in the Pink, guitarists
>Adam Levin and Yaman Aksu play a wonderfully spacey duet, one flanged, the
>other more pointed, sustained. Aksu switches to Hammond organ, Brian
>Griffin kicks in with nicely restrained drumming, and by this time I'm
>blown away. This is - forgive my colloquialism - some serious shit.
>
>"Nightmare" has Levin dragging a Warr 8 String Touch Guitar loop across a
>"Not Fade Away" riff variant, in a lumbering dance groove that supports
>strong melodies, and a compelling vocal line sung by Ray Weston, ex of
>Echolyn. "Stages" cites _Three of a Perfect Pair_-era Crimson, but takes
>the influence into some interestingly different areas over its near
>nine-minute length. The band's ability to balance written material with
>kick-ass jamming fervor is very apparent in this piece. Warr loops are
>back on "Building the Worm" as Levin provides some beautiful space for he
>and fellow Warr Touch player Markus Reuter to land on, circle each other
>in a pas-de-deux of wild serenity, and end with a touch that'll take your
>breath away.
>
>Convinced yet? Weston's voice gets a marvelous showcase on the title
>track, with imaginitive vocal writing, and some hair-raising, Jim
>Morrison-like screams. _Feed the Silence_ also shows the band to be very
>adept at developing long-form compositions, with a harmonic
>distinctiveness and sensitivity to mood that recalls the late-1960s West
>Coast band Love.
>
>A nine-minute, live bonus-track, "Out of the Dark/Dark Aether" (I love a
>band with a theme song) opens in outer space, wah-wah'd, fuzzed out, and
>all but strained through a Leslie. Around three and a half minutes,
>there's a tantalizing hint of a move into tempo, but drummer Brian Griffin
>delays gratification for a while, finally ushering in a huge bass figure
>around which the loops bob and weave. The performance ends just as it
>began, Aksu and Levin sparring, circling, throwing flames of electricity
>at each other. The tune also shows that these guys can reproduce their
>studio genius with satisfying accuracy onstage.
>
>Dark Aether Project hits a lot of progressive rock pleasure points with
>_Feed the Silence_, but make no mistake: this is not another derivative
>band with little new to say. They are there, Bud, and this is an
>absolutely fabulous album. Go for it. - Larry Nai
>---------------------------------------------------------------------------
>
>"Feed The Silence" as well as The Dark Aether Project's self-titled debut
>are available from purveyors of fine music such as The Artist Shop, The
>Laser's Edge, New Sonic Architecture, Of Sound Mind, Syn-Phonic,
>Wayside/Cuneiform and ZNR Records.
> 
>For distributor contacts, sound samples, full concert schedule, venue
>directions and more info, visit http://www.DarkAether.Net/
>
>

From Loopers-Delight-request@annihilist.com  Tue Jun 29 23:24:30 1999
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Date: Tue, 29 Jun 1999 23:18:49 -0400 (EDT)
From: Adam Levin <alevin@DarkAether.Net>
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The following review is from pages 96-97 of the latest issue (#31) of
Progression Magazine - available at your local Tower music store news
stand:

The Dark Aether Project: Feed The Silence (CD, 51:57); Dark Aether DAP2.

It took about eight minutes before I was convinced that Dark Aether
Project was onto something with their second disc, but convinced I
remained. They open with what sounds like a sample from an old atomic-bomb
scare documentary, out of which comes a heavy wave of wind. A Floyd-ish
keyboard figure emerges, then leaves as, even more in the Pink, guitarists
Adam Levin and Yaman Aksu play a wonderfully spacey duet, one flanged, the
other more pointed, sustained. Aksu switches to Hammond organ, Brian
Griffin kicks in with nicely restrained drumming, and by this time I'm
blown away. This is - forgive my colloquialism - some serious shit.

"Nightmare" has Levin dragging a Warr 8 String Touch Guitar loop across a
"Not Fade Away" riff variant, in a lumbering dance groove that supports
strong melodies, and a compelling vocal line sung by Ray Weston, ex of
Echolyn. "Stages" cites _Three of a Perfect Pair_-era Crimson, but takes
the influence into some interestingly different areas over its near
nine-minute length. The band's ability to balance written material with
kick-ass jamming fervor is very apparent in this piece. Warr loops are
back on "Building the Worm" as Levin provides some beautiful space for he
and fellow Warr Touch player Markus Reuter to land on, circle each other
in a pas-de-deux of wild serenity, and end with a touch that'll take your
breath away.

Convinced yet? Weston's voice gets a marvelous showcase on the title
track, with imaginitive vocal writing, and some hair-raising, Jim
Morrison-like screams. _Feed the Silence_ also shows the band to be very
adept at developing long-form compositions, with a harmonic
distinctiveness and sensitivity to mood that recalls the late-1960s West
Coast band Love.

A nine-minute, live bonus-track, "Out of the Dark/Dark Aether" (I love a
band with a theme song) opens in outer space, wah-wah'd, fuzzed out, and
all but strained through a Leslie. Around three and a half minutes,
there's a tantalizing hint of a move into tempo, but drummer Brian Griffin
delays gratification for a while, finally ushering in a huge bass figure
around which the loops bob and weave. The performance ends just as it
began, Aksu and Levin sparring, circling, throwing flames of electricity
at each other. The tune also shows that these guys can reproduce their
studio genius with satisfying accuracy onstage.

Dark Aether Project hits a lot of progressive rock pleasure points with
_Feed the Silence_, but make no mistake: this is not another derivative
band with little new to say. They are there, Bud, and this is an
absolutely fabulous album. Go for it. - Larry Nai
---------------------------------------------------------------------------

"Feed The Silence" as well as The Dark Aether Project's self-titled debut
are available from purveyors of fine music such as The Artist Shop, The
Laser's Edge, New Sonic Architecture, Of Sound Mind, Syn-Phonic,
Wayside/Cuneiform and ZNR Records.
 
For distributor contacts, sound samples, full concert schedule, venue
directions and more info, visit http://www.DarkAether.Net/


From Loopers-Delight-request@annihilist.com  Wed Jun 30 02:09:15 1999
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Subject: Boomerang MIDI
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I am new to this group so please forgive if this has already been brought up
as a thread.

Would anyone else out there like to see the next model of the BOOMERANG
support MIDI?  Perhaps if people showed enough interest, Mike Nelson/Boomerang
Musical Products might look into it.  Feedback please!

Thanks much,
Tim



From Loopers-Delight-request@annihilist.com  Wed Jun 30 02:09:10 1999
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Date: Wed, 30 Jun 1999 06:42:07 +0100
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> latency is about 30 ms on my MOTU2408... pretty good I think...
> 
> how do you use it for live playing? which instruments going in Audiomulch?
> Are you using a laptop? which model and soundcard?
> tell us more about your live set... and if Audiomulch is stable enough for stage playing!
> Xverb? can you say more about this plug ins? where did you find it?
> 
> I use my new Yamaha RM1x (hardware sequencer with 16 assignable knobs) as
> MIDI controller.
> The knobs switch sampler functions, speed and direction. In my last
> Audiomulch setup I'm using up to 4 minisamplers at the time, in various
> serial/parallel configurations. Initially I've used the Northpole but now
> I've added the Waldorf plug in as main filter thing. the filter is better
> IMO (no distortion even at higher settings).

The MOTU 2408 is excellent. That allows you to use auxilliaries on
AudioMulch - lucky man. I use a very old Turtle Beach tahiti card which 
is quite clean but has developed a DC offset over the last year. Turtle
Beach don't seem interested in telling me how to cure it or even if it's
possible. Still for live its ok. In the studio I use digital only.
I plug my Strat and an old hawaian guitar which my wife bought me for 30
quid from a secondhand shop. It has a bass e string and some rubber
mutes attatched. I play it with a violin bow and an Ebow. It's my own
idea and sounds quite unlike a guitar - especially after its been
through AM!
I'm very influenced by Indian, and Middle Eastern music as well as North
African stuff and my live set is the bastard son of impressionistic,
electronically processed extended guitar and the above Ethnic influences
- not bad for a Welshman eh :)
This RMX thing sounds cool. I take it you're firing samples/ keyboard
stuff??	I notice Doepfer have brought a unit out with 64 assignable midi
control knobs which sounds interesting. I'm running out of foot
controllers since I can't really take my hands off the guitar during
performance. I'm thinking of running a sequencer program alongside AM so
that I can generate a MIDI data track which changes various things
automatically during the piece. The sequencer I normally use is VST but
this is very resource hungry and probably overkill for this application.
 I don't suppose anyone knows of a simple sequencer capable of recording
a few tracks of controller data, preferably with the ability to trigger
individual sequences spontaneously? :) I might check out some of these
algorithmic utilities that you see dotted around the net.

I use a standard desktop PC for live work. I don't mind living
dangerously and, (so far) no problems at all.

Incidenatally you can get Xverb, (free) from the URL I posted a week or
so back.

Sorry for the long email. 
If others find this irrelevant then I'll email you privately.

Hwyl,
Gareth

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Hiya list.  I'm new here.  

I'm sortof new to electronic music (the compositional side at least), and one of my main reasons for being here is to get feedback about my work from peers as well as advice on getting my stuff heard.

My project is entitled 'ELOMD' which is hopefully not too incomprehensible to anyone with a smidgen of musical breadth. heh.  The tracks range from bouncy old-school sounding techno to semi-industrial noises.

I may not be able to follow your more technical advice, as i'm using fairly radical and simplistic modes to create.  I don't play a single instrument, just use my PC to loop samples which tickle my whimsy.  I occasionally make a sample when i need it, but that's all.  So when you talk about hooking a Roland RXVSI17-R with wa-wa vocoder through the Ensonic freem twaddler, i get a bit confused.

Also, I don't know any real DJ's and nobody even has the common courtesy to tell me when raves happen, so i miss them all, what with most of them being raided like clockwork from what i hear anyway.

My influences are varied, most of them not even being techno:  classic rock (primarily the Beatles, Jethro Tull, Zeppelin, Hendrix, the Doors, the Dead, Steely Dan, Santana, etc.), DEVO, They Might Be Giants, Servotron, lots of random electronica (Art of Noise, Orb, Orbital, Rabbit on the Moon, Alpha Team, DJ Keoki, and all the ones that actually make the radio), and unconsciously, i'm sure i'm influenced by 80's pop music (gad) and 70's AM radio crap.

I'm still putting the band website together, but it'll come.  You can always visit my philosophical front at www.iggle.com if you want to delve. 

that's all i can think of to say.

illumnus froon
from ELOMD
illumnus@iggle.com

From Loopers-Delight-request@annihilist.com  Wed Jun 30 07:58:18 1999
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Yes--That's my #1 beef about the 'Rang--lack of MIDI ability. I want to be 
able to sync it to my Jam MAn and/or my EDP and/or any MIDI clock source.  
Please do it, Mr.
Mike Nelson!!!

Thanks,
David Burk

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From: Todd Pafford <galen@erols.com>
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On Wed, 30 Jun 1999, american qabalah wrote:
> 
> Would anyone else out there like to see the next model of the BOOMERANG
> support MIDI?  Perhaps if people showed enough interest, Mike Nelson/Boomerang
> Musical Products might look into it.  Feedback please!
> 
> Thanks much,
> Tim


Personally, I'd hate to see the 'Rang's beautifully simply interface
cluttered w/ "feature creep".  I don't use MIDI so I would soon enough
not see it added.

Now, that's not to say there aren't things I'd like to see done to improve
the 'Rang.  Three examples: 
1) Being able to record a new loop while the current loop is still
playing, i.e. playing loop doesn't cut off when you hit record.
2) Being able to store and use several loops.  Three or four would be
plenty.
3) Being able to change the speed while a loop is playing.  Currently you
have to hit Stop->Speed->Play.

I think those three things would add much more to the unit than the
ability to trigger it through MIDI.  My personal opinion, of course. :)


---
"If the doors of perception were cleansed everything would appear
 to man as it is, infinite."  -- William Blake

Todd Pafford   galen@erols.com 

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The addition of MIDI enablement would not have to make it more complex,
though - the only necessary visible addition to the Boomerang would be two
small sockets at the back.  If you didn't use MIDI (and therefore were looking
for the ports) you probably wouldn't even know the unit was different.

Cheers
Tim

----- Original Message -----
From: Todd Pafford <galen@erols.com>
To: <Loopers-Delight@annihilist.com>
Sent: Wednesday, June 30, 1999 6:54 AM
Subject: Re: Boomerang MIDI


> On Wed, 30 Jun 1999, american qabalah wrote:
> >
> > Would anyone else out there like to see the next model of the BOOMERANG
> > support MIDI?  Perhaps if people showed enough interest, Mike
Nelson/Boomerang
> > Musical Products might look into it.  Feedback please!
> >
> > Thanks much,
> > Tim
>
>
> Personally, I'd hate to see the 'Rang's beautifully simply interface
> cluttered w/ "feature creep".  I don't use MIDI so I would soon enough
> not see it added.
>
> Now, that's not to say there aren't things I'd like to see done to improve
> the 'Rang.  Three examples:
> 1) Being able to record a new loop while the current loop is still
> playing, i.e. playing loop doesn't cut off when you hit record.
> 2) Being able to store and use several loops.  Three or four would be
> plenty.
> 3) Being able to change the speed while a loop is playing.  Currently you
> have to hit Stop->Speed->Play.
>
> I think those three things would add much more to the unit than the
> ability to trigger it through MIDI.  My personal opinion, of course. :)
>
>
> ---
> "If the doors of perception were cleansed everything would appear
>  to man as it is, infinite."  -- William Blake
>
> Todd Pafford   galen@erols.com
>
>


From Loopers-Delight-request@annihilist.com  Wed Jun 30 09:48:23 1999
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In a message dated 6/30/99 3:32:10 AM Eastern Daylight Time, 
american@qabalah.com writes:

<< 
 >>
	Have to concur with you on that one.  It would also be nice if it 
were able to handle multiple separate loops, so that once the MIDI was a new 
control surface you'd be able to trigger and possibly trigger the other loops 
via a MIDI signal.  It would also make things easier as far as sending 
information to record, play (at different speeds) for one loop vs. another.  
Lastly, it would also be cool to have the device able to fade a loop out, vs. 
other loops that are being played.

	Lastly, t'would be super nice to see it move from 30pin SIMMs, to 
either 72-pin SIMMs or the 168's SDRAM, as memory is dirt cheap these days, 
and the 30-pins are so much slower, ... but then again, it's still viable to 
use them as they are still available.

	Since Chuck Levin's started carrying the Boomerang, and they have 
been out of the Echoplex for so long, it seems like this would be the best 
alternative out there for me at this point.

	Tchus,

		Lee-ohki.

	

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Date: Wed, 30 Jun 1999 10:10:09 -0400
To: David Kirkdorffer <DKirkdorffer@exapps.com>
From: Michael Tuminello <m1cha3l@earthlink.net>
Subject: RE: EDP vs boomerang
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The main thing that makes the EDP significantly more attractive to me is
the ability to have more than one loop stored at a time.  Since I'm looking
at it as largely a writing tool (I'm a singer originally, with expanding,
but still limited guitar capabilities), it would be really handy for me to
be able to hear a particular guitar part as many times as I like and have
the freedom to play with different melodies without having to keep up the
rhythm.  I could also grab something my bass player comes up with, file it
in memory, and play with it later.  As I understand it,the boomerang is one
loop in the machine at a time only.  Midi sync is interesting to me as
well, but the multi-loop function is the most important.

Nevertheless, if the delays really are as bad as they seem, I will probably
break down eventually and see what can be done with the boomerang.

Thanks a lot for the feedback.

Michael

PS:  If you know any other toys with multi-loop capabilities, I'd be
interested...


>I think the boomerang probably would satisfy many people on many fronts.
>I've not used one, buty have friends who do.  They seem pretty satisfied
>with it.  And integrate it into their rock songs.
>
>I think the EDP is unique if you want midi-control of events, which is
>pretty prowerful for some.
>
>Having said that, I don't use the midi at all, but have 198 seconds of loop
>time, which is pretty outrageous. The breadth of features is pretty
>spectacular.  But, like amny I'm sure, I tend to use maybe 20% of them.
>
>Anyway, that't my 2 cents.
>
>dk
>

From Loopers-Delight-request@annihilist.com  Wed Jun 30 11:43:48 1999
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OK, I'm going to bare my ignorance and ask:

What is VST, and is it available for the Mac OS?

From Loopers-Delight-request@annihilist.com  Wed Jun 30 12:23:35 1999
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In a message dated 6/30/99 10:58:13 AM Mid-Atlantic Daylight Time, 
galen@erols.com writes:

<< 1) Being able to record a new loop while the current loop is still
 playing, i.e. playing loop doesn't cut off when you hit record. >>

isnt that what the "stack" button does.......michael

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From: Micah <micah@iamerica.net>
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> Three examples:
> 1) Being able to record a new loop while the current loop is still
> playing, i.e. playing loop doesn't cut off when you hit record.
> 2) Being able to store and use several loops.  Three or four would be
> plenty.
> 3) Being able to change the speed while a loop is playing.  Currently you
> have to hit Stop->Speed->Play.

I would add that I wish the overdub function used a latching type footswitch as
opposed to the momentary switch so that you could have a free foot to play with
other pedals while you overdubbed.  I would agree that part of what's cool about the
Boomerang is its simplicity.  Adding lots of MIDI functions would also bump up the
Boomerang's price, taking away one of the other things that's pretty cool about
it...it's not too terribly expensive.  Hmmmm  maybe there's room for a couple of
different Boomerang models.

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Date: Wed, 30 Jun 1999 08:32:15 PDT
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>
> >  Cutting the power to my amp would not turn of my GR
> >  >300, my Dimension 12, my GP8, my DIGITEC 2 second delay,
>
>Hence the power to your amp could be cut off (=no sound)without losing the
>loop.
>
>That's why I think your experience probably has a rational and mundane
>explanation.
>
>....................but
>Like you , I prefer the more interesting and inspiring version.
>I apologise for trying to make humour at your expense
>
>Andy Butler

Andy.
What part of ALL of my equipment shut off isn't clear? I didn't start 
playing music last month.  I'm not 15.  I know my gear. I've had equipment 
meltdowns live before.  this WAS different.  It wasn't just my amp that shut 
off.  EVERYTHING did.  My GR 300 stopped blinking its pretty little red 
lights at me.  My Digitech went from pretty red indicators too darkness.  My 
GP8 pedal board went black.  No green or red numbers...My Dimension 12 no 
longer said "12" on the
indicator, and its pretty lights went off.  The SE 70 was no longer lit up.  
The GP 8 went black...
The only light that I couldn't see whether or not was off WAS my amp.
For all I know it may have still been on.
I personally would rather have a rational explaination, since then I 
wouldn't have to consider the alternate.


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From: Nemoguitt@aol.com
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Date: Wed, 30 Jun 1999 12:20:33 EDT
Subject: Re: EDP vs boomerang
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In a message dated 6/30/99 1:31:49 PM Mid-Atlantic Daylight Time, 
m1cha3l@earthlink.net writes:

<< As I understand it,the boomerang is one
 loop in the machine at a time only.   >>

you can have multiple loops in the rang.....michael

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From: "K. Douglas Baldwin" <dbaldwin@suffolk.lib.ny.us>
To: "Michael Tuminello" <m1cha3l@earthlink.net>,
        <Loopers-Delight@annihilist.com>
Subject: Godel, Escher, Bach and Headrush
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"Godel, Escher, Bach" by Douglas Hofstadter is profound, and should be
required reading for serious loopers. It has it's hard-to-grasp parts, and
as often as not you'll read with pencil and paper in hand to either try one
of the problems presented or look up a book referenced therein, but what a
wonderful ride! I've become an amateur math addict from that book, and I
write strict canons (looping melodies) for my guitar students partly from
it's concepts.
    By the way, I also picked up "The Mysticism of Sound and Music" by
Hazrat Inayat Khan on the advice of fellow loopers recently. Excellent so
far. For those seeking practical applications of musical instruction in
everyday life, try "The Listening Book" by W.A. Mathieu.
    I began testing the Akai pedals last night, including the Headrush. A
thoroughly wack batch of boxes! Immediate impression: Phaser is cool, Wah is
too complicated with too few colors for most folks, Distortion has excellent
vol/drive pedal but 12AX7 tube and diode distortions are too much alike
(imagine that!), and the lovely Headrush is definitely a max-bang-per-buck
pedal if you're willing to hang with it and grok it's arcane switching
ill-logic and poorly translated instructions. More news at it break-dances.

From Loopers-Delight-request@annihilist.com  Wed Jun 30 13:49:15 1999
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From: Kim Flint <kflint@annihilist.com>
Subject: Re: Godel, Escher, Bach and Headrush
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At 9:16 AM -0700 6/30/99, K. Douglas Baldwin wrote:
>"Godel, Escher, Bach" by Douglas Hofstadter is profound, and should be
>required reading for serious loopers. It has it's hard-to-grasp parts, and
>as often as not you'll read with pencil and paper in hand to either try one
>of the problems presented or look up a book referenced therein, but what a
>wonderful ride! I've become an amateur math addict from that book, and I
>write strict canons (looping melodies) for my guitar students partly from
>it's concepts.
>    By the way, I also picked up "The Mysticism of Sound and Music" by
>Hazrat Inayat Khan on the advice of fellow loopers recently. Excellent so
>far. For those seeking practical applications of musical instruction in
>everyday life, try "The Listening Book" by W.A. Mathieu.

people recommend books sometimes on the list, would anybody think it useful
to have some sort of "recommended reading" page on the LD website? (and
would anybody be interested in putting it together?)

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


From Loopers-Delight-request@annihilist.com  Wed Jun 30 13:59:19 1999
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From: Kim Flint <kflint@annihilist.com>
Subject: Re: EDP vs boomerang
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At 9:20 AM -0700 6/30/99, Nemoguitt@aol.com wrote:
>In a message dated 6/30/99 1:31:49 PM Mid-Atlantic Daylight Time,
>m1cha3l@earthlink.net writes:
>
><< As I understand it,the boomerang is one
> loop in the machine at a time only.   >>
>
>you can have multiple loops in the rang.....michael

Are you confusing "multiple loops" with the "stacking" function for
overdubs? They are completely different functions.....

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
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From Loopers-Delight-request@annihilist.com  Wed Jun 30 14:12:41 1999
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> The main thing that makes the EDP significantly more attractive to me is
> the ability to have more than one loop stored at a time.  Since I'm looking
> at it as largely a writing tool (I'm a singer originally, with expanding,
> but still limited guitar capabilities), it would be really handy for me to
> be able to hear a particular guitar part as many times as I like and have
> the freedom to play with different melodies without having to keep up the
> rhythm.  I could also grab something my bass player comes up with, file it
> in memory, and play with it later.  As I understand it,the boomerang is one
> loop in the machine at a time only.  Midi sync is interesting to me as
> well, but the multi-loop function is the most important.
> 
> Nevertheless, if the delays really are as bad as they seem, I will probably
> break down eventually and see what can be done with the boomerang.
> 
> Thanks a lot for the feedback.
> 
> Michael
> 
> PS:  If you know any other toys with multi-loop capabilities, I'd be
> interested...
> 

Yes

DJRND2 : 14 separate and simultaneous stereo loops spread in a 16
megabyte memory.

Emmanuel

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Maybe it was all the camomile tea I drank over the course of the evening.


>From: "Rev. Doubt-Goat" <dgoat@rocketmail.com>
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
>Date: Mon, 28 Jun 1999 18:28:23 -0700 (PDT)
>
>93
>
>---ld thomson <heatshrink@hotmail.com> wrote:
>  You can not shut it
> > ALL off and then turn it all back on
> > and not lose the loop.  This is why I'm bothered by
>what happened.
> > No coincdence Andy.  I was there, and I've tried to
>duplicate it by killing
> > my powerbar mid-loop.  the result.  I lost
>everything and the
> > effects units reset themselves.  They didn't return
>to the patch they were
> > on before they were shut off.
>
>Actually, I've had a power flucuation that dumped all
>the lights off on my rack, but did not lose the loop
>or settings on the pedals. I can only speculate that
>that what was experienced was NOT a "black-out", but
>more like a "brown-out".
>
>93
>Rev. Doubt-Goat
>===
>           The Homepages of the Doubt-Goat
>
>                The Darsan Trio
>                Sekhet Maat Oasis, O.T.O.
>                Lion & Serpent
>
>           http://www.easystreet.com/~twilliam
>
>_________________________________________________________
>DO YOU YAHOO!?
>Get your free @yahoo.com address at http://mail.yahoo.com
>


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In a message dated 6/30/99 4:59:11 PM Mid-Atlantic Daylight Time, 
kflint@annihilist.com writes:

<< Are you confusing "multiple loops" with the "stacking" function for
 overdubs? They are completely different functions.....
  >>
sorry, did not want to muddy the waters.........michael

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>Power Dip or Surge?

Its possible of course.  Didn't seem like one.  I've had those at home and 
it always resetting the frickin GP 8 when it happens.
Then who knows.  Maybe it was an acid flashback.


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>Power Dip or Surge?

Its possible of course.  Didn't seem like one.  I've had those at home and 
it always resets the frickin GP 8 when it happens.
Then who knows.  Maybe it was an acid flashback.


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At 6:16 AM -0700 6/30/99, american qabalah wrote:
>The addition of MIDI enablement would not have to make it more complex,
>though - the only necessary visible addition to the Boomerang would be two
>small sockets at the back.  If you didn't use MIDI (and therefore were looking
>for the ports) you probably wouldn't even know the unit was different.
>
>Cheers
>Tim

Well, just for a basic midi feature set you need a way to set midi channel,
set midisync to transmit/receive/off, set cont controller numbers, etc. So
there is some kind of interface necessary for that, and the thing
necessarily becomes more complex. You can't get it both ways... The cost is
certainly higher too, since you have to add a bunch of parts and spend a
lot of time writing software.

Take it from somebody who knows, adding midi to a looper is a BIG can of
worms....:-)

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com


From Loopers-Delight-request@annihilist.com  Wed Jun 30 14:45:30 1999
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From: ld thomson <heatshrink@hotmail.com>
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Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
Date: Wed, 30 Jun 1999 11:27:07 PDT
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>From: "Travis Hartnett" <hartne.t@apple.com>
>Reply-To: Loopers-Delight@annihilist.com
>To: Loopers-Delight@annihilist.com
>Subject: Re: SOUNDSCAPE SUCCESS AND NO SCRABBLE RABBLE
>Date: Mon, 28 Jun 1999 11:57:56 -0500
>
>We perceive our perceptions.
>Why obsess over this?
>Maybe it happened, maybe it didn't.  Maybe it lasted a while, maybe it was
>really quick.  Time is funny when you're on stage.
>

and time is REALLY funny when you're looping.  Or so I'm beginning to 
believe.  What is funny is how those loopers who usually just write about 
which gizmo to use, not use or how to use to loop all say "power loss, brown 
out"  and those of us space cadets who are into the mystical nonsense all go 
"cool man, it was a worm hole created by the grooviness of the moment".
Yikes.  I'm betting it was THE JINN up to their old tricks.


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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It was reported that on Wednesday June 23, 1999 at aprox. 11:15 pm I lost 
all power to my electronics as I was soundscaping at the Grape Fruit Moon 
cafe in front of 20 or so people.  The loss which was estimated between 3 
and 60 seconds, occured then the soundscaping continued.  It has now been 
made clear that to me by sources I can not name that this occurrence did not 
actually occur at all.  In fact the whole phenomenon was merely a tempature 
inversion which caused swamp gas to bounce off the debris from a weather 
balloon.  The resulting atmospheric turbulence simultaneously caused the GFM 
ceiling fan to speed up from its 1 rotation a moment speed to 1.5 rotations 
a moment thus over taxing the Ontario Hydro power grid and causing what is 
know to the lay-person as a "brown out".  This "brown out" effected only the 
equipment in question and as the swamp gas settled on the Grape Fruit Moon 
itself the "illusion" of the soundscape stopping occurred.  I would like to 
clear the air on this issue and hope that the 33rd degree freemasons who get 
really upset when I mess with the space/time continuum by soundscaping will 
accept this explanation for the event in question that never happened.
Sorry for mentioning it.

Lorne Thomson
Toronto, Canada


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From Loopers-Delight-request@annihilist.com  Wed Jun 30 16:17:29 1999
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From: Neal Trembath <ntrembat@statsol.com>
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The sp808 is essentially a nifty sampler/sequencer.  Sound quality is
about minidisk.  Cool sound effects, esp. the IR beam controller.  
Totally different purpose than the jamman.  Think of the Jamman/Echoplex
as delay based/loop effects, think of the sp808 and 505 as sample/beat
loopers.

On Mon, 28 Jun 1999, Jordan Pease wrote:

> Does anybody use the Roland SP-88 Groove Sampler for looping ?
> 
> Does it emulate the Lexicon Jamman ?
> 
> What about the Roland MC-303 or MC-505 ?
> 
> Thanks. Jordan Pease
> 
> 

From Loopers-Delight-request@annihilist.com  Wed Jun 30 16:14:21 1999
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Date: Wed, 30 Jun 1999 14:10:04 -0600
From: Jim Coker <jcoker@magelang.com>
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That's a great idea.  I think you can
even set up a referral deal w/ amazon.com. I'd
offer to do it, but I still haven't gotten my
Kyma-looper-info doc done.

Jim

Kim Flint wrote:
> 
> At 9:16 AM -0700 6/30/99, K. Douglas Baldwin wrote:
> >"Godel, Escher, Bach" by Douglas Hofstadter is profound, and should be
> >required reading for serious loopers. It has it's hard-to-grasp parts, and
> >as often as not you'll read with pencil and paper in hand to either try one
> >of the problems presented or look up a book referenced therein, but what a
> >wonderful ride! I've become an amateur math addict from that book, and I
> >write strict canons (looping melodies) for my guitar students partly from
> >it's concepts.
> >    By the way, I also picked up "The Mysticism of Sound and Music" by
> >Hazrat Inayat Khan on the advice of fellow loopers recently. Excellent so
> >far. For those seeking practical applications of musical instruction in
> >everyday life, try "The Listening Book" by W.A. Mathieu.
> 
> people recommend books sometimes on the list, would anybody think it useful
> to have some sort of "recommended reading" page on the LD website? (and
> would anybody be interested in putting it together?)
> 
> kim
> 
> ______________________________________________________________________
> Kim Flint                   | Looper's Delight
> kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
> http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com

From Loopers-Delight-request@annihilist.com  Wed Jun 30 16:47:11 1999
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Subject: "Electronic Disturbances"
Date: Wed, 30 Jun 1999 13:41:11 -0700
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Is it entirely possible that sometimes these things might occur as a result
of other-than-scientifically-quantifiable causes?  I've not had difficulties
in the Los Angeles area, other than the crappy wiring that someone paid
someone to get to pass legal spec... and then again, most spots in the LA
area are quite new, and not necessarily subject to hauntings...

Anyone?  I can definately state that, one night, while producing a loop from
vocals and guitar, it began to sound like - if you can believe this - More
than just the loop and its effects.  It became impossible to tell the
beginning/end of loop, especially because of things sounding like voices
that didn't repeat... There were two other witnesses to this, and I was so
disturbed by the thing that I powered down the Time Machine unit completely,
to flush the buffers.  REAL creepy.

Stephen Goodman * It's the Loop of the Week!
EarthLight Productions * http://www.earthlight.net

From Loopers-Delight-request@annihilist.com  Wed Jun 30 18:10:55 1999
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Hi all,

Just saw a Roland GR700 guitar synth for sale and wanted to see if
anyone on the list has an opinion on this unit- I have read that the
earlier units tracked better but the sounds were not as good-  the price
seems reasonable for the whole setup- but I want to look into it first-

If anyone wishes to respond please e-mail me off list as it has little
to do with standard list topics-

Thanks-

Cliff

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To: PERILLE <perille@club-internet.fr>, Loopers-Delight@annihilist.com
From: Michael Tuminello <m1cha3l@earthlink.net>
Subject: other multiple loop machines..(was EDP vs. Boomerang)
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>> PS:  If you know any other toys with multi-loop capabilities, I'd be
>> interested...
>>
>
>Yes
>
>DJRND2 : 14 separate and simultaneous stereo loops spread in a 16
>megabyte memory.
>
>Emmanuel

What is this?  How do I find out more?

Thanks,

Michael

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Subject: Re: Boomerang MIDI
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Well, that really sucks!

Thanks for the input,

Tim


----- Original Message -----
From: Kim Flint <kflint@annihilist.com>
To: <Loopers-Delight@annihilist.com>
Sent: Wednesday, June 30, 1999 1:43 PM
Subject: Re: Boomerang MIDI


> Well, just for a basic midi feature set you need a way to set midi channel,
> set midisync to transmit/receive/off, set cont controller numbers, etc. So
> there is some kind of interface necessary for that, and the thing
> necessarily becomes more complex. You can't get it both ways... The cost is
> certainly higher too, since you have to add a bunch of parts and spend a
> lot of time writing software.
>
> Take it from somebody who knows, adding midi to a looper is a BIG can of
> worms....:-)
>
> kim
>
> ______________________________________________________________________
> Kim Flint                   | Looper's Delight
> kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
> http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com
>
>
>


From Loopers-Delight-request@annihilist.com  Wed Jun 30 20:47:46 1999
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Date: Wed, 30 Jun 1999 20:34:32 -0400 (EDT)
From: Todd Pafford <galen@erols.com>
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On Wed, 30 Jun 1999 Nemoguitt@aol.com wrote:

> In a message dated 6/30/99 10:58:13 AM Mid-Atlantic Daylight Time, 
> galen@erols.com writes:
> 
> << 1) Being able to record a new loop while the current loop is still
>  playing, i.e. playing loop doesn't cut off when you hit record. >>
> 
> isnt that what the "stack" button does.......michael
> 

Not quite, though I may have worded it vaguely.  The stack button will
layer on top of your loop.  What I'm talking about is the ability to do
something like the following:
 1. record loop A and set it spinning
 2. stack, play over, generally use loop A however you normally would
 3. hit the 'through mute' button, hit the record button and record
    what we'll call loop B while your loop A is still playing.
 4. finish recording loop B by pressing the record/play button again
    and viola there's your loop B spinning away with loop A having been
    discarded for simplicity's sake (or saved if we're also adding
    multi loop capability)
 5. rinse & repeat & repeat &... :)


---
"If the doors of perception were cleansed everything would appear
 to man as it is, infinite."  -- William Blake

Todd Pafford   galen@erols.com 

From Loopers-Delight-request@annihilist.com  Wed Jun 30 20:33:24 1999
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On Wed, 30 Jun 1999, american qabalah wrote:

> The addition of MIDI enablement would not have to make it more complex,
> though - the only necessary visible addition to the Boomerang would be two
> small sockets at the back.  If you didn't use MIDI (and therefore were looking
> for the ports) you probably wouldn't even know the unit was different.
> 
> Cheers
> Tim

True, but I'd be paying for it, that's for sure, and I'd rather pay for
features I'm going to use. :)

---
"If the doors of perception were cleansed everything would appear
 to man as it is, infinite."  -- William Blake

Todd Pafford   galen@erols.com 

From Loopers-Delight-request@annihilist.com  Wed Jun 30 21:24:14 1999
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The 11.9 sec. is for "over-dubbable" looping. You can go as long as 23.8
with one single loop. In the normal delay mode, you can achieve 23.8 seconds
tap delay time.



> first off I went to the Belew show in Milwaukee and it lived up to all the
> reveiws that it has already produced on the list so no reason to rehash. I
> did want to add though that I gave him a copy of vol.2 hey who knows maybe
> he'll visit.
>
> second is a question for all the present owners of an akai headrush
> The new AMS catalog says that it has a looping mode that features
> 11.9 seconds of looping and delay times from 10ms to 5.9 seconds
> these stat's seem to conflict with what I had initialy heard so I gues I
> want to know how much loop time is avalible???
>
> Thanks
> Mike
> eponine@netet.net
>


From Loopers-Delight-request@annihilist.com  Wed Jun 30 22:48:21 1999
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From: Hawkeye255@aol.com
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Date: Wed, 30 Jun 1999 22:38:04 EDT
Subject: Re: Godel, Escher, Bach and Headrush
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	Good idea, Kim (picture me as the young Inuit hunter with the shiny 
silver tooth in the movie, "Never Cry Wolf").
	GEB is a wonderful book--in part, responsible for what I'm doing 
today, musically and career-wise (sic).  Another story for another time.  
About the same time, mid-to-late 70's, found an extremely enlightening (and 
more spiritual) book that I think is a good companion to GEB,  "The Tao of 
Physics" by Fritjof Capra.

my two centavos,
			Bill "hawkeye"

 

From Loopers-Delight-request@annihilist.com  Wed Jun 30 22:56:23 1999
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Date: Wed, 30 Jun 1999 22:46:29 EDT
Subject: Re: Non Loop Related
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I had a GR700 with GK1 pickup for about a month. (bought it cheap at a guitar 
show) I thought it tracked horribly compared to a GR1 with GK2 pickup.  Got 
rid of it as soon as I could.

Bill

