From Loopers-Delight-request@loopers-delight.com Sun Feb 1 00:33:52 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i115U9016610; Sun, 1 Feb 2004 00:30:09 -0500 Resent-Date: Sun, 1 Feb 2004 00:30:09 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/10.0.0.1309 Date: Sun, 01 Feb 2004 00:30:07 -0500 Subject: Improvising vs. composing From: Dan Soltzberg To: Loopers Delight Message-ID: Mime-version: 1.0 Content-type: multipart/alternative; boundary="B_3158440207_4534851" Resent-Message-ID: <1aX7AC.A.bDE.h7IHAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40609 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. --B_3158440207_4534851 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Hi gang, Would love to hear people=B9s experiences with this dilemma: I=B9ve been doing a project, Orange, for a couple years. Tonight, I packed my gear out of a rehearsal space and turned in my keys after 3 months of struggling with trying to take this improvisational project and make it mor= e structured=8B i.e., take stuff we=B9d made up and recorded at various shows and sessions and re-learn it and make a bunch of songs out of it. I just found = I wasn=B9t enjoying the process of trying to do this. So it seems I=B9m no longer very interested in writing and playing songs=8B wha= t I really get inspired doing is going out on a limb and making the music up as I go. I can=B9t seem to get the kind of spiritual high I get when I=B9m improvising if I=B9m playing stuff that=B9s pre-structured. Not that I don=B9t like structure=8B I just like creating it on the fly. Problem is, 1. It=B9s kind of intense to go to every show having no idea of what I=B9m going to play, hoping the muse is on the guest list 2. It=B9s hard to bring other musicians in without having at least some structure. Thoughts? Similar experiences? Solutions? Dan --=20 ghost 7/ Orange http://www.envelopeproductions.com d.ans@rcn.com --B_3158440207_4534851 Content-type: text/html; charset="US-ASCII" Content-transfer-encoding: quoted-printable Improvising vs. composing Hi gang,


Would love to hear people’s experiences with this dilemma:

I’ve been doing a project, Orange, for a couple years. Tonight, I pac= ked my gear out of a rehearsal space and turned in my keys after 3 months of= struggling with trying to take this improvisational project and make it mor= e structured— i.e., take stuff we’d made up and recorded at vari= ous shows and sessions and re-learn it and make a bunch of songs out of it. = I just found I wasn’t enjoying the process of trying to do this.

So it seems I’m no longer very interested in writing and playing song= s— what I really get inspired doing is going out on a limb and making = the music up as I go. I can’t seem to get the kind of spiritual high I= get when I’m improvising if I’m playing stuff that’s pre-= structured. Not that I don’t like structure— I just like creatin= g it on the fly.

Problem is, 1. It’s kind of intense to go to every show having no ide= a of what I’m going to play, hoping the muse is on the guest list

2. It’s hard to bring other musicians in without having at least some= structure.


Thoughts? Similar experiences? Solutions?


Dan


--
ghost 7/ Orange
http://www.envelopeproductions.com
d.ans@rcn.com
 --B_3158440207_4534851-- From Loopers-Delight-request@loopers-delight.com Sun Feb 1 02:07:08 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i1173VY04164; Sun, 1 Feb 2004 02:03:31 -0500 Resent-Date: Sun, 1 Feb 2004 02:03:31 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: emile@foryourhead.com@mail.speakeasy.net Message-Id: In-Reply-To: References: Date: Sun, 1 Feb 2004 01:57:55 -0500 To: Loopers-Delight@loopers-delight.com From: "Emile Tobenfeld (a.k.a Dr. T)" Subject: Re: Improvising vs. composing Content-Type: text/plain; charset="us-ascii" ; format="flowed" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40610 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com I struggle with this all of the time, lately mainly in the video realm. Among the problems I find are 1. The clearer the idea I think I have about what I want to do, the harder it is to get started, and the less I feel I accomplish per unit time. 2. No matter how much I tell myself I'm going to focus on the original idea, my explorations always point me to something else -- usually some detail or image or side idea catches my eye and distracts me from the intended structure. 3. By the time the piece is halfway finished I'm so tired of the idea I can't tell if my changes are making it better or worse. In addition, and more unique to my genre, its hard to get the musicians to follow what I do, which reduces the point of having a preconceived structure unless I'm working with a structured group long enough to learn their material and compose sections for each of their pieces. At 12:30 AM -0500 2/1/04, Dan Soltzberg wrote: >Hi gang, > > >Would love to hear people's experiences with this dilemma: > >I've been doing a project, Orange, for a couple years. Tonight, I >packed my gear out of a rehearsal space and turned in my keys after >3 months of struggling with trying to take this improvisational >project and make it more structured- i.e., take stuff we'd made up >and recorded at various shows and sessions and re-learn it and make >a bunch of songs out of it. I just found I wasn't enjoying the >process of trying to do this. > >So it seems I'm no longer very interested in writing and playing >songs- what I really get inspired doing is going out on a limb and >making the music up as I go. I can't seem to get the kind of >spiritual high I get when I'm improvising if I'm playing stuff >that's pre-structured. Not that I don't like structure- I just like >creating it on the fly. > >Problem is, 1. It's kind of intense to go to every show having no >idea of what I'm going to play, hoping the muse is on the guest list > >2. It's hard to bring other musicians in without having at least >some structure. > > >Thoughts? Similar experiences? Solutions? > > >Dan > > >-- >ghost 7/ Orange >http://www.envelopeproductions.com >d.ans@rcn.com -- "Any universe simple enough to be understood is too simple to produce a mind able to understand it" -- John D. Barrow This conjecture strikes me as a logical extension of Godel's Incompleteness Theorem. Visit "Before the Fall -- Images of the World Trade Center" at http://www.foryourhead.com Emile Tobenfeld, Ph. D. Video Producer Image Processing Specialist Video for your HEAD! Boris FX http://www.foryourhead.com http://www.borisfx.com From Loopers-Delight-request@loopers-delight.com Sun Feb 1 03:04:11 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i1181em13847; Sun, 1 Feb 2004 03:01:40 -0500 Resent-Date: Sun, 1 Feb 2004 03:01:40 -0500 Old-Return-Path: Reply-To: From: "Rainer Thelonius Balthasar Straschill" To: "Looper's Delight Mailing List \(E-mail\)" Subject: What are the usual prices Date: Sun, 1 Feb 2004 09:05:29 +0100 Message-ID: <002001c3e89a$2bff11d0$0601a8c0@SATAN> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0021_01C3E8A2.8DE1FE50" X-Priority: 3 (Normal) X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook CWS, Build 9.0.2416 (9.0.2910.0) Importance: Normal X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4910.0300 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40611 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This is a multi-part message in MIME format. ------=_NextPart_000_0021_01C3E8A2.8DE1FE50 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ...for a Gibson EDP, <1 year old, with LoopIV software and proprietary foot controller in Europe? Thanks, Rainer Rainer Thelonius Balthasar Straschill Moinlabs GFX and Soundworks - www.moinlabs.de The Straschill Family Group - www.straschill.de Clean Trippin' - www.dpeg.de Eclectic Blah - www.eblah.de ------=_NextPart_000_0021_01C3E8A2.8DE1FE50 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
...for = a Gibson EDP,=20 <1 year old, with LoopIV software and proprietary foot controller in=20 Europe?
 
Thanks,
 
       &nbs= p; =20 Rainer
 
Rainer Thelonius Balthasar = Straschill
Moinlabs GFX and Soundworks - = www.moinlabs.de
The = Straschill Family Group=20 - www.straschill.de
Clean Trippin' - www.dpeg.de
Eclectic Blah - www.eblah.de
 
------=_NextPart_000_0021_01C3E8A2.8DE1FE50-- From Loopers-Delight-request@loopers-delight.com Sun Feb 1 04:42:22 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i119ciO05708; Sun, 1 Feb 2004 04:38:44 -0500 Resent-Date: Sun, 1 Feb 2004 04:38:44 -0500 Old-Return-Path: Message-ID: <008d01c3e8a3$1e7e68e0$0207a8c0@Stephen> From: "Steve Goodman" To: References: <00ba01c3e807$e0a76df0$b6705643@elfmaster> Subject: Re: The 100-Megabit Guitar in WIRED Date: Sun, 1 Feb 2004 09:09:36 -0000 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40612 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com ----- Original Message ----- From: "RemyC" To: "Loopers Delight" Sent: Saturday, January 31, 2004 14:38 PM Subject: The 100-Megabit Guitar in WIRED > Wired magazine > http://www.wired.com/wired/archive/12.01/guitar.html > > The mercurial CEO of Gibson Guitar Corporation wants to shove Ethernet up > your ax and rock the music world. > > Issue 12.01 - January 2004 > > The 100-Megabit Guitar > Gibson's maverick CEO wants to shove Ethernet up your ax and rock the music > world. > By Greg Milner > Dubbed the "Les Paul," the > instrument would become the primary source of rock's power-chord crunch, a > legacy that stretches from Jimmy Page and Neil Young through Aerosmith's Joe > Perry and Guns N' Roses' Slash. The guitar's noise-canceling humbucker > pickups provided a clarity that helped Jerry Garcia sculpt his solos when he > wasn't playing custom guitars. I believe Jerry was mostly playing custom guitars, especially the Warlock. But you more dead-headed amongst us could say with more authority than I. I'm just fairly sure it wasn't the Les Paul he played most the time... > Since Guns N' Roses imploded > in the mid-'90s, no Les Paul player has commanded the cross-genre visibility > of Slash in his heyday. Since when did Slash have "cross-genre visibility", or for that matter much of a catalog? Is this PR or what? > Metallica's Kirk Hammett and Weezer's Rivers Cuomo, > both Les Paul players, don't have Slash's following or showmanship. I guess the writer was one of those unfortunate Drunks n' Posers fans. [shaking head] Or he's working for Gibson and is desperate to fill an article. > It won't be easy. For starters, the Magic guitar's Ethernet output is > incompatible with traditional guitar gear. No amplifier or effects pedal on > the market today works with the instrument. For now, musicians will need to > plug the guitar into a "breakout box" that converts the digital signal back > to analog; a standard guitar cable plugs into the box's output. Second, > guitars that work with the digital world via MIDI, the universal language of > musical instruments, do exist. Guitarists like Radiohead's Jonny Greenwood > already make all kinds of digitally enhanced noise onstage. The CEO of one > rival company told me, "If you can figure out what Henry is trying to do, > let me know." And Peter Swiadon, a product manager for the Roland > Corporation, says, "No disrespect to Henry, but Magic looks like a solution > in search of a problem." Or just another whiz-bang invention for the guitar. I mean, Les Paul's innovations are legendary and to be respected -- but he made a lot of little experiments that weren't exactly successful too. Hell, EDISON experimented with trying to communicate with the dead, for Pete's sake... > The magic about Magic is portability. Greenwood may have a digital world at > his fingertips, but his guitar still delivers an analog signal, requiring > mediating devices to make it digital. The goal of the Magic guitar is to be > fully plug-and-play, so a musician can simply jack it into a PC - no USB > cables or external devices necessary." Can you say, "$2000 sound card"? Sure you can. Here's the wind up... ...and the pitch! > The Magic guitar, Juszkiewicz says, takes the next > step - it doesn't just preserve sound, it improves it. > Gibson appears to have solved a problem that has dogged digital instrument > design for years. It's not enough to engineer a digital-audio converter and > a delivery system that can reproduce sound with sufficient nuance. The > technology also has to make sure the bits become audible with little delay. None would be nice. Oh wait. We've already GOT that. But in the non-original, er, analog world, it's the delays that are the main problem with guit synths, every time I hear someone complaining about 'em. > Magic can deliver sound a few thousand > meters in microseconds, and because all devices connected by the technology > run on the same clock, the data remains synchronous. Hm, 100Mb/sec... that's up to 1200 feet or so with nothing but a wire, otherwise one needs signal boost, if not also routing... and a 'few thousand meters' is certainly much longer than that. If conventional non-fibre repeaters are to be used, what would be the delays involved then? I smell a theoretical topology somewhere... > Magic, an acronym for media-accelerated global information carrier, can > direct the flow of up to 64 channels of information, all on one Ethernet > network. Once again, a 'few thousand meters' on an Ethernet network ain't just NICs in computers, a server, cable and connectors, and software to make it all work. And what is the max capacity of a standard Cat-5 cable anyway? Cumulative degeneration could occur as well, if the network is overloaded. I've a feeling the PR guys writing this don't know what that even means. There's going to have to be fibre and ultra-fast repeaters/routers for something this big to even approach realtime. > In a concert hall, this means a bulky analog snake of cables could > be replaced by a single Cat-5. It also means real-time collaboration. > Stanford staged a concert last fall that linked several musicians at > different locations who improvised with each other over a system developed > by NetworkSound, the first company to build a business plan around Magic. Anyone have a link to this, before I start searching? > Juszkiewicz had > lawsuits filed against companies he thought were infringing on Gibson's > trademark. Among his targets: Heritage Guitar, which was founded by > ex-employees of a Gibson factory in Kalamazoo, Michigan. Gibson didn't win > any of the suits that made it to trial (after settling the Heritage suit, > Juszkiewicz sued his own lawyers), but the litigation proved to be part of a > hard-line strategy that put the company back on the map. A strategy that proved irresistable for a drove of doomed software companies like the late Ashton-Tate: Buy companies producing possibly-competing product, nab their technology, and drive them into the ground via court and lawyer costs; no matter what the cases are actually about, what they do is assimilate technology not otherwise developed, eliminate the competition, and eventually overload the management capacity of the now-bloated company, which ultimately can't even produce the original cash-cow that made it big. End run, the company sells off its subsidiaries, or sells out entirely, with big, fat cash rewards for the CEO and whatever members of the board that didn't piss him/her off. > Certainly, Gibson owes its turnaround in part to good timing. The first half > of the '80s was not a fertile period for the type of rock associated with > the Les Paul. The '70s hard-rock heroes, like Joe Perry and Jimmy Page, were > either in rehab or on hiatus. Synth-driven music owned the charts. But soon > after Juszkiewicz took over, Guns N' Roses emerged, first as the second > coming of Aerosmith and then as the biggest band on the planet. Slash was a > devoted Les Paul player. Once again, the world sounded like the Les Paul. No, just Guns N' Roses. (How many hits, what, uh, three? Then oblivion within years.) > Juszkiewicz has been less successful in his mission to expand Gibson beyond > guitars. Trace Elliott amps, Opcode Systems (a music software company), and > Steinberger Sound are a few of his acquisitions. None have made Gibson any > money; some have gone out of business and others have borne the brunt of > Juszkiewicz's litigious streak. See above. > A Yamaha exec jokes, "Sometimes the best we > can hope for our competitors is that they get bought by Gibson." Other > rivals dismiss Juszkiewicz as a threat, referring to him as a "psycho" and a > "wack-job." In person, he is laid-back and laconic, exactly the disposition > you'd expect from someone who sells guitars for a living. So when he told > me, "Oh yeah, I'm very frightening," I assumed he was kidding. My mistake. > "No, seriously, I'm like a prophet. I always get put down, and then later, > people realize I'm right." Is it just an MBA that makes one think like this? Well, crack or amphetamine abuse too, but hey! I don't generally diss developments in ANYTHING that have a real need to fill. But this isn't exactly like the VHS format, though, is it? I'd like to strip away the PR crapola and see what it really is, before completely dumping on it. But man, this article belongs more in the Yahoo PR Newswire than "Wired". Unless they've slipped that much! Steve Goodman * EarthLight Productions * http://www.earthlight.net From Loopers-Delight-request@loopers-delight.com Sun Feb 1 05:49:58 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11AlSq16854; Sun, 1 Feb 2004 05:47:28 -0500 Resent-Date: Sun, 1 Feb 2004 05:47:28 -0500 Old-Return-Path: User-Agent: Microsoft-Outlook-Express-Macintosh-Edition/5.0.6 Date: Sun, 01 Feb 2004 04:01:25 -0700 Subject: Re: Improvising vs. composing From: Are-Jay Hoffmann To: Message-ID: In-Reply-To: Mime-version: 1.0 Content-type: multipart/alternative; boundary="MS_Mac_OE_3158452885_142975_MIME_Part" Resent-Message-ID: <0YcUo.A.OHE.AlNHAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40613 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. --MS_Mac_OE_3158452885_142975_MIME_Part Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable on 1/31/04 10:30 PM, Dan Soltzberg at d.ans@rcn.com wrote: Hi gang, Would love to hear people=B9s experiences with this dilemma: I=B9ve been doing a project, Orange, for a couple years. Tonight, I packed my gear out of a rehearsal space and turned in my keys after 3 months of struggling with trying to take this improvisational project and make it mor= e structured=8B i.e., take stuff we=B9d made up and recorded at various shows and sessions and re-learn it and make a bunch of songs out of it. I just found = I wasn=B9t enjoying the process of trying to do this. So it seems I=B9m no longer very interested in writing and playing songs=8B wha= t I really get inspired doing is going out on a limb and making the music up as I go. I can=B9t seem to get the kind of spiritual high I get when I=B9m improvising if I=B9m playing stuff that=B9s pre-structured. Not that I don=B9t like structure=8B I just like creating it on the fly. Problem is, 1. It=B9s kind of intense to go to every show having no idea of what I=B9m going to play, hoping the muse is on the guest list 2. It=B9s hard to bring other musicians in without having at least some structure. Thoughts? Similar experiences? Solutions? Dan personally, i dig both-- but if i had to choose ONE-- id be improv. what i love about playing is reaching so many people, without having to talk to each one individually. same with the players im with. i just love the forehead connection and communication thru eyebrow motions. obviously it comes from a deeper part of us--words always fall short when describing emotion. id say realize every musician is differant and some might want to go your way-- totally mental. some might at least need basic form charts. its always worth the wait, though, right? take care. a looping bassist/violinist are--jay hoffmann --MS_Mac_OE_3158452885_142975_MIME_Part Content-type: text/html; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Re: Improvising vs. composing on 1/31/04 10:30 PM, Dan Soltzberg at d.ans@rcn.com wrote:

Hi gang,


Would love to hear people=B9s experiences with this dilemma:

I=B9ve been doing a project, Orange, for a couple years. Tonight, I packed my= gear out of a rehearsal space and turned in my keys after 3 months of strug= gling with trying to take this improvisational project and make it more stru= ctured=8B i.e., take stuff we=B9d made up and recorded at various shows and sess= ions and re-learn it and make a bunch of songs out of it. I just found I was= n=B9t enjoying the process of trying to do this.

So it seems I=B9m no longer very interested in writing and playing songs=8B wha= t I really get inspired doing is going out on a limb and making the music up= as I go. I can=B9t seem to get the kind of spiritual high I get when I=B9m impr= ovising if I=B9m playing stuff that=B9s pre-structured. Not that I don=B9t like st= ructure=8B I just like creating it on the fly.

Problem is, 1. It=B9s kind of intense to go to every show having no idea of w= hat I=B9m going to play, hoping the muse is on the guest list

2. It=B9s hard to bring other musicians in without having at least some struc= ture.


Thoughts? Similar experiences? Solutions?


Dan


personally, i dig both-- but if i had to choose ONE-- id be improv. what i = love about playing is reaching so many people, without having to talk to eac= h one individually. same with the players im with. i just love the forehead = connection and communication thru eyebrow motions. obviously it comes from a= deeper part of us--words always fall short when describing emotion. id say = realize every musician is differant and some might want to go your way-- tot= ally mental. some might at least need basic form charts. its always worth th= e wait, though, right? take care.

            &n= bsp; a looping bassist/violinist

            ar= e--jay hoffmann --MS_Mac_OE_3158452885_142975_MIME_Part-- From Loopers-Delight-request@loopers-delight.com Sun Feb 1 06:25:24 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11BO2H25973; Sun, 1 Feb 2004 06:24:02 -0500 Resent-Date: Sun, 1 Feb 2004 06:24:02 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/10.0.0.1428 Date: Sun, 01 Feb 2004 12:23:48 +0100 Subject: Re: Improvising vs. composing From: Per Boysen To: Loopers Message-ID: In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i11BO1k25943 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40614 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com On 04-02-01 06.30, "Dan Soltzberg" wrote: > Hi gang, > > > Would love to hear people¹s experiences with this dilemma: > > I¹ve been doing a project, Orange, for a couple years. Tonight, I packed my > gear out of a rehearsal space and turned in my keys after 3 months of > struggling with trying to take this improvisational project and make it more > structured‹ i.e., take stuff we¹d made up and recorded at various shows and > sessions and re-learn it and make a bunch of songs out of it. I just found I > wasn¹t enjoying the process of trying to do this. > > So it seems I¹m no longer very interested in writing and playing songs‹ what > I really get inspired doing is going out on a limb and making the music up > as I go. I can¹t seem to get the kind of spiritual high I get when I¹m > improvising if I¹m playing stuff that¹s pre-structured. Not that I don¹t > like structure‹ I just like creating it on the fly. > > Problem is, 1. It¹s kind of intense to go to every show having no idea of > what I¹m going to play, hoping the muse is on the guest list > > 2. It¹s hard to bring other musicians in without having at least some > structure. > > > Thoughts? Similar experiences? Solutions? > > > Dan Hi Dan, My understanding of this is that composition is an act of will power, while improvisation is just an expression of life. Best regards Per Boysen -- Public Music Beta Testing http://www.looproom.com/p2p/ From Loopers-Delight-request@loopers-delight.com Sun Feb 1 06:44:44 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11Bf2l30157; Sun, 1 Feb 2004 06:41:02 -0500 Resent-Date: Sun, 1 Feb 2004 06:41:02 -0500 Old-Return-Path: Message-ID: <003801c3e7ef$184745f0$64ddfea9@DAYGLOGREEN> From: "loop.pool" To: Subject: Re: Improvising vs. composing Date: Sat, 31 Jan 2004 03:40:58 -0800 MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0035_01C3E7AC.09ED1770" X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40615 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This is a multi-part message in MIME format. ------=_NextPart_000_0035_01C3E7AC.09ED1770 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I've been doing nothing but pure improvisation for the last four years = of my life in=20 live looping situations and am ready to get down to some rigidly = composed music again. I found inspiration in the famous Shoenberg quote: "All Composition is just very slow Improvisation." and have added it's corollary: "All Imrpovisation is just very fast Composition". What I've found in my life's work is that I tend to oscillate between = the two modes. Early on it became obvious that group improvisations could be a very fertile source for = composition. Obviously this is mitigated by the relative strengths = (and desires) of the musicians one plays with. Other times, purely = composed pieces of music (which frequently have some problems because = other musicians don't always have a way of 'being part' of the process = when you hand out written parts) yield really great results. I have to say that some of the great moments of my life were improvising = with musicians that I just met but I also am in the mood lately to have rigidly controlled and = formalistically composed pieces of music. Consquently, I've been kind of following the loose formula of doing a = live improv CD followed by a formal composed Abstract Electronica CD. = I just broke mildly from this mold by releasing a CD that has both elements in it, though which leads me to believe that it is probably = best to eschew formalized approaches to this dialectic. This is where modern software and hardware technology comes in. On my = last tour, I saved every loop that I loved onto my Repeater (and if only = the EDP had the same kind of saving function that was quick, like the = Repeater). =20 I recently revisited these loops and realize that I have the basis for = several formal compositions using these live loops. I also love to record everything to minidisc because I can import a live = concert into my computer and then=20 cast about to find ideas that are so strong that they can then become = the basis of a formal composition. A lot of loops that I love but haven't found a good compositional home = for , I send to several artists that I love to collaborate with in the = hopes that they may stimulate some collaborative recording. It's the wonderful thing about using loops as a way of making music. = They are fodder for many different kinds of creativity including things = that we don't actually control ourselves. I say.............no all or none.................just use your musical = output in every way you can..........improvisationally or = compositionally. It can all be good!! ------=_NextPart_000_0035_01C3E7AC.09ED1770 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
I've been doing nothing but pure = improvisation for=20 the last four years of my life in
live looping situations and am ready to = get down to=20 some rigidly composed music again.
 
I found inspiration in the famous = Shoenberg=20 quote:
 
"All Composition is just very slow=20 Improvisation."
 
and have added it's = corollary:
 
"All Imrpovisation is just very fast=20 Composition".
 
 
What I've found in my life's work is = that I tend to=20 oscillate between the two modes.  Early on it became
obvious that group improvisations could = be a very=20 fertile source for composition.   Obviously this is mitigated = by the=20 relative strengths (and desires) of the musicians one plays with.  = Other=20 times, purely composed pieces of music (which frequently have some = problems=20 because other musicians don't always have a way of 'being part' of the = process=20 when you hand out written parts) yield really great = results.
 
I have to say that some of the great = moments of my=20 life were improvising with musicians that I just met
but I also am in the mood lately to = have rigidly=20 controlled and formalistically composed pieces of music.
 
Consquently, I've been kind of = following the loose=20 formula of doing a live improv CD followed by a formal composed Abstract = Electronica CD.    I just broke mildly from this mold by=20 releasing a CD that has both
elements in it, though which leads me = to believe=20 that it is probably best to eschew formalized approaches to this dialectic.
 
This is where modern software and = hardware=20 technology comes in.  On my last tour, I saved every loop that I = loved onto=20 my Repeater (and if only the EDP had the same kind of saving function = that was=20 quick, like the Repeater).  
 
I recently revisited these loops and = realize that I=20 have the basis for several formal compositions using these live=20 loops.
 
I also love to record everything to = minidisc=20 because I can import a live concert into my computer and then =
cast about to find ideas that are so = strong that=20 they can then become the basis of a formal composition.
A lot of loops that I love but haven't = found a good=20 compositional home for , I send to several artists that  I love to=20 collaborate with in the hopes that they may stimulate some collaborative = recording.
 
It's the wonderful thing about using = loops as a way=20 of making music.  They are fodder for many different kinds of = creativity=20 including things that we don't actually control ourselves.
 
I say.............no all or=20 none.................just use your musical output in every way you=20 can..........improvisationally or compositionally.
 
It can all be = good!!
------=_NextPart_000_0035_01C3E7AC.09ED1770-- From Loopers-Delight-request@loopers-delight.com Sun Feb 1 07:03:49 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11C0Jv32259; Sun, 1 Feb 2004 07:00:19 -0500 Resent-Date: Sun, 1 Feb 2004 07:00:19 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/10.0.0.1428 Date: Sun, 01 Feb 2004 13:00:02 +0100 Subject: Re: Improvising vs. composing From: Per Boysen To: Loopers Message-ID: In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i11C0Ik32235 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40616 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com On 04-02-01 06.30, "Dan Soltzberg" wrote: Sorry for reposting on this topic, but I forgot some details. > Problem is, >1. It¹s kind of intense to go to every show having no idea of > what I¹m going to play, hoping the muse is on the guest list Right! This is not so different from a gig with pre structured, or composed, music. Uninspired makes dull, always. It's just that a lousy gig with composed music might still sound a bit like "music" to untrained ears. And as an improvising performer it's harder to cheat when you have a bad night. But the more you play the more you also understand that the listeners do not experiencing your music the way you expect them to. In fact you may think that you are having a lousy gig but out there listeners in the audience can find it extremely uplifting. You just can't read others exception while you are playing. When you start out an improvisation you have to understand that you let go of all control. It is indeed a method to put oneself in situations where you loose control and have to rely entirely on instinct. A trick to achieve innovation. > 2. It¹s hard to bring other musicians in without having at least some > structure. There are also musicians that take interest in totally improvised music and then there shouldn't be a need for providing structure. I think a more usual problem is to manage to stay away from forming structures when improvising with other musicians. Everyone really have to listen fully all the time and be prepared to throw his own riffs right down the garbage drain if needed. Best regards Per Boysen -- Public Music Beta Testing http://www.looproom.com/p2p/ From Loopers-Delight-request@loopers-delight.com Sun Feb 1 07:08:52 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11C7KJ00548; Sun, 1 Feb 2004 07:07:20 -0500 Resent-Date: Sun, 1 Feb 2004 07:07:20 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/10.0.0.1428 Date: Sun, 01 Feb 2004 13:07:06 +0100 Subject: Re: Improvising vs. composing From: Per Boysen To: Loopers Message-ID: In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40617 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com On 04-02-01 13.00, "Per Boysen" wrote: Sorry for the bad spellings in my recent post. Too interesting topic, couldn't keep typing slow-and-safe... ;-) per From Loopers-Delight-request@loopers-delight.com Sun Feb 1 07:32:46 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11CVlm04041; Sun, 1 Feb 2004 07:31:47 -0500 Resent-Date: Sun, 1 Feb 2004 07:31:47 -0500 Old-Return-Path: Message-ID: <00a601c3e8a4$45cfe940$0207a8c0@Stephen> From: "Steve Goodman" To: References: Subject: Re: Improvising vs. composing Date: Sun, 1 Feb 2004 09:17:52 -0000 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: <09cXd.A.A_.zGPHAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40618 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Improvising vs. composingDan Soltzberg asked: >I've been doing a project, Orange, for a couple years. Tonight, I packed my gear out of a rehearsal space and turned in my keys after 3 months of struggling with trying to take this improvisational project and make it more structured- i.e., take stuff we'd made up and recorded at various shows and sessions and re-learn it and make a bunch of songs out of it. I just found I wasn't enjoying the process of trying to do this.< Perhaps it's not the song-writing but the compositing process that you're not enjoying. Try another project. Maybe the material will be easier for you to work with. I wouldn't just paste the entire process as something you don't like if it's one job that makes one think this. Um, forgive, no coffee yet. >So it seems I'm no longer very interested in writing and playing songs- what I really get inspired doing is going out on a limb and making the music up as I go. I can't seem to get the kind of spiritual high I get when I'm improvising if I'm playing stuff that's pre-structured. Not that I don't like structure- I just like creating it on the fly. < I concur with Mr. Tobenfield on his other points and won't repeat 'em. I didn't quit being a support person because one of the jobs I did (Hughes! Ugh!) was a Hell-on-Earth. I just went somewhere else to do my thing. So perhaps it's the project you're weary with, not the process itself. Try something else, or perhaps put the instrument down for a week, and then pick it up and see what happens. Things change upon new perspective. Don't give up for a single excuse. Steve Goodman * EarthLight Productions * http://www.earthlight.net From Loopers-Delight-request@loopers-delight.com Sun Feb 1 07:38:42 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11Cb6j05330; Sun, 1 Feb 2004 07:37:06 -0500 Resent-Date: Sun, 1 Feb 2004 07:37:06 -0500 Old-Return-Path: Message-ID: <002001c3e8c0$1c181110$05ae0044@tomdyy5ufajt7n> From: "Tom Rex" To: References: Subject: Re: Improvising vs. composing Date: Sun, 1 Feb 2004 05:37:09 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40619 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This reminds me of one of the pieces on "Sketches of Spain" where Miles appears to be stuck, but when he comes out of it, what beautiful music!!! There's also, the accompanying background of the orchestra romping, which comes into the foreground while Miles finds his way back to creativity, which has an ambient sound to it, which is a ground in itself. Tom ----- Original Message ----- From: "Per Boysen" To: "Loopers" Sent: Sunday, February 01, 2004 5:00 AM Subject: Re: Improvising vs. composing > On 04-02-01 06.30, "Dan Soltzberg" wrote: > > Sorry for reposting on this topic, but I forgot some details. > > > > Problem is, > >1. It¹s kind of intense to go to every show having no idea of > > what I¹m going to play, hoping the muse is on the guest list > > > Right! This is not so different from a gig with pre structured, or composed, > music. Uninspired makes dull, always. It's just that a lousy gig with > composed music might still sound a bit like "music" to untrained ears. > > And as an improvising performer it's harder to cheat when you have a bad > night. But the more you play the more you also understand that the listeners > do not experiencing your music the way you expect them to. In fact you may > think that you are having a lousy gig but out there listeners in the > audience can find it extremely uplifting. You just can't read others > exception while you are playing. When you start out an improvisation you > have to understand that you let go of all control. It is indeed a method to > put oneself in situations where you loose control and have to rely entirely > on instinct. A trick to achieve innovation. > > > > 2. It¹s hard to bring other musicians in without having at least some > > structure. > > There are also musicians that take interest in totally improvised music and > then there shouldn't be a need for providing structure. I think a more usual > problem is to manage to stay away from forming structures when improvising > with other musicians. Everyone really have to listen fully all the time and > be prepared to throw his own riffs right down the garbage drain if needed. > > Best regards > > Per Boysen > -- > Public Music Beta Testing http://www.looproom.com/p2p/ > From Loopers-Delight-request@loopers-delight.com Sun Feb 1 08:02:49 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11D0lw09979; Sun, 1 Feb 2004 08:00:47 -0500 Resent-Date: Sun, 1 Feb 2004 08:00:47 -0500 Old-Return-Path: Message-ID: <004401c3e8c3$63518720$05ae0044@tomdyy5ufajt7n> From: "Tom Rex" To: References: <003801c3e7ef$184745f0$64ddfea9@DAYGLOGREEN> Subject: Re: Improvising vs. composing Date: Sun, 1 Feb 2004 06:00:37 -0700 MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0041_01C3E888.B6D14470" X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40620 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This is a multi-part message in MIME format. ------=_NextPart_000_0041_01C3E888.B6D14470 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable JS Bach did some of this with "The Royal Theme" as it's now called. He = improvised for the King on the theme in the palace, then later after he = went home, he wrote up what he remembered and sent it back to the King = as "A Musical Offering". Naji Hakim - Composer - Organist - Improviser BACH'ORAMA Orgelfantasie =FCber Themen von Johann Sebastian Bach This organ fantasy develops several themes from Johann Sebastian Bach's = works. The succession of motives inspire different metrical, = contrapuntal or expressive textures generating a rhapsodic form. The = royal theme from the Musical Offering followed by a fugal development of = Kyrie II from B minor mass appear in the middle of the structrure as = climaxes to this homage. http://www.najihakim.com/works/notes/bachorama.html ----- Original Message -----=20 From: loop.pool=20 To: Loopers-Delight@loopers-delight.com=20 Sent: Saturday, January 31, 2004 4:40 AM Subject: Re: Improvising vs. composing I've been doing nothing but pure improvisation for the last four years = of my life in=20 live looping situations and am ready to get down to some rigidly = composed music again. I found inspiration in the famous Shoenberg quote: "All Composition is just very slow Improvisation." and have added it's corollary: "All Imrpovisation is just very fast Composition". What I've found in my life's work is that I tend to oscillate between = the two modes. Early on it became obvious that group improvisations could be a very fertile source for = composition. Obviously this is mitigated by the relative strengths = (and desires) of the musicians one plays with. Other times, purely = composed pieces of music (which frequently have some problems because = other musicians don't always have a way of 'being part' of the process = when you hand out written parts) yield really great results. I have to say that some of the great moments of my life were = improvising with musicians that I just met but I also am in the mood lately to have rigidly controlled and = formalistically composed pieces of music. Consquently, I've been kind of following the loose formula of doing a = live improv CD followed by a formal composed Abstract Electronica CD. = I just broke mildly from this mold by releasing a CD that has both elements in it, though which leads me to believe that it is probably = best to eschew formalized approaches to this dialectic. This is where modern software and hardware technology comes in. On my = last tour, I saved every loop that I loved onto my Repeater (and if only = the EDP had the same kind of saving function that was quick, like the = Repeater). =20 I recently revisited these loops and realize that I have the basis for = several formal compositions using these live loops. I also love to record everything to minidisc because I can import a = live concert into my computer and then=20 cast about to find ideas that are so strong that they can then become = the basis of a formal composition. A lot of loops that I love but haven't found a good compositional home = for , I send to several artists that I love to collaborate with in the = hopes that they may stimulate some collaborative recording. It's the wonderful thing about using loops as a way of making music. = They are fodder for many different kinds of creativity including things = that we don't actually control ourselves. I say.............no all or none.................just use your musical = output in every way you can..........improvisationally or = compositionally. It can all be good!! ------=_NextPart_000_0041_01C3E888.B6D14470 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
JS Bach did some of this with "The = Royal Theme" as=20 it's now called.  He improvised for the King on the theme in the = palace,=20 then later after he went home, he wrote up what he remembered and sent = it back=20 to the King as "A Musical Offering".
 
 
 
Naji Hakim -=20 Composer - Organist -=20 Improviser
BACH'ORAMA
Orgelfantasie =FCber = Themen von Johann=20 Sebastian Bach
 
 
This organ fantasy develops several = themes from=20 Johann Sebastian Bach's works. The succession of motives inspire = different=20 metrical, contrapuntal or expressive textures generating a = rhapsodic=20 form. The royal theme from = the=20 Musical Offering followed by a fugal development of Kyrie = II=20 from B minor mass appear in the middle of the structrure as = climaxes to=20 this homage.
 
http://www.n= ajihakim.com/works/notes/bachorama.html
 
 
----- Original Message -----
From:=20 loop.pool=20
To: Loopers-Delight@loope= rs-delight.com=20
Sent: Saturday, January 31, = 2004 4:40=20 AM
Subject: Re: Improvising vs.=20 composing

I've been doing nothing but pure = improvisation=20 for the last four years of my life in
live looping situations and am ready = to get down=20 to some rigidly composed music again.
 
I found inspiration in the famous = Shoenberg=20 quote:
 
"All Composition is just very slow=20 Improvisation."
 
and have added it's = corollary:
 
"All Imrpovisation is just very fast=20 Composition".
 
 
What I've found in my life's work is = that I tend=20 to oscillate between the two modes.  Early on it = became
obvious that group improvisations = could be a very=20 fertile source for composition.   Obviously this is = mitigated by the=20 relative strengths (and desires) of the musicians one plays = with.  Other=20 times, purely composed pieces of music (which frequently have some = problems=20 because other musicians don't always have a way of 'being part' of the = process=20 when you hand out written parts) yield really great = results.
 
I have to say that some of the great = moments of=20 my life were improvising with musicians that I just met
but I also am in the mood lately to = have rigidly=20 controlled and formalistically composed pieces of music.
 
Consquently, I've been kind of = following the=20 loose formula of doing a live improv CD followed by a formal composed = Abstract=20 Electronica CD.    I just broke mildly from this mold = by=20 releasing a CD that has both
elements in it, though which leads me = to believe=20 that it is probably best to eschew formalized approaches to = this dialectic.
 
This is where modern software and = hardware=20 technology comes in.  On my last tour, I saved every loop that I = loved=20 onto my Repeater (and if only the EDP had the same kind of saving = function=20 that was quick, like the Repeater).  
 
I recently revisited these loops and = realize that=20 I have the basis for several formal compositions using these live=20 loops.
 
I also love to record everything to = minidisc=20 because I can import a live concert into my computer and then =
cast about to find ideas that are so = strong that=20 they can then become the basis of a formal composition.
A lot of loops that I love but = haven't found a=20 good compositional home for , I send to several artists that  I = love to=20 collaborate with in the hopes that they may stimulate some = collaborative=20 recording.
 
It's the wonderful thing about using = loops as a=20 way of making music.  They are fodder for many different kinds of = creativity including things that we don't actually control=20 ourselves.
 
I say.............no all or=20 none.................just use your musical output in every way you=20 can..........improvisationally or compositionally.
 
It can all be=20 good!!
------=_NextPart_000_0041_01C3E888.B6D14470-- From Loopers-Delight-request@loopers-delight.com Sun Feb 1 08:21:05 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11DHhi14025; Sun, 1 Feb 2004 08:17:43 -0500 Resent-Date: Sun, 1 Feb 2004 08:17:43 -0500 Old-Return-Path: Message-ID: <005601c3e8c5$c5dd93a0$05ae0044@tomdyy5ufajt7n> From: "Tom Rex" To: References: <003801c3e7ef$184745f0$64ddfea9@DAYGLOGREEN> <004401c3e8c3$63518720$05ae0044@tomdyy5ufajt7n> Subject: Re: Improvising vs. composing Date: Sun, 1 Feb 2004 06:17:41 -0700 MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0053_01C3E88B.19562500" X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40621 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This is a multi-part message in MIME format. ------=_NextPart_000_0053_01C3E88B.19562500 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Sorry. I pushed send before I was finished with the e-mail. as Per = wrote: Too interesting topic, couldn't keep typing slow-and-safe... ;-) Anyway, I found Naji Hakim's web site, which demonstrates that a good = loop has a life of its own! So, who gets the credit for this, "old = Bach" as the King called him, or King Frederick himself? As with many = remixes, they sometimes sell better than the originals! Tom ----- Original Message -----=20 From: Tom Rex=20 To: Loopers-Delight@loopers-delight.com=20 Sent: Sunday, February 01, 2004 6:00 AM Subject: Re: Improvising vs. composing JS Bach did some of this with "The Royal Theme" as it's now called. = He improvised for the King on the theme in the palace, then later after = he went home, he wrote up what he remembered and sent it back to the = King as "A Musical Offering". Naji Hakim - Composer - Organist - Improviser BACH'ORAMA Orgelfantasie =FCber Themen von Johann Sebastian Bach This organ fantasy develops several themes from Johann Sebastian = Bach's works. The succession of motives inspire different metrical, = contrapuntal or expressive textures generating a rhapsodic form. The = royal theme from the Musical Offering followed by a fugal development of = Kyrie II from B minor mass appear in the middle of the structrure as = climaxes to this homage. http://www.najihakim.com/works/notes/bachorama.html ----- Original Message -----=20 From: loop.pool=20 To: Loopers-Delight@loopers-delight.com=20 Sent: Saturday, January 31, 2004 4:40 AM Subject: Re: Improvising vs. composing I've been doing nothing but pure improvisation for the last four = years of my life in=20 live looping situations and am ready to get down to some rigidly = composed music again. I found inspiration in the famous Shoenberg quote: "All Composition is just very slow Improvisation." and have added it's corollary: "All Imrpovisation is just very fast Composition". What I've found in my life's work is that I tend to oscillate = between the two modes. Early on it became obvious that group improvisations could be a very fertile source for = composition. Obviously this is mitigated by the relative strengths = (and desires) of the musicians one plays with. Other times, purely = composed pieces of music (which frequently have some problems because = other musicians don't always have a way of 'being part' of the process = when you hand out written parts) yield really great results. I have to say that some of the great moments of my life were = improvising with musicians that I just met but I also am in the mood lately to have rigidly controlled and = formalistically composed pieces of music. Consquently, I've been kind of following the loose formula of doing = a live improv CD followed by a formal composed Abstract Electronica CD. = I just broke mildly from this mold by releasing a CD that has both elements in it, though which leads me to believe that it is probably = best to eschew formalized approaches to this dialectic. This is where modern software and hardware technology comes in. On = my last tour, I saved every loop that I loved onto my Repeater (and if = only the EDP had the same kind of saving function that was quick, like = the Repeater). =20 I recently revisited these loops and realize that I have the basis = for several formal compositions using these live loops. I also love to record everything to minidisc because I can import a = live concert into my computer and then=20 cast about to find ideas that are so strong that they can then = become the basis of a formal composition. A lot of loops that I love but haven't found a good compositional = home for , I send to several artists that I love to collaborate with in = the hopes that they may stimulate some collaborative recording. It's the wonderful thing about using loops as a way of making music. = They are fodder for many different kinds of creativity including things = that we don't actually control ourselves. I say.............no all or none.................just use your = musical output in every way you can..........improvisationally or = compositionally. It can all be good!! ------=_NextPart_000_0053_01C3E88B.19562500 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Sorry. I pushed send before I was = finished with the=20 e-mail.  as Per wrote: Too interesting topic, couldn't keep = typing=20 slow-and-safe... ;-)
Anyway, I found Naji=20 Hakim's web site, which demonstrates that a good loop has a life of its=20 own!  So, who gets the credit for this, "old Bach" as the King = called him,=20 or King Frederick himself?  As with many remixes, they sometimes = sell=20 better than the originals!
 
Tom
----- Original Message -----
From:=20 Tom Rex =
To: Loopers-Delight@loope= rs-delight.com=20
Sent: Sunday, February 01, 2004 = 6:00=20 AM
Subject: Re: Improvising vs.=20 composing

JS Bach did some of this with "The = Royal Theme"=20 as it's now called.  He improvised for the King on the theme in = the=20 palace, then later after he went home, he wrote up what he remembered = and sent=20 it back to the King as "A Musical Offering".
 
 
 
Naji Hakim=20 - Composer - Organist -=20 Improviser
BACH'ORAMA
Orgelfantasie =FCber = Themen von Johann=20 Sebastian Bach
 
 
This organ fantasy develops several = themes from=20 Johann Sebastian Bach's works. The succession of motives inspire=20 different metrical, contrapuntal or expressive textures = generating a=20 rhapsodic form. The = royal theme from=20 the Musical Offering followed by a fugal development of = Kyrie=20 II from B minor mass appear in the middle of the = structrure as=20 climaxes to this homage.
 
http://www.n= ajihakim.com/works/notes/bachorama.html
 
 
----- Original Message -----
From:=20 loop.pool=20
To: Loopers-Delight@loope= rs-delight.com=20
Sent: Saturday, January 31, = 2004 4:40=20 AM
Subject: Re: Improvising vs.=20 composing

I've been doing nothing but pure = improvisation=20 for the last four years of my life in
live looping situations and am = ready to get=20 down to some rigidly composed music again.
 
I found inspiration in the famous = Shoenberg=20 quote:
 
"All Composition is just very slow=20 Improvisation."
 
and have added it's = corollary:
 
"All Imrpovisation is just very = fast=20 Composition".
 
 
What I've found in my life's work = is that I=20 tend to oscillate between the two modes.  Early on it=20 became
obvious that group improvisations = could be a=20 very fertile source for composition.   Obviously this is = mitigated=20 by the relative strengths (and desires) of the musicians one plays=20 with.  Other times, purely composed pieces of music (which = frequently=20 have some problems because other musicians don't always have a way = of 'being=20 part' of the process when you hand out written parts) yield really = great=20 results.
 
I have to say that some of the = great moments of=20 my life were improvising with musicians that I just met
but I also am in the mood lately to = have=20 rigidly controlled and formalistically composed pieces of=20 music.
 
Consquently, I've been kind of = following the=20 loose formula of doing a live improv CD followed by a formal = composed=20 Abstract Electronica CD.    I just broke mildly from = this=20 mold by releasing a CD that has both
elements in it, though which leads = me to=20 believe that it is probably best to eschew formalized approaches to=20 this dialectic.
 
This is where modern software and = hardware=20 technology comes in.  On my last tour, I saved every loop that = I loved=20 onto my Repeater (and if only the EDP had the same kind of saving = function=20 that was quick, like the Repeater).  
 
I recently revisited these loops = and realize=20 that I have the basis for several formal compositions using these = live=20 loops.
 
I also love to record everything to = minidisc=20 because I can import a live concert into my computer and then =
cast about to find ideas that are = so strong=20 that they can then become the basis of a formal = composition.
A lot of loops that I love but = haven't found a=20 good compositional home for , I send to several artists that  I = love to=20 collaborate with in the hopes that they may stimulate some = collaborative=20 recording.
 
It's the wonderful thing about = using loops as a=20 way of making music.  They are fodder for many different kinds = of=20 creativity including things that we don't actually control=20 ourselves.
 
I say.............no all or=20 none.................just use your musical output in every way you=20 can..........improvisationally or compositionally.
 
It can all be=20 good!!
------=_NextPart_000_0053_01C3E88B.19562500-- From Loopers-Delight-request@loopers-delight.com Sun Feb 1 10:18:24 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11FGFD07188; Sun, 1 Feb 2004 10:16:15 -0500 Resent-Date: Sun, 1 Feb 2004 10:16:15 -0500 Old-Return-Path: X-Originating-IP: [142.177.140.112] X-Originating-Email: [danioore@hotmail.com] X-Sender: danioore@hotmail.com From: "Dani Oore" To: Loopers-Delight@loopers-delight.com Subject: Re: LIVE LOOPED BEATBOXING review Date: Sun, 01 Feb 2004 11:16:07 -0400 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Message-ID: X-OriginalArrivalTime: 01 Feb 2004 15:16:08.0635 (UTC) FILETIME=[519C50B0:01C3E8D6] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40622 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com yes. i'm also interested in getting the info on this: >video software that could be synced to rhythmic loops via midi thanks. d >From: "L. Angulo" >Reply-To: Loopers-Delight@loopers-delight.com >To: Loopers-Delight@loopers-delight.com >Subject: Re: LIVE LOOPED BEATBOXING review >Date: Sat, 31 Jan 2004 00:17:42 -0800 (PST) > >Wow man this sounds really exciting!!! i would really >appreciate it if you could send me links about this >microphone with integrated fxs and its funny, i asked >the L.D. community about a year ago about a video >software that could be synced to rhythmic loops via >midi and nobody responded to this and now you are >giving me the link i was looking for! >I am very interested in integrating images live and >would like links also to unique artists who make good >abstract videos. >Ok off to munich bro and tomorrow california yes i >can´t wait to eat tacos with lots of salsa and >guacamole! >cheers >Louie > > >--- "loop.pool" wrote: > > I was part of one of the coolest gigs I've ever done > > last night in San > > Francisco's > > Protrero Hill section. I just wanted to tell you > > all about it and hip you > > to some incredible new looping > > artists that I just became aware of. > > > > I performed with three amazing BeatBoxers who were > > all using live looping > > gear > > (from a very short digital delay loop to a > > sophisticated midi pedal driven > > Abletons' live laptop > > performance) in San Francisco at the IllBilly > > Rhodehouse on Portrero Hill. > > > > I have to single out to a couple of amazing > > performers: > > > > KID LUCKY who has been an incredible performer and > > archiver/producer/historian of the beatboxing > > movement in New York City > > did a fascinating performance utilizing two brand > > new pieces of > > techology: an amazing microphone with built in > > effects that he used with > > his mouth put up against this throat to achieve > > sounds that went from guitar > > feedback-esque sounds to industrial sounds to > > incredible beat box mastery to > > spoken word.........................all the while > > controlling video software > > in real time > > with a new program that allows audio to control > > video from Edirol !!!!! I > > wish I knew the names of the individual instruments, > > but maybe if he is > > lurking, he can fill us in on the stuff. He used > > a lot of long reverb on > > his whole performance and it made it sound like > > listening to a chronicling > > of urban culture > > through an old Victrola............both futuristic > > and archaic at the same > > time.............it was a really haunting effect and > > I was really impressed > > by his artistry and vision. Please check his shit > > out. > > > > KID BEYOND was not only the producer of the event, > > but had an extremely > > sophisticated and entertaining show he put together. > > He is not only an > > encylopedia of great beat box effects but he has a > > beautiful soul/r&b voice > > and a nice understanding of vocal harmony. He > > accurately mimicked > > everything from turntable scratching to techno synth > > bass sounds to > > harmonicas to digital echo effects. > > Wow!!!!! For me, the tour de force of his whole > > show was his opening > > number where he accurately simulated a Portishead > > song.....................with ALL the musical > > elements. It was such an > > accurate reproduction that spontaneous cheers > > erupted several times in the > > middle of the performance as people realized that he > > had pulled off another > > effect, perfectly.............all without > > effects..........only voice. > > > > I was also very impressed with his command and use > > of the laptop and > > ableton's live. He told me afterwards that his > > intention was to never touch > > the laptop and he was successful with his use of > > midi pedal implementation of the loops.This > > immeasurably added to the > > stength of the performance. I've been a bit > > critical of LIVE because you > > have to use a metronome to start a piece, but KID > > BEYOND cleverly used a > > vocal 'hit hat' simulation so the effect was very > > consistent. He's the > > first person to make me seriously reconsider getting > > into that program for > > live work and that says a lot. He completely > > transcended the 'gearhead' > > live looping show and was entertaining, inspiring > > and funny during his set. > > > > I must also say that he is really working hard to > > keep beatboxing very > > active in San Francisco and he also has a really big > > heart: involved with > > community service projects and benefits. > > > > The incomparable Zoe Keating also provided some > > beatiful counterpoint to the > > all vocal > > evening----it was my CD release party for SF with my > > all vocal CD) on cello. > > What a beautiful musician she is. I just love her > > stuff and can't wait to > > buy a solo cello looping CD from here. > > > > I also really enjoyed a very young and extremely > > talented beatboxing artist > > named EACH. > > This young man has an incredible future ahead of > > him. He also, for my > > money, was the dopest pure > > beatboxer on the bill. I pride myself on being > > able to simulate a lot of > > drum effects in my limited > > use of beatboxing..................this punk made me > > completely embarrased > > to go on stage............what a repertoire and also > > very, very > > sophisticated rhythmically (which you don't always > > hear in beatboxing). > > > > I had a fun set and was really warmly recieved by > > the audience who were > > generous and enthusiastic the whole evening. My > > ears were ringing from the > > high pitched whoops and hollers at the end of every > > set. > > > > To top it all off............the Illbilly Rhodehouse > > who hosted us in a > > beautiful former 19th century Portero Hill saloon is > > a very intimate venue. > > They are going to have other performances and I > > can't wait to go back and > > play again for these really enthusiastic and warm > > supporters of new art in > > the city. > > > > I knew it was a succesful event because every artist > > was talking with every > > other artist about collaborating on future projects > > at the end of the > > gig.............a very good sign, indeed. > > > > Well, tonight I got to see my brother, Bill Walker > > do some very tasty live > > looping, backing his sweetheart Nancy LeVan as she > > was given the prestigious > > Gail Rich Award for Service and Accomplishements in > > the Arts tonight and > > tomorrow night, I"m off to see the wonderfully > > creative and inventive Steve > > Lawson and Michael Manring at the Espresso Gardens > > tonight. > > > > What a fantastic live looping week!!!!! I feel > > happy to be alive. > > > > yours, Rick Walker > > > > > > >===== >www.luis-angulo.com > >__________________________________ >Do you Yahoo!? >Yahoo! SiteBuilder - Free web site building tool. Try it! >http://webhosting.yahoo.com/ps/sb/ > _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus&pgmarket=en-ca&RU=http%3a%2f%2fjoin.msn.com%2f%3fpage%3dmisc%2fspecialoffers%26pgmarket%3den-ca From Loopers-Delight-request@loopers-delight.com Sun Feb 1 11:13:41 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11GAo118803; Sun, 1 Feb 2004 11:10:50 -0500 Resent-Date: Sun, 1 Feb 2004 11:10:50 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/9.0.2509 Date: Sun, 01 Feb 2004 11:11:29 -0500 Subject: Slash Matters From: Andre Cholmondeley To: Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40623 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > Since Guns N' Roses imploded > in the mid-'90s, no Les Paul player has commanded the cross-genre visibility > of Slash in his heyday. >>>Since when did Slash have "cross-genre visibility", or for that matter much >>>of a catalog? Is this PR or what? Well yes - the whole article is - but Like 'em or not - G N R had a HUGE effect on rock, hard rock, glam rock, metal and pop music in the late 80s. Stations that played all of these genres played the hell outta 'sweet child' and 'welcome to the jungle'. And they DID mark a return to straight-ahead rock n roll being on the charts and actually selling "units"... > Metallica's Kirk Hammett and Weezer's Rivers Cuomo, > both Les Paul players, don't have Slash's following or showmanship. >>>I guess the writer was one of those unfortunate Drunks n' Posers fans. >>>[shaking head] Or he's working for Gibson and is desperate to fill an >>>article. Well - he's wrong on the numbers.. Metallica certainly has the 'following' of GnR and then some.... But Hammett has always been known for his black ESP. Still uses it - tho he does use LPs in the studio and occasionally live. Weezer certainly had a couple hits but Mr Cuomo isnt per se known as a 'guitar hero'. As silly as that phrase is - in the world of rock it's what has defined guitars sales. - Hendrix, Page, Van Halen - you think immediately of a certain brand and model of guitar. Slash was just at the right place right time with the right sound. Bingo - millions of kids and aging NY Dolls/Johnny Thunders fans raced out to pick up a phat sunburst!! From Loopers-Delight-request@loopers-delight.com Sun Feb 1 11:16:29 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11GE3c19554; Sun, 1 Feb 2004 11:14:03 -0500 Resent-Date: Sun, 1 Feb 2004 11:14:03 -0500 Old-Return-Path: X-Originating-IP: [142.177.140.112] X-Originating-Email: [danioore@hotmail.com] X-Sender: danioore@hotmail.com From: "Dani Oore" To: Loopers-Delight@loopers-delight.com Subject: RE: Improvising vs. composing Date: Sun, 01 Feb 2004 12:13:56 -0400 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Message-ID: X-OriginalArrivalTime: 01 Feb 2004 16:13:57.0531 (UTC) FILETIME=[653BD6B0:01C3E8DE] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40624 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com hi, i struggle with this question a lot. try to evaluate what did/didnt work about the compositions or the process of realizing the compositions. was it your method of communicating the composition to the musicians: -orally (ex: describing the piece before playing, yelling ideas or cues during performance), -notated score (of some convention... or not), -flash-cards (cues / descriptive..), -conducting (tempos/grooves/or set-up some system/set of conventions where your movements determine certain sonic limits: frequency,timbre.. then dance! or just dance without any system.), -with your instrument (ex: giving sonic/musical cues, or play a given idea to one group/musician, then when they have the idea they 'loop' it, 'overdub' other ideas by selecting and playing to other musicians...) is there is a schism between your expectations of the musicians and their ability/interest to meet these? how much trust do you have in your musicians --at what point are you able to let-go of your creative vision for the sake of the performers' personal sense of contribution/responsibility to the music -ultimately, for a successful performance ?? 'composing' comes in all forms... what makes you want to 'compose'? figure-out what the bare minimum limit(s) that the composition must satisfy to fulfil your desire to compose. then you have a composition. if what you desire is simply a return of good improv material, it might be as simple as holding up flash card when everyone is doing something you like, so that they make a mental note to remember exactly what they're doing, then you can keep recalling this particular event with the appropriate flash card. or... telling your musician(s) to create an A-B-A structure where 'B' is distinguished by some marked change of tempo or whatever. then practise this composition: by repeatedly creating A-B-A forms. maybe a simpler composition.. thanks for the opportunity to think about this. (i appreciate any comments...) dani oore http://www.cs.toronto.edu/~oore/dani/index.html >From: Dan Soltzberg >Reply-To: Loopers-Delight@loopers-delight.com >To: Loopers Delight >Subject: Improvising vs. composing >Date: Sun, 01 Feb 2004 00:30:07 -0500 > >Hi gang, > > >Would love to hear people¹s experiences with this dilemma: > >I¹ve been doing a project, Orange, for a couple years. Tonight, I packed my >gear out of a rehearsal space and turned in my keys after 3 months of >struggling with trying to take this improvisational project and make it >more >structured‹ i.e., take stuff we¹d made up and recorded at various shows and >sessions and re-learn it and make a bunch of songs out of it. I just found >I >wasn¹t enjoying the process of trying to do this. > >So it seems I¹m no longer very interested in writing and playing songs‹ >what >I really get inspired doing is going out on a limb and making the music up >as I go. I can¹t seem to get the kind of spiritual high I get when I¹m >improvising if I¹m playing stuff that¹s pre-structured. Not that I don¹t >like structure‹ I just like creating it on the fly. > >Problem is, 1. It¹s kind of intense to go to every show having no idea of >what I¹m going to play, hoping the muse is on the guest list > >2. It¹s hard to bring other musicians in without having at least some >structure. > > >Thoughts? Similar experiences? Solutions? > > >Dan > > >-- >ghost 7/ Orange >http://www.envelopeproductions.com >d.ans@rcn.com > _________________________________________________________________ The new MSN 8: advanced junk mail protection and 2 months FREE* http://join.msn.com/?page=dept/bcomm&pgmarket=en-ca&RU=http%3a%2f%2fjoin.msn.com%2f%3fpage%3dmisc%2fspecialoffers%26pgmarket%3den-ca From Loopers-Delight-request@loopers-delight.com Sun Feb 1 12:07:32 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11H4kw31310; Sun, 1 Feb 2004 12:04:46 -0500 Resent-Date: Sun, 1 Feb 2004 12:04:46 -0500 Old-Return-Path: From: ArsOcarina@aol.com Message-ID: Date: Sun, 1 Feb 2004 12:04:38 EST Subject: Re: Improvising vs. composing To: Loopers-Delight@loopers-delight.com MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" X-Mailer: AOL 5.0 for Mac sub 7 Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i11H4jk31285 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40625 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Hi folks, I too struggle with the choice of doing either wholly improvised or composed music with some of the same problems you all mention. The CD I did a couple of years back was entirely improvised and was the result of one of those rare and sublime "spiritual highs" that was mentioned. Problems arose for me as I started to go out and gig in support of this disc when I tried to replicate (as well as I could) the pieces on the CD. It was not a fun experience generally -- at least not for me. Who knows what the audiences were thinking. I am not a professional performer by any means. But I did my best to struggle through and do these gigs anyway. However, I do have to say my favorite part of them has always been when something went wrong or distracted me for a moment and my "muse" suddenly reappeard. This would invariably happen when my "plans" had somehow been sufficiently knocked off track that true improvising began to happen again. I now try to allow for more of this to happen since it seems (to me) that that is my true calling as a musician anyway. I'm amuch better improvisor (even if I am rather spotty at that) than I am a composer. I just try to live with and accept that. Best, tEd ® kiLLiAn http://www.pfmentum.com/flux.html http://www.CDbaby.com/cd/tedkillian http://www.guitar9.com/fluxaeterna.html http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=193 From Loopers-Delight-request@loopers-delight.com Sun Feb 1 12:15:44 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11HDt201452; Sun, 1 Feb 2004 12:13:55 -0500 Resent-Date: Sun, 1 Feb 2004 12:13:55 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/10.1.1.2418 Date: Sun, 01 Feb 2004 08:56:06 -0800 Subject: Re: Improvising vs. composing From: Mark Hamburg To: Message-ID: In-Reply-To: <002001c3e8c0$1c181110$05ae0044@tomdyy5ufajt7n> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40626 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com on 2/1/04 4:37 AM, Tom Rex at tomrex1@cox.net wrote: > This reminds me of one of the pieces on "Sketches of Spain" where Miles > appears to be stuck, but when he comes out of it, what beautiful music!!! > There's also, the accompanying background of the orchestra romping, which > comes into the foreground while Miles finds his way back to creativity, > which has an ambient sound to it, which is a ground in itself. Keith Jarrett's solo piano improvs also contain some interesting examples of getting stuck and then finding the muse again. Mark From Loopers-Delight-request@loopers-delight.com Sun Feb 1 12:16:24 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11HDul01479; Sun, 1 Feb 2004 12:13:56 -0500 Resent-Date: Sun, 1 Feb 2004 12:13:56 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/10.1.1.2418 Date: Sun, 01 Feb 2004 09:10:49 -0800 Subject: Re: Improvising vs. composing From: Mark Hamburg To: "Looper's Delight" Message-ID: In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40627 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com I've found that doing mostly recorded work rather than live performance has definitely pushed me toward improvisation though in a form that starts to tend toward composition. Generally, when recording I will take an idea and work it multiple times before recording it. Each pass is a bit different and each is improvised, but with each pass I also learn more about where I can go, where I want to go, and how to get there. Once it's committed to a recorded form, however, I rarely worry about remembering how specifically to play it. The effect of this for my occasional live work is that I may have some basic ideas milling around in my head and some elements to fall back on, but essentially everything is improvised and hence is a first take pass at the idea of the moment. Sometimes, this works out quite well. Sometimes, the muse is less cooperative. My personal reviews of my live work over the last two years: Loopstock 2002: I personally remember being nervous as hell not having played in public since 1987. Jon Wagner's recording of the last five minutes of my performance, however, (see http://www.baymoon.com/~mark_hamburg and click on the Loopstock 2002 link) still strikes me as turning out really well. Santa Cruz Y2K2: I just got the recordings a couple months ago from Peter Coates. The three pieces had a fair amount of similarity across them, but I think they all turned out really well. Loopstock 2003: I know I was in a dark, noisy, ambient mode at the time, but I haven't heard the recordings to know how it turned out. Santa Cruz Y2K3: It had not been a good week for me and the muse was being less co-operative. My first piece went way too long as I tried to make it work. The other three pieces were better but not up to the standards of Y2K2. (If you invite me back this year, Rick, I promise to try to do better.) Mark From Loopers-Delight-request@loopers-delight.com Sun Feb 1 13:19:21 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11IF1a14815; Sun, 1 Feb 2004 13:15:01 -0500 Resent-Date: Sun, 1 Feb 2004 13:15:01 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: secret@ax.to Message-Id: In-Reply-To: References: <00ba01c3e807$e0a76df0$b6705643@elfmaster> Date: Sun, 1 Feb 2004 13:14:51 -0500 To: Loopers-Delight@loopers-delight.com From: Tom Ritchford Subject: Re: The 100-Megabit Guitar in WIRED Content-Type: text/plain; charset="us-ascii" ; format="flowed" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40628 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com stupidest idea in the world. throw away your pedals? a 1/4" cable is the simplest idea in the world. so little to go wrong, you can even send stereo. if you want to consolidate your snake into CAT-5, do it *after* the amp -- not at the guitar. I agree 100% with the various negative comments about Gibson as a whole as well... I've had bad dealings with them personally (I had a lot of Opcode products, you see...) /t -- http://extremeNY.com/list ....... extreme NY music and arts mailing list From Loopers-Delight-request@loopers-delight.com Sun Feb 1 13:30:39 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11IRht17919; Sun, 1 Feb 2004 13:27:43 -0500 Resent-Date: Sun, 1 Feb 2004 13:27:43 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/10.0.0.1309 Date: Sun, 01 Feb 2004 13:27:42 -0500 Subject: Re: Slash Matters From: Dan Soltzberg To: Loopers Delight Message-ID: In-Reply-To: Mime-version: 1.0 Content-type: multipart/alternative; boundary="B_3158486863_4946279" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40629 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. --B_3158486863_4946279 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Not to mention his impact on the top hat market. D on 2/1/04 11:11 AM, Andre Cholmondeley at projectobject@earthlink.net wrote: > > >> > Since Guns N' Roses imploded >> > in the mid-'90s, no Les Paul player has commanded the cross-genre >> visibility >> > of Slash in his heyday. > >>>> >>>Since when did Slash have "cross-genre visibility", or for that matter >>>> much >>>> >>>of a catalog? Is this PR or what? > > Well yes - the whole article is - but Like 'em or not - G N R had a HUGE > effect on rock, hard rock, glam rock, metal and pop music in the late 80s. > Stations that played all of these genres played the hell outta 'sweet child' > and 'welcome to the jungle'. > > And they DID mark a return to straight-ahead rock n roll being on the charts > and actually selling "units"... > >> > Metallica's Kirk Hammett and Weezer's Rivers Cuomo, >> > both Les Paul players, don't have Slash's following or showmanship. > >>>> >>>I guess the writer was one of those unfortunate Drunks n' Posers fans. >>>> >>>[shaking head] Or he's working for Gibson and is desperate to fill an >>>> >>>article. > > > Well - he's wrong on the numbers.. Metallica certainly has the 'following' > of GnR and then some.... But Hammett has always been known for his black > ESP. Still uses it - tho he does use LPs in the studio and occasionally > live. Weezer certainly had a couple hits but Mr Cuomo isnt per se known as a > 'guitar hero'. > > As silly as that phrase is - in the world of rock it's what has defined > guitars sales. - Hendrix, Page, Van Halen - you think immediately of a > certain brand and model of guitar. Slash was just at the right place right > time with the right sound. Bingo - millions of kids and aging NY > Dolls/Johnny Thunders fans raced out to pick up a phat sunburst!! > --B_3158486863_4946279 Content-type: text/html; charset="US-ASCII" Content-transfer-encoding: quoted-printable Re: Slash Matters Not to mention his impact on the top hat market.


D


on 2/1/04 11:11 AM, Andre Cholmondeley at projectobject@earthlink.net wrote= :

<snip>

> Since Guns N' Roses imploded
> in the mid-'90s, no Les Paul player has commanded the cross-genre visi= bility
> of Slash in his heyday.

>>>Since when did Slash have "cross-genre visibility", o= r for that matter much
>>>of a catalog?  Is this PR or what?

Well yes - the whole article is - but Like 'em or not - G N R had a HUGE effect on rock, hard rock, glam rock, metal and pop music in the late 80s.<= BR> Stations that played all of these genres played the hell outta 'sweet child= '
and 'welcome to the jungle'.

And they DID mark a return to straight-ahead rock n roll being on the chart= s
and actually selling "units"...

> Metallica's Kirk Hammett and Weezer's Rivers Cuomo,
> both Les Paul players, don't have Slash's following or showmanship.
>>>I guess the writer was one of those unfortunate Drunks n' Poser= s fans.
>>>[shaking head]  Or he's working for Gibson and is desperat= e to fill an
>>>article.


Well - he's wrong on the numbers.. Metallica certainly has the 'following'<= BR> of GnR and then some.... But Hammett has always been known for his black ESP. Still uses it - tho he does use LPs in the studio and occasionally
live. Weezer certainly had a couple hits but Mr Cuomo isnt per se known as = a
'guitar hero'.

As silly as that phrase is - in the world of rock it's what has defined
guitars sales.  - Hendrix, Page, Van Halen - you think immediately of = a
certain brand and model of guitar. Slash was just at the right place right<= BR> time with the right sound. Bingo - millions of kids and aging NY
Dolls/Johnny Thunders fans raced out to pick up a phat sunburst!!


 --B_3158486863_4946279-- From Loopers-Delight-request@loopers-delight.com Sun Feb 1 13:49:01 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11IkvW22455; Sun, 1 Feb 2004 13:46:57 -0500 Resent-Date: Sun, 1 Feb 2004 13:46:57 -0500 Old-Return-Path: Message-ID: <009a01c3e8f3$9749d0c0$4fe0bc3f@hppav> From: "Rick Williamson" To: References: Subject: Re: Improvising vs. composing Date: Sun, 1 Feb 2004 12:45:39 -0600 MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0097_01C3E8C1.4BD52D60" X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1106 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1106 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40630 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This is a multi-part message in MIME format. ------=_NextPart_000_0097_01C3E8C1.4BD52D60 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Improvising vs. composingThe best advice I could give would be to = suggest the book by Derek Bailey, "Improvisation- Its Nature and = Practice in Music" ISBN 0-306-80528-6 British Library 0 7123 0506 8 If you haven't encountered this text yet, you should take the time. Nice = and open ended without a lot of hard opinions to swallow. A thinking = persons guide to music making. ------=_NextPart_000_0097_01C3E8C1.4BD52D60 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Improvising vs. composing
The best advice I could give would be = to suggest=20 the book by Derek Bailey, "Improvisation- Its Nature and Practice in=20 Music"
ISBN 0-306-80528-6
British Library 0 7123 0506 = 8
 
If you haven't encountered this text = yet, you=20 should take the time. Nice and open ended without a lot of hard opinions = to=20 swallow. A thinking persons guide to music making.
 
------=_NextPart_000_0097_01C3E8C1.4BD52D60-- From Loopers-Delight-request@loopers-delight.com Sun Feb 1 14:01:05 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11IvGH25212; Sun, 1 Feb 2004 13:57:16 -0500 Resent-Date: Sun, 1 Feb 2004 13:57:16 -0500 Old-Return-Path: Message-ID: <401D4C00.10900@biink.com> Date: Sun, 01 Feb 2004 13:57:04 -0500 From: David Beardsley Reply-To: db@biink.com Organization: Biink & SSI User-Agent: Mozilla/5.0 (Windows; U; Windows NT 5.1; en-US; rv:1.5) Gecko/20031007 X-Accept-Language: en-us, en MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Re: Improvising vs. composing References: <009a01c3e8f3$9749d0c0$4fe0bc3f@hppav> In-Reply-To: <009a01c3e8f3$9749d0c0$4fe0bc3f@hppav> Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40631 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com When I'm improvising, I'm composing. I think Frank Zappa called improvisation instant composition. -- * David Beardsley * microtonal guitar * http://biink.com/db From Loopers-Delight-request@loopers-delight.com Sun Feb 1 14:23:22 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11JKs330665; Sun, 1 Feb 2004 14:20:54 -0500 Resent-Date: Sun, 1 Feb 2004 14:20:54 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: emile@foryourhead.com@mail.speakeasy.net Message-Id: In-Reply-To: <009a01c3e8f3$9749d0c0$4fe0bc3f@hppav> References: <009a01c3e8f3$9749d0c0$4fe0bc3f@hppav> Date: Sun, 1 Feb 2004 14:11:54 -0500 To: Loopers-Delight@loopers-delight.com From: "Emile Tobenfeld (a.k.a Dr. T)" Subject: Re: Improvising vs. composing books Content-Type: text/plain; charset="us-ascii" ; format="flowed" Resent-Message-ID: <4c1o3C.A._eH.VGVHAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40632 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com The Bailey book is great. I'd recommend even more highly Free Play, by Stephen Nachmanovitch published by Tarcher At 12:45 PM -0600 2/1/04, Rick Williamson wrote: >The best advice I could give would be to suggest the book by Derek >Bailey, "Improvisation- Its Nature and Practice in Music" >ISBN 0-306-80528-6 >British Library 0 7123 0506 8 > >If you haven't encountered this text yet, you should take the time. >Nice and open ended without a lot of hard opinions to swallow. A >thinking persons guide to music making. > -- "Any universe simple enough to be understood is too simple to produce a mind able to understand it" -- John D. Barrow This conjecture strikes me as a logical extension of Godel's Incompleteness Theorem. Visit "Before the Fall -- Images of the World Trade Center" at http://www.foryourhead.com Emile Tobenfeld, Ph. D. Video Producer Image Processing Specialist Video for your HEAD! Boris FX http://www.foryourhead.com http://www.borisfx.com From Loopers-Delight-request@loopers-delight.com Sun Feb 1 14:34:16 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11JVFl01053; Sun, 1 Feb 2004 14:31:15 -0500 Resent-Date: Sun, 1 Feb 2004 14:31:15 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/10.0.0.1309 Date: Sun, 01 Feb 2004 14:31:14 -0500 Subject: Re: Improvising vs. Composing From: Dan Soltzberg To: Loopers Delight Message-ID: Mime-version: 1.0 Content-type: multipart/alternative; boundary="B_3158490675_5141213" Resent-Message-ID: <2lMjaD.A.VQ.DQVHAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40633 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. --B_3158490675_5141213 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Thanks everyone for your responses=8B it=B9s very useful and interesting to tal= k about this. There were a couple of things people said that especially struc= k me-- Tom: =20 JS Bach did some of this with "The Royal Theme" as it's now called. He improvised for the King on the theme in the palace, then later after he wen= t home, he wrote up what he remembered and sent it back to the King as "A Musical Offering". That=B9s really fascinating to know. It also makes me realize how little I know about other people=B9s composition processes (other than the really famous examples like Cage). I=B9d love to hear more anecdotes on this subject= . What=B9s your process, anyone? Know any good stories about how others work? Per: When you start out an improvisation you have to understand that you let go of all control. It is indeed a method to put oneself in situations where yo= u loose control and have to rely entirely on instinct. A trick to achieve innovation. I guess that=B9s part of what=B9s bugging me=8B that my instincts seem to be so much more evolved than my rational mind. I feel kind of illiterate-- like I should be able to compose with as much disregard for =B3the rules=B2 as I improvise, but it isn=B9t working that way. My understanding of this is that composition is an act of will power, while improvisation is just an expression of life. That=B9s very well said. I guess I tend to come down more in the life camp than the will power one, which is something I often struggle with. To say a little more about Orange, the project I referred to in my first post on this topic, what we had been doing is improvising songs, which I always felt was kind of a cool approach to playing rock clubs. Since I do all of the =B3instrumental=B2 on bass and loops, it=B9s just a matter of coordinating with the singer and drummer. We just follow where the first noise goes, and then drop in lyric pieces, and spin them out in a totally different way each time we play. Maybe in a way, I=B9ve let all my baggage of past band experience and the whole way the rock scene works psyche me out o= f feeling like this is a legitimate way to work. At the same time, it is so totally unpredictable. Lots of people have suggested to just semi-structure loose compositions, but even doing that has been kind of stealing the fire from it for me. Hmmm. Anyway, it=B9s great to hear from everyone who wrote on this topic. I think I don=B9t participate in musical community as much as I should=8B it make= s things much less scary and weird. Dan --=20 ghost 7/ Orange http://www.envelopeproductions.com d.ans@rcn.com --B_3158490675_5141213 Content-type: text/html; charset="US-ASCII" Content-transfer-encoding: quoted-printable Re: Improvising vs. Composing Thanks everyone for your responses— it’s v= ery useful and interesting to talk about this. There were a couple of things= people said that especially struck me--


Tom:
JS Bach did some of this with "The Royal Theme" as it's now ca= lled.  He improvised for the King on the theme in the palace, then late= r after he went home, he wrote up what he remembered and sent it back to the= King as "A Musical Offering".

That’s really fascinating to know. It= also makes me realize how little I know about other people’s composit= ion processes (other than the really famous examples like Cage). I’d l= ove to hear more anecdotes on this subject. What’s your process, anyon= e? Know any good stories about how others work?


Per:

When you start out an improvisation you have to understand that you let go = of all control. It is indeed a method to put oneself in situations where you= loose control and have to rely entirely on instinct. A trick to achieve inn= ovation.

I guess that’s part of what’s bugging me— that my instinc= ts seem to be so much more evolved than my rational mind. I feel kind of ill= iterate-- like I should be able to compose with as much disregard for “= ;the rules” as I improvise, but it isn’t working that way.

My understanding of this is that compositi= on is an act of will power, while improvisation is just an expression of lif= e.

That’s very well said. I guess I tend to come down more in the life c= amp than the will power one, which is something I often struggle with.


To say a little more about Orange, the project I referred to in my first po= st on this topic, what we had been doing is  improvising songs, which I= always felt was kind of a cool approach to playing rock clubs. Since I do a= ll of the “instrumental” on bass and loops, it’s just a ma= tter of coordinating with the singer and drummer. We just follow where the f= irst noise goes, and then drop in lyric pieces, and spin them out in a total= ly different way each time we play. Maybe in a way, I’ve let all my ba= ggage of past band experience and the whole way the rock scene works psyche = me out of feeling like this is a legitimate way to work. At the same time, i= t is so totally unpredictable. Lots of people have suggested to just semi-st= ructure loose compositions, but even doing that has been kind of stealing th= e fire from it for me.

Hmmm. Anyway, it’s great to hear from everyone who wrote on this topi= c. I think I don’t participate in musical community as much as I shoul= d— it makes things much less scary and weird.


Dan

--
ghost 7/ Orange
http://www.envelopeproductions.com
d.ans@rcn.com








 --B_3158490675_5141213-- From Loopers-Delight-request@loopers-delight.com Sun Feb 1 15:34:55 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11KUSE15791; Sun, 1 Feb 2004 15:30:28 -0500 Resent-Date: Sun, 1 Feb 2004 15:30:28 -0500 Old-Return-Path: Mime-Version: 1.0 (Apple Message framework v612) In-Reply-To: <200402011934.i11JYHL01943@hemlock.violacea.com> References: <200402011934.i11JYHL01943@hemlock.violacea.com> Content-Type: multipart/alternative; boundary=Apple-Mail-3-723459744 Message-Id: <7675E533-54F5-11D8-A680-003065E8972C@sprintmail.com> From: Travis Hartnett Subject: Re: Improvising vs. composing books Date: Sun, 1 Feb 2004 12:30:23 -0800 To: Loopers-Delight@loopers-delight.com X-Mailer: Apple Mail (2.612) Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40634 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com --Apple-Mail-3-723459744 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Another really good one (although hard to find) is "No Sound Is Innocent" by Eddie Prevost. TravisH On Feb 1, 2004, at 11:34 AM, Loopers-Delight-d-request@loopers-delight.com wrote: > > Subject: Re: Improvising vs. composing books > > > The Bailey book is great. I'd recommend even more highly > > Free Play, by Stephen Nachmanovitch published by Tarcher > --Apple-Mail-3-723459744 Content-Transfer-Encoding: 7bit Content-Type: text/enriched; charset=US-ASCII Another really good one (although hard to find) is "No Sound Is Innocent" by Eddie Prevost. TravisH On Feb 1, 2004, at 11:34 AM, Loopers-Delight-d-request@loopers-delight.com wrote: 0000,0000,0000Subject: Re: Improvising vs. composing books The Bailey book is great. I'd recommend even more highly Free Play, by Stephen Nachmanovitch published by Tarcher --Apple-Mail-3-723459744-- From Loopers-Delight-request@loopers-delight.com Sun Feb 1 15:48:23 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11KjgW19726; Sun, 1 Feb 2004 15:45:42 -0500 Resent-Date: Sun, 1 Feb 2004 15:45:42 -0500 Old-Return-Path: Message-ID: <401D613C.1040805@soundscapes.us> Date: Sun, 01 Feb 2004 15:27:40 -0500 From: Bill Fox User-Agent: Mozilla/5.0 (Windows; U; Win98; en-US; rv:1.5) Gecko/20031007 X-Accept-Language: en-us, en MIME-Version: 1.0 To: Ambient Mailing List Subject: EMUSIC Playlist #358 for January 29, 2004 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40635 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com EMUSIC is an electronic, ambient, and space music show, that airs each Thursday at 11:00 pm on WDIY 88.1 FM, Allentown and Bethlehem, PA 93.9 FM in Easton, PA and Phillipsburg, NJ, 92.9 FM on Service Electric Cable, and webcasting on the internet. Show #358 January 29, 2004 RECAP: On this show, I concluded the month-long focus on Ian Boddy, who has been on the European electronica scene since the '70s. The Featured CD at Midnight was "Caged" by Ian Boddy and Chris Carter on the DiN label. The Vinyl Starter was from the LP "A Clockwork Orange" by Wendy Carlos on Columbia Records. Ian Boddy - http://wdiy.org/programs/emusic/playlists/2004/focus04.html#jan PLAYLIST: ARTIST TRACK ALBUM (label) ======================= ======================== ============================== 11:00 pm Wendy Carlos March from A Clockwork A Clockwork Orange (Columbia) Orange * Robert Rich Erasing Traces Calling Down the Sky (Soundscape) Sayer Liberation 1st Encounter (Invisible Shadows) Kurt Michaels Alien Presense Inner Worlds part one (Eitux) Rainer Bloss From Long, Long Ago Ampsy (Thunderbolt) Xeroid Entity Dione * Moons of Saturn (Electro-music.com) Diatonis Neptune's Erosion Ambient Life 2 (none) 12:00 am Boddy and Carter Concussed Caged (DiN) Boddy and Carter Coriolis Caged (DiN) Boddy and Carter Slab Caged (DiN) Boddy and Carter Sub-Aura Caged (DiN) Boddy and Carter Disembodied Caged (DiN) Boddy and Carter Caged Caged (DiN) Boddy and Carter Under-Dub Caged (DiN) 1:00 am * = exerpt VA = Various Artists (compilation) ++ = Advance CDR from Artist NEXT SHOW: On the next EMUSIC, I'll begin a month-long focus on the Ambient at Hyperreal List. The Featured CD at Midnight will be "ambient.01@hyperreal" disc one by members of the mailing list. The Vinyl Starter will be from the LP "Telemusik Mixtur" by Karlheinz Stockhausen on Deutsche Grammophon. ill =============================================================================== Host of EMUSIC, an electronic, ambient, and space music show, Thursdays at 11 pm (GMT-5:00) on WDIY 88.1 FM in Allentown and Bethlehem and 93.9 FM in Easton and Phillipsburg. Listen on-line to WDIY at http://wdiy.org and click LISTEN EMUSIC web site - http://wdiy.org/programs/emusic To subscribe to the EMUSIC-on-WDIY mailing list, click on [Join This Group!] at http://groups.yahoo.com/group/emusic-wdiy From Loopers-Delight-request@loopers-delight.com Sun Feb 1 15:53:16 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11Kp7h21360; Sun, 1 Feb 2004 15:51:07 -0500 Resent-Date: Sun, 1 Feb 2004 15:51:07 -0500 Old-Return-Path: From: Nemoguitt@aol.com Message-ID: Date: Sun, 1 Feb 2004 15:50:57 EST Subject: Re: Improvising vs. composing To: Loopers-Delight@loopers-delight.com MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="part1_c9.3d1e02e1.2d4ec0b1_boundary" X-Mailer: 7.0 for Windows sub 10708 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40636 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com --part1_c9.3d1e02e1.2d4ec0b1_boundary Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en dan.....while playing with KLUTTER (a little all improve trio) i found that=20= i=20 got dissatisfied with the total "all improv" action.....very much fun and=20 very freeing, transendant at times! yet, i found that i needed some structur= e,=20 thus my totally anal solo live looping schtick which gives me the ability to= =20 improvise over mad structure (which can evolve in and of itself).....some of= you=20 out in loop-land have heard a portion of the KLUTTER material, we only playe= d=20 about ten times total and just about all of it was recorded, a small portion= =20 of it drek and a bunch of "wow, i have never played like that before and it=20 sounds kind-o-neat, even to me".....but i run into that wall of "what can i=20= play=20 now that i haven't played before " all too quickly.....TY MOYER the drummer=20= is=20 the driving force in KLUTTER, he hates structure, so most of the time i woul= d=20 try to play to the drums, "bring the loop to him" when it worked it sounded=20 good when it didn't, a fast case of loop kill.....there is no need to separa= te=20 improv from comp, meld the two together..... =20 AFTER MANY DELIGHTFUL POSTS AROUND THIS TOPIC=20 dan said<> that's why i love threads like this! way more interesting IMHO than the "how= =20 do you do a "backward sus 4 undo whaka whaka" on the old VXM-657.....thanks=20 for bringing this up dan.....great "thinking" fun.....and dan, if you want=20 "scary and weird" go to one of the many CALI LOOPFESTS that pop=20 up.....:).....michael --part1_c9.3d1e02e1.2d4ec0b1_boundary Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en dan.....while playing with KLUTTE= R (a little all improve trio) i found that i got dissatisfied with the total= "all improv" action.....very much fun and very freeing, transendant at time= s! yet, i found that i needed some structure, thus my totally anal solo live= looping schtick which gives me the ability to improvise over mad structure=20= (which can evolve in and of itself).....some of you out in loop-land have he= ard a portion of the KLUTTER material, we only played about ten times total=20= and just about all of it was recorded, a small portion of it drek and a bunc= h of "wow, i have never played like that before and it sounds kind-o-neat, e= ven to me".....but i run into that wall of "what can i play now that i haven= 't played before " all too quickly.....TY MOYER the drummer is the driving f= orce in KLUTTER, he hates structure, so most of the time i would try to play= to the drums, "bring the loop to him" when it worked it sounded good when i= t didn't, a fast case of loop kill.....there is no need to separate improv f= rom comp, meld the two together.....

AFTER MANY DELIGHTFUL POSTS AROUND THIS TOPIC
dan said<<I think I don=E2=80=99t participate in musical community as=20= much as I should=E2=80=94 it makes things much less scary and weird.>>=

that's why i love threads like this! way more interesting IMHO than the "how= do you do a "backward sus 4 undo whaka whaka" on the old VXM-657.....thanks= for bringing this up dan.....great "thinking" fun.....and dan, if you want=20= "scary and weird" go to one of the many CALI LOOPFESTS that pop up.....:)...= ..michael




 --part1_c9.3d1e02e1.2d4ec0b1_boundary-- From Loopers-Delight-request@loopers-delight.com Sun Feb 1 16:04:42 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11L0Pf22814; Sun, 1 Feb 2004 16:00:25 -0500 Resent-Date: Sun, 1 Feb 2004 16:00:25 -0500 Old-Return-Path: Reply-To: From: "| SquidLoop |" To: Subject: Music Plazma Date: Sun, 1 Feb 2004 13:00:25 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit X-Mailer: Microsoft Office Outlook, Build 11.0.5510 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1106 Thread-Index: AcPpBmhgumQ5NHeeQQaSNDGYf6KINQ== Message-Id: X-AntiAbuse: This header was added to track abuse, please include it with any abuse report X-AntiAbuse: Primary Hostname - t15.t15.net X-AntiAbuse: Original Domain - loopers-delight.com X-AntiAbuse: Originator/Caller UID/GID - [47 12] / [47 12] X-AntiAbuse: Sender Address Domain - thetentacle.org Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40637 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Came across a pretty neat site http://www.musicplasma.com/ - Typed in Nels Cline, Robert Fripp, Terry Riley, & David Torn and got to listen to some samples. From Loopers-Delight-request@loopers-delight.com Sun Feb 1 16:29:31 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11LQka25606; Sun, 1 Feb 2004 16:26:46 -0500 Resent-Date: Sun, 1 Feb 2004 16:26:46 -0500 Old-Return-Path: Message-ID: <007201c3e90a$50f9d180$0affff0a@hppav> From: "David Kirkdorffer" To: References: Subject: Re: Improvising vs. composing Date: Sun, 1 Feb 2004 16:28:20 -0500 MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_006F_01C3E8E0.67B77320" X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 X-Authentication-Info: Submitted using SMTP AUTH at out005.verizon.net from [68.163.216.63] at Sun, 1 Feb 2004 15:26:43 -0600 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40638 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This is a multi-part message in MIME format. ------=_NextPart_000_006F_01C3E8E0.67B77320 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Improvising vs. composingDan -=20 I can understand your question very, very well. =20 Like yourself, I've been improvising for years. Solo, and in "band" = situations. Yet, there are times when recreating a piece seems = useful/important. For example, I've felt the desire to prove that I = have command of my performance and my instrument and that I can recreate = a song or whatever, and I'm not just another freaky dude with a few = pedals throwing sonic-paint all over the place and calling it "art." I've re-learned jams for solo shows and within a band context. A few = things come to mind. 1. Learning how to "re-play" an improvisation is not actually = composition, really. With Super-Cannes, (a little instrumental band in Boston) we've = relearned jams - with various degrees of fidelity and success. Indeed, = we've taken recorded jams and edited them to create a new form we like, = and then learned THAT. In some ways, this is kind of close to what some = JAZZ guys did 50 years ago. =20 It can seem boring to re-learn an improvised piece, because it never = seems to exhibit the =E9lan of the initial improvisation. The trick is = to work PAST the stage of just being able to mimic the sounds and order = of events. After you've mastered the sounds and order of events, you = can then start to "play" the music again. It can take a little time, = and it needs patience. What's that saying? -- "5% inspiration - 95% = perspiration." Three months may not have been long enough. I'd say if you're playing = with others after three months you're just beginning to find your = collective "group voice."=20 The more complex the jam, the more complex the "re-learning" will be. = I've had to write down effect settings, changes and "events." Some of = these sheets have over 25 "moves I make / changes / parts." I have a = binder full of these sheets. It takes time to memorize all that. Not = that you need to -- classical musicians have sheet music in front of = them, right? It can sometimes help if you've more people in a "band" context. As = each person contributes a part toward the whole piece, they = proportionately only need to learn their part of the whole -- the = "recreation" burden is shared, if you will. 2. Being open to changes In the process of re-learning a jam, new ideas come to you and obviously = there no reason you can't include them, right? Sometimes adding in new = parts this way makes the re-learning process be more creative - and fun. = =20 When performing, surprizes await us all when something unexpected = happens. As long as everyone understands that can happen, these = "mistakes" can open a piece up to allow something new to come forward. = These mistakes often yield great moments where you get to improvise it = back to where you want it, or take a new road. 3. Performing regularly helps make it worthwhile. If you don't get enough regular chances to perform, it can seem like too = much effort to compose, relearn or rehearse. Weather you're 100% improv = or 100% composition based, each of us finds a personal balance on the = "preparation to performance" ratio. That never changes. =20 Perhaps a mix of some structure, and some improvisation (either within a = set or within a tune) can help.=20 Personally, I've also learned never to judge music as successful or = unsuccessful for an audience based on my emotional feeling on the stage = as the music happens. Too often on stage when I'm struggling I come = off to hear "Wow - that was intense, I loved what you did." Other times = when I'm feeling filled with the muse and flying along honest friends = whom I trust will inform me they thought I sucked! :-) 4. Adding musicians when there isn't structure -- It's all Me vs. = Sharing Obviously, it can be done - you just need to find the right people -- = just like for "normal" composed/rehearsed music. Allowing each person = space and control is what matters. When we can loop and layer, it can = be really fulfilling to make all that sound and follow our each and = every impulse. With multiple players it's critical to share space and = to "sit down" so someone else can take fly. 5. As Ernie Boch used to say, "come on down." Dan, we've performed together and as you know, I have a space in Boston = that you've been to. If you feel like coming down and jamming, let me = know. David ----- Original Message -----=20 From: Dan Soltzberg=20 To: Loopers Delight=20 Sent: Sunday, February 01, 2004 12:30 AM Subject: Improvising vs. composing Hi gang, Would love to hear people's experiences with this dilemma: I've been doing a project, Orange, for a couple years. Tonight, I = packed my gear out of a rehearsal space and turned in my keys after 3 = months of struggling with trying to take this improvisational project = and make it more structured- i.e., take stuff we'd made up and recorded = at various shows and sessions and re-learn it and make a bunch of songs = out of it. I just found I wasn't enjoying the process of trying to do = this. So it seems I'm no longer very interested in writing and playing = songs- what I really get inspired doing is going out on a limb and = making the music up as I go. I can't seem to get the kind of spiritual = high I get when I'm improvising if I'm playing stuff that's = pre-structured. Not that I don't like structure- I just like creating it = on the fly.=20 Problem is, 1. It's kind of intense to go to every show having no idea = of what I'm going to play, hoping the muse is on the guest list=20 2. It's hard to bring other musicians in without having at least some = structure. Thoughts? Similar experiences? Solutions? Dan --=20 ghost 7/ Orange http://www.envelopeproductions.com d.ans@rcn.com ------=_NextPart_000_006F_01C3E8E0.67B77320 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Improvising vs. composing
Dan -
 
I can understand your question very, = very=20 well. 
 
Like yourself, I've been improvising = for=20 years.  Solo, and in "band" situations.   Yet, there = are=20 times when recreating a piece seems useful/important.  For example, = I've=20 felt the desire to prove that I have command of my performance and my = instrument=20 and that I can recreate a song or whatever, and I'm not just another = freaky dude=20 with a few pedals throwing sonic-paint all over the place and calling it = "art."
 
I've re-learned jams for solo shows and = within a=20 band context.  A few things come = to=20 mind.
 
1. Learning how to "re-play" an = improvisation is not actually composition, really.
With Super-Cannes, (a little = instrumental band in=20 Boston) we've relearned jams - with various degrees of fidelity and=20 success.  Indeed, we've taken recorded jams and edited them to = create a new=20 form we like, and then learned THAT.  In some ways, this is kind of = close=20 to what some JAZZ guys did 50 years ago.  
 
It can seem boring to re-learn an = improvised piece,=20 because it never seems to exhibit the =E9lan of the initial = improvisation. =20 The trick is to work PAST the stage of just being able to mimic the = sounds and=20 order of events.  After you've mastered the sounds and order of = events, you=20 can then start to "play" the music again.  It can take a little = time, and=20 it needs patience.   What's that saying? -- "5% inspiration - = 95%=20 perspiration."
 
Three months may not have been long = enough. =20 I'd say if you're playing with others after three months you're just = beginning=20 to find your collective "group voice."
 
The more complex the jam, the more = complex the=20 "re-learning" will be.  I've had to write down effect settings, = changes and=20 "events."  Some of these sheets have over 25 "moves I make / = changes /=20 parts."  I have a binder full of these sheets.  It takes time = to=20 memorize all that.  Not that you need to -- classical musicians = have sheet=20 music in front of them, right?
 
It can sometimes help if you've more = people in a=20 "band" context.  As each person contributes a part toward the whole = piece,=20 they proportionately only need to learn their part of the whole = -- the=20 "recreation" burden is shared, if you will.
 
 
2. Being open to=20 changes
In the process of re-learning a jam, = new ideas come=20 to you and obviously there no reason you can't include them, = right? =20 Sometimes adding in new parts this way makes the re-learning process be = more=20 creative - and fun. 
 
When performing, surprizes await us all = when=20 something unexpected happens.  As long as everyone understands that = can=20 happen, these "mistakes" can open a piece up to allow something new to = come=20 forward.  These mistakes often yield great moments where you get to = improvise it back to where you want it, or take a new road.
 
 
3. Performing regularly helps = make it=20 worthwhile.
If you don't get enough regular chances = to perform,=20 it can seem like too much effort to compose, relearn or rehearse.  = Weather=20 you're 100% improv or 100% composition based, each of us finds a = personal=20 balance on the "preparation to performance" ratio.  That never=20 changes.  
 
Perhaps a mix of some structure, = and some=20 improvisation (either within a set or within a tune) can help. =
 
Personally, I've also learned never to = judge music=20 as successful or unsuccessful for an audience based on my emotional = feeling on=20 the stage as the music happens.   Too often on stage when I'm=20 struggling I come off to hear "Wow - that was intense, I loved what you=20 did."  Other times when I'm feeling filled with the muse and flying = along=20 honest friends whom I trust will inform me they thought I sucked! =20 :-)
 
 
4. Adding musicians when there = isn't=20 structure -- It's all Me vs. Sharing
Obviously, it can be done - you just = need to find=20 the right people -- just like for "normal" composed/rehearsed = music. =20 Allowing each person space and control is what matters.   = When we can loop and layer, it can be = really=20 fulfilling to make all that sound and follow our each and every = impulse. =20 With multiple players it's critical to share space and to "sit = down" so=20 someone else can take fly.
 
 
5. As Ernie Boch used to say, = "come on=20 down."
Dan, we've performed together and as = you know, I=20 have a space in Boston that you've been to.  If you feel like = coming down=20 and jamming, let me know.
 
David
 
 
 
----- Original Message -----
From:=20 Dan = Soltzberg
To: Loopers = Delight
Sent: Sunday, February 01, 2004 = 12:30=20 AM
Subject: Improvising vs. = composing

Hi=20 gang,


Would love to hear people=92s experiences with this=20 dilemma:

I=92ve been doing a project, Orange, for a couple = years.=20 Tonight, I packed my gear out of a rehearsal space and turned in my = keys after=20 3 months of struggling with trying to take this improvisational = project and=20 make it more structured=97 i.e., take stuff we=92d made up and = recorded at various=20 shows and sessions and re-learn it and make a bunch of songs out of = it. I just=20 found I wasn=92t enjoying the process of trying to do this.

So = it seems=20 I=92m no longer very interested in writing and playing songs=97 what I = really get=20 inspired doing is going out on a limb and making the music up as I go. = I can=92t=20 seem to get the kind of spiritual high I get when I=92m improvising if = I=92m=20 playing stuff that=92s pre-structured. Not that I don=92t like = structure=97 I just=20 like creating it on the fly.

Problem is, 1. It=92s kind of = intense to go=20 to every show having no idea of what I=92m going to play, hoping the = muse is on=20 the guest list

2. It=92s hard to bring other musicians in = without having=20 at least some structure.


Thoughts? Similar experiences?=20 Solutions?


Dan


--
ghost 7/=20 = Orange
http://www.envelopeproductions.com
d.ans@rcn.com
 ------=_NextPart_000_006F_01C3E8E0.67B77320-- From Loopers-Delight-request@loopers-delight.com Sun Feb 1 17:14:46 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11MBmq00882; Sun, 1 Feb 2004 17:11:48 -0500 Resent-Date: Sun, 1 Feb 2004 17:11:48 -0500 Old-Return-Path: Message-ID: <008a01c3e910$9ac73180$0affff0a@hppav> From: "David Kirkdorffer" To: References: Subject: images and sounds (was Improvising vs. composing) Date: Sun, 1 Feb 2004 17:13:21 -0500 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 X-Authentication-Info: Submitted using SMTP AUTH at out012.verizon.net from [68.163.216.63] at Sun, 1 Feb 2004 16:11:45 -0600 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40639 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Emile - I totally hear what you're saying here on points 1, 2, & 3! I've been a musical performer while you are performing visually. Many times I've wished I could always see the imagery you're making while I perform. Otherwise, you're forced to follow me, because I can't see what you're doing. That can be frustrating for me too. Another situation is when I've been booked as a performer and only learn a videographer will be providing visual accompaniment when I get to the gig. Perhaps this is a bit black and white, but when THAT happens: - If the music is really sucking, it can be a real help to have some visual element going and distracting your audience. - If the music is really good, it can really suck to have some visual element going on and distracting your audience. The random collision of "your sounds" with "someone else's" visuals, can create happy accidents. It can also overwhelm the inner-landscape that the visuals OR the music alone would have created. Just like with anything, getting to know the people you work with -- and/or sharing expectations -- makes all the difference. Investing in synchronizing/coordinating the audio and visuals to create a piece that leverages both sound and vision makes something new and different. Here, the whole is more than the sum of the parts. And you know it succeeds on those terms when you feel that one element alone fails without the presence of the other. Now, it's THIS what I would like to experience more. In the heat of the moment and with all the set-up logistics going I'm guilty of not specifically taking a moment with you to come up with a little plan on what we might do together. For example, how long would it take if I came to you and said, "We've 15 minutes. Let's do three pieces. I'll follow you on the first. You follow me on the second. And on the third let's try to be all about 'gentleness.' " Clearly that hardly does justice to either of us, but it's better than no communication. David ----- Original Message ----- From: "Emile Tobenfeld (a.k.a Dr. T)" To: Sent: Sunday, February 01, 2004 1:57 AM Subject: Re: Improvising vs. composing > I struggle with this all of the time, lately mainly in the video > realm. Among the problems I find are > > 1. The clearer the idea I think I have about what I want to do, > the harder it is to get started, and the less I feel I accomplish per > unit time. > > 2. No matter how much I tell myself I'm going to focus on the > original idea, my explorations always point me to something else -- > usually some detail or image or side idea catches my eye and > distracts me from the intended structure. > > 3. By the time the piece is halfway finished I'm so tired of the > idea I can't tell if my changes are making it better or worse. > > In addition, and more unique to my genre, its hard to get the > musicians to follow what I do, which reduces the point of having a > preconceived structure unless I'm working with a structured group > long enough to learn their material and compose sections for each of > their pieces. > > > > > At 12:30 AM -0500 2/1/04, Dan Soltzberg wrote: > >Hi gang, > > > > > >Would love to hear people's experiences with this dilemma: > > > >I've been doing a project, Orange, for a couple years. Tonight, I > >packed my gear out of a rehearsal space and turned in my keys after > >3 months of struggling with trying to take this improvisational > >project and make it more structured- i.e., take stuff we'd made up > >and recorded at various shows and sessions and re-learn it and make > >a bunch of songs out of it. I just found I wasn't enjoying the > >process of trying to do this. > > > >So it seems I'm no longer very interested in writing and playing > >songs- what I really get inspired doing is going out on a limb and > >making the music up as I go. I can't seem to get the kind of > >spiritual high I get when I'm improvising if I'm playing stuff > >that's pre-structured. Not that I don't like structure- I just like > >creating it on the fly. > > > >Problem is, 1. It's kind of intense to go to every show having no > >idea of what I'm going to play, hoping the muse is on the guest list > > > >2. It's hard to bring other musicians in without having at least > >some structure. > > > > > >Thoughts? Similar experiences? Solutions? > > > > > >Dan > > > > > >-- > >ghost 7/ Orange > >http://www.envelopeproductions.com > >d.ans@rcn.com > > > -- > "Any universe simple enough to be understood is too simple to produce > a mind able to understand it" -- John D. Barrow > > This conjecture strikes me as a logical extension of Godel's > Incompleteness Theorem. > > > Visit "Before the Fall -- Images of the World Trade Center" at > http://www.foryourhead.com > > Emile Tobenfeld, Ph. D. > Video Producer Image Processing Specialist > Video for your HEAD! Boris FX > http://www.foryourhead.com http://www.borisfx.com > From Loopers-Delight-request@loopers-delight.com Sun Feb 1 18:21:15 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i11NGRG08406; Sun, 1 Feb 2004 18:16:27 -0500 Resent-Date: Sun, 1 Feb 2004 18:16:27 -0500 Old-Return-Path: Message-Id: <6.0.1.1.2.20040201150757.04f03298@loopers-delight.com> X-Sender: kflint@loopers-delight.com X-Mailer: QUALCOMM Windows Eudora Version 6.0.1.1 Date: Sun, 01 Feb 2004 15:17:57 -0800 To: Loopers-Delight@loopers-delight.com From: Kim Flint Subject: Re: does the edp pass mechanical control when sync'd in a stereo pair? In-Reply-To: <20040131161214.75024.qmail@web80207.mail.yahoo.com> References: <20040131161214.75024.qmail@web80207.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40640 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 08:12 AM 1/31/2004, JAMES FOWLER, III wrote: >...like, if i connect a volume pedal to the back of >the unit, it won't pass this information to it's >stereo partner like it will with midi, correct? Feedback is passed. So if you are using the pedal to control feedback, you only have to connect it to the master. The master then uses midi to send feedback control to the slave. If you are using one of the interface modes where the pedal controls loop input or output volume, this is not passed to the slave. (because these controls happen in analog). One way to work around this is use a stereo volume pedal connected to both units. kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@loopers-delight.com | http://www.loopers-delight.com From Loopers-Delight-request@loopers-delight.com Sun Feb 1 19:11:45 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i1209ed18680; Sun, 1 Feb 2004 19:09:40 -0500 Resent-Date: Sun, 1 Feb 2004 19:09:40 -0500 Old-Return-Path: Message-Id: <6.0.1.1.2.20040201155210.0300cd58@loopers-delight.com> X-Sender: kflint@loopers-delight.com X-Mailer: QUALCOMM Windows Eudora Version 6.0.1.1 Date: Sun, 01 Feb 2004 16:11:10 -0800 To: Loopers-Delight@loopers-delight.com From: Kim Flint Subject: RE: Echoplex and MIDI out In-Reply-To: References: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40641 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 05:17 AM 1/30/2004, Glenn Poorman wrote: > > So, out of curiosity, which foot controller/front panel > > buttons trigger song > > start and song stop messages? There's not a "stop/play" button. > >Anything that sets the initial time will send out a time sync >and a song start. So hit record, do your first pass, and then >hit record again (or any of the alternate endings) and the >drum machine will start. The tempo is determined both by the >length of the loop as well as the "8ths beat" setting. With LoopIV, you also have the Tempo functions that let you send clock and startsongs before you record the loop, and then have your loop match that tempo when you do record it. You can also have it trigger the startsong message when you start recording, as opposed to when you end the loop record. This is useful for having a sequencer come in immediately when you start playing, instead of after you create the loop. You also have the ReAlign functions, which allow you to stop the sequencer and then have the Echoplex start it up in sync again with your loop when you want. If the Echoplex is the slave ReAlign lets you shift your loops out of alignment with the clock (by retriggering or reversing or whatever) and then ReAlign back with the sequencer. Or if you have stopped the sequencer and decide to start it again, the Echoplex will line the loop up when the clock starts again. > > I assume "mute" doesn't cause a song stop message to be sent, correct? >I > > want to be able to mute my loop and still have the percussion going. > >Mute does send a song stop in Loop IV. It didn't in Loop III. no, that is wrong. It sends stopsong when you reset the loop. not with mute. You do have a variety of additional ways to command startsongs. For example, if you have stopped the sequencer and put the loop in Mute, triggering the loop from the start sends a startsong message so that the sequencer starts with it. You also have some flexibility depending on how the sync parameter is set. Sync=out sends startsongs automatically for you at the times you would expect. (ending record, retriggering, etc.) If the Sync parameter is set to "Out User Start" (OuS), it sends the clock but does not automatically send startsongs, and you do it manually with the various startsong functions (in midi or from the front panel). Check the manual, this stuff is all in there. >I would like to be able to revert to the Loop III behavior >but I haven't found that to be configurable. Of course, that >doesn't mean it isn't, it just means I haven't found it. Please read the sync sections of the manual, you seem to be missing a lot of what LoopIV can do with sync. It is FAR more powerful than LoopIII. Also, it doesn't take away anything you had with LoopIII. kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@loopers-delight.com | http://www.loopers-delight.com From Loopers-Delight-request@loopers-delight.com Sun Feb 1 19:21:00 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i120GX719769; Sun, 1 Feb 2004 19:16:33 -0500 Resent-Date: Sun, 1 Feb 2004 19:16:33 -0500 Old-Return-Path: Message-Id: <6.0.1.1.2.20040201161203.02dddfd8@loopers-delight.com> X-Sender: kflint@loopers-delight.com X-Mailer: QUALCOMM Windows Eudora Version 6.0.1.1 Date: Sun, 01 Feb 2004 16:18:03 -0800 To: Loopers-Delight@loopers-delight.com From: Kim Flint Subject: RE: Echoplex and MIDI out In-Reply-To: <005601c3e73c$a83ab6a0$2100a8c0@APPLEPIE> References: <005601c3e73c$a83ab6a0$2100a8c0@APPLEPIE> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Resent-Message-ID: <0FtgAD.A.t0E.hbZHAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40642 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 06:23 AM 1/30/2004, AvgJoe wrote: >To clarify, I'm going to be syncing EDP to the PX7. A nice feature of the >PX7 that I've not figured out in typical drum machines I've used is that >the tempo is stored with the sequence, so you call up the drum sequence to >use and it's got the tempo I stored with it. For my purposes that's >prefered, >though I'm sure it could be set up to work the other way too. in other words, you will have the sequencer as the sync master. It will be sending the clock and startsongs. The echoplex will be receiving the clock, and not sending start/stop messages. > >> I assume "mute" doesn't cause a song stop message to be sent, correct? I > >> want to be able to mute my loop and still have the percussion going. > > > > Mute does send a song stop in Loop IV. It didn't in Loop III. that is wrong as noted before, although it wouldn't make any difference for you if the echoplex is the slave to the sequencer. >good think the box I bought is still at Loop III in that respect. >Hopefully LoopIII will deliver all the things I need without needing loopIV. I think you will find the sync functions of LoopIV are extremely useful for what you want to do, compared to LoopIII. You can check the manual on the LoopIV page: http://www.aurisis.com/products/loopIV/loopIV.html kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@loopers-delight.com | http://www.loopers-delight.com From Loopers-Delight-request@loopers-delight.com Sun Feb 1 20:36:06 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i121XLu28533; Sun, 1 Feb 2004 20:33:21 -0500 Resent-Date: Sun, 1 Feb 2004 20:33:21 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/10.1.1.2418 Date: Sun, 01 Feb 2004 17:33:18 -0800 Subject: The muse (was Re: Improvising vs. composing) From: Mark Hamburg To: Message-ID: In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40643 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com One note regarding difficulty finding the muse. Y2K3 was the only performance that Kim Flint wasn't at... Mark on 2/1/04 9:10 AM, Mark Hamburg at mark_hamburg@baymoon.com wrote: > Loopstock 2002: I personally remember being nervous as hell not having > played in public since 1987. Jon Wagner's recording of the last five minutes > of my performance, however, (see http://www.baymoon.com/~mark_hamburg and > click on the Loopstock 2002 link) still strikes me as turning out really > well. > > Santa Cruz Y2K2: I just got the recordings a couple months ago from Peter > Coates. The three pieces had a fair amount of similarity across them, but I > think they all turned out really well. > > Loopstock 2003: I know I was in a dark, noisy, ambient mode at the time, but > I haven't heard the recordings to know how it turned out. > > Santa Cruz Y2K3: It had not been a good week for me and the muse was being > less co-operative. My first piece went way too long as I tried to make it > work. The other three pieces were better but not up to the standards of > Y2K2. (If you invite me back this year, Rick, I promise to try to do > better.) From Loopers-Delight-request@loopers-delight.com Sun Feb 1 21:42:31 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i122co104464; Sun, 1 Feb 2004 21:38:50 -0500 Resent-Date: Sun, 1 Feb 2004 21:38:50 -0500 Old-Return-Path: Message-ID: <20040202023843.72752.qmail@web80209.mail.yahoo.com> Date: Sun, 1 Feb 2004 18:38:43 -0800 (PST) From: "JAMES FOWLER, III" Subject: Re: does the edp pass mechanical control when sync'd in a stereo pair? To: Loopers-Delight@loopers-delight.com In-Reply-To: <6.0.1.1.2.20040201150757.04f03298@loopers-delight.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-1968692861-1075689523=:71155" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40644 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com --0-1968692861-1075689523=:71155 Content-Type: text/plain; charset=us-ascii thank you kim. -jim --0-1968692861-1075689523=:71155 Content-Type: text/html; charset=us-ascii
thank you kim.
 
-jim
--0-1968692861-1075689523=:71155-- From Loopers-Delight-request@loopers-delight.com Sun Feb 1 23:57:35 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i124ti721967; Sun, 1 Feb 2004 23:55:44 -0500 Resent-Date: Sun, 1 Feb 2004 23:55:44 -0500 Old-Return-Path: Date: Sun, 1 Feb 2004 23:55:40 -0500 Subject: Re: Improvising vs. composing Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) From: bruce tovsky To: Loopers-Delight@loopers-delight.com Content-Transfer-Encoding: 7bit In-Reply-To: Message-Id: <0C79AC66-553C-11D8-B80E-0003934507D6@skeletonhome.com> X-Mailer: Apple Mail (2.553) Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40645 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com dan, et al i'm a little late getting in on this, but thought i'd still throw my hat in the ring. i do both live sound and live video improvisation - occasionally both at the same time - and have used improvisation at the root of most of my work over the past 20 years. when i'm playing live what i generally do is prepare an outline of what i will do at a show; set up a patch, devise a technique to explore, map out a tonal territory, etc. i may stay within those bounds or strike out into the unknown when the event happens. when i do things in the studio, i do a similar process, explore the direction i want to go, improvise and record, take elements of those recordings and add more layers or process and manipulate the elements. i do this for both video and audio. for many years i composed music for choreographers, where i often had to work with counts or beat charts, so i found ways to adapt my process to those needs. every project is a different problem, with a unique solution. cheers bruce From Loopers-Delight-request@loopers-delight.com Mon Feb 2 09:16:00 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i12ECFE21325; Mon, 2 Feb 2004 09:12:15 -0500 Resent-Date: Mon, 2 Feb 2004 09:12:15 -0500 Old-Return-Path: Message-ID: <00c801c3e996$8aeadd80$594179a5@D9MS6F11> From: "The Tuned Univerese - Webmaster" To: References: <200308191556.h7JFuxW23736@hemlock.violacea.com> Subject: Syncing EDP to Repeater? Date: Mon, 2 Feb 2004 09:12:06 -0500 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2720.3000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2727.1300 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40646 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Hi folks. I know this must have been covered elsewhere, but I can't seem to find it. Anyone have any info on syncing a EDP to a repeater? Thanks jb PS. Or vice versa. http://tuned.universe.home.mindspring.com From Loopers-Delight-request@loopers-delight.com Mon Feb 2 09:28:12 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i12ENeD22842; Mon, 2 Feb 2004 09:23:40 -0500 Resent-Date: Mon, 2 Feb 2004 09:23:40 -0500 Old-Return-Path: X-MIMEOLE: Produced By Microsoft Exchange V6.0.6487.1 Content-Class: urn:content-classes:message MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Subject: RE: Echoplex and MIDI out Date: Mon, 2 Feb 2004 09:23:36 -0500 Message-ID: X-MS-Has-Attach: X-MS-TNEF-Correlator: Thread-Topic: Echoplex and MIDI out thread-index: AcPpQBJalgiB9jxBQeePA4YeG9f+JAAV9VAA From: "Glenn Poorman" To: X-OriginalArrivalTime: 02 Feb 2004 14:23:36.0684 (UTC) FILETIME=[255082C0:01C3E998] Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i12ENdc22818 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40647 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > >Mute does send a song stop in Loop IV. It didn't in Loop III. > > no, that is wrong. It sends stopsong when you reset the loop. > not with mute. If that's the case, then why does my drum machine stop when my sync is set to "Out" and I hit mute? > Please read the sync sections of the manual ... I'll hit it thoroughly tonight. Glenn From Loopers-Delight-request@loopers-delight.com Mon Feb 2 10:03:34 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i12Ex6631859; Mon, 2 Feb 2004 09:59:06 -0500 Resent-Date: Mon, 2 Feb 2004 09:59:06 -0500 Old-Return-Path: Message-ID: <001c01c3e99e$467f5380$69894682@lance> From: "Lance Chance" To: References: <200308191556.h7JFuxW23736@hemlock.violacea.com> <00c801c3e996$8aeadd80$594179a5@D9MS6F11> Subject: Syncing FLStudio and Repeater? Date: Mon, 2 Feb 2004 09:07:28 -0600 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40648 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com i can do it, but i'm getting a lot of fluctuation out to the repeater from my pc. if i do it from the stupid sequencer on my xp-50 it's locked on. any ideas? From Loopers-Delight-request@loopers-delight.com Mon Feb 2 11:27:17 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i12GKun09839; Mon, 2 Feb 2004 11:20:56 -0500 Resent-Date: Mon, 2 Feb 2004 11:20:56 -0500 Old-Return-Path: Message-ID: <20040202162049.48408.qmail@web80211.mail.yahoo.com> Date: Mon, 2 Feb 2004 08:20:49 -0800 (PST) From: "JAMES FOWLER, III" Subject: oberheim matrix1000 - opinions To: Loopers-Delight@loopers-delight.com In-Reply-To: <00c801c3e996$8aeadd80$594179a5@D9MS6F11> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-157189034-1075738849=:46254" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40649 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com --0-157189034-1075738849=:46254 Content-Type: text/plain; charset=us-ascii i'm on the fence regarding which synth to buy...either the emu vintage pro or the ANALOG!!! oberheim matrix 1000. anybody wanna try and convince me one way or the other? -jim --0-157189034-1075738849=:46254 Content-Type: text/html; charset=us-ascii

i'm on the fence regarding which synth to buy...either the emu vintage pro or the ANALOG!!! oberheim matrix 1000.  anybody wanna try and convince me one way or the other? 

-jim

--0-157189034-1075738849=:46254-- From Loopers-Delight-request@loopers-delight.com Mon Feb 2 11:54:01 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i12Giuo13416; Mon, 2 Feb 2004 11:44:56 -0500 Resent-Date: Mon, 2 Feb 2004 11:44:56 -0500 Old-Return-Path: Date: Mon, 2 Feb 2004 11:44:46 -0500 Subject: Re: oberheim matrix1000 - opinions Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v553) From: bruce tovsky To: Loopers-Delight@loopers-delight.com In-Reply-To: <20040202162049.48408.qmail@web80211.mail.yahoo.com> Message-Id: <1C02D72A-559F-11D8-9EDC-0003934507D6@skeletonhome.com> X-Mailer: Apple Mail (2.553) Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i12Giuc13392 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40650 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com well, as an owner of a matrix 6r (essentially the same engine as the matrix 1000, but with easier programming) - and having never heard the emu - i would say that there are a couple issues that come immediately to mind: firstly, support. emu is alive and well, and i assume that their unit is still in production? the matirx is over a decade old (not a bad thing) and essentially unsupported - though there are numerous resources on the web with patches, etc. second, interface. the matrix 6 is enough of a bitch to program on its own, and i've heard the 1000 is worse. in fact you might not be able to program it from the front panel - you would need a software patch librarian (like motu's unisyn, which is mac-only and os9 only, or one of the numerous pc options.) the emu would definitely have a friendlier user-interface in-and-of-itself, and also more support from librarian programs i assume. of course, the ultimate test is the sound - you need to listen to both, they both come with a wide array of presets to show off their capabilities (though the 1000's may sound a tad dated... 80's style.) good luck bruce On Monday, February 2, 2004, at 11:20 AM, JAMES FOWLER, III wrote: > i'm on the fence regarding which synth to buy...either the emu vintage > pro or the ANALOG!!! oberheim matrix 1000.  anybody wanna try and > convince me one way or the other?  > > -jim > > bruce tovsky www.skeletonhome.com From Loopers-Delight-request@loopers-delight.com Mon Feb 2 16:08:38 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i12L49H19767; Mon, 2 Feb 2004 16:04:09 -0500 Resent-Date: Mon, 2 Feb 2004 16:04:09 -0500 Old-Return-Path: From: DialaThos@aol.com Message-ID: Date: Mon, 2 Feb 2004 16:03:34 EST Subject: Loop IV reverse questions To: Loopers-Delight@loopers-delight.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit X-Mailer: AOL 5.0 for Mac sub 11 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40651 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Hi all, I'm using loopIV in my EDP.. and recently discovered by accident that a CC pedal I use for "hold" functions on synths (CC#64) is now kicking me into reverse mode when the EDP is playing. My source # is set to 31.. so this makes sense as the offset for "go into reverse" is 33. (33+31=64... I went to college ;) 2 questions though... how do I get out of reverse? Is there a way to do it from the front panel? and... with the nice long MIDI implementation now in Loop IV is there a way to set the EDP so that it doesn't receive all of them? (dumb question... pretty sure the answer is no... but....). Thanks! Tom From Loopers-Delight-request@loopers-delight.com Mon Feb 2 17:24:26 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i12MKQs29710; Mon, 2 Feb 2004 17:20:26 -0500 Resent-Date: Mon, 2 Feb 2004 17:20:26 -0500 Old-Return-Path: X-Originating-IP: [65.201.211.175] X-Originating-Email: [smtercha@msn.com] X-Sender: smtercha@msn.com From: "STEPHANIE TERCHA" To: Loopers-Delight@loopers-delight.com Subject: RE: Loop IV reverse questions Date: Mon, 02 Feb 2004 17:20:19 -0500 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Message-ID: X-OriginalArrivalTime: 02 Feb 2004 22:20:19.0982 (UTC) FILETIME=[BE356AE0:01C3E9DA] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40652 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com I have no idea what you're talking about >From: DialaThos@aol.com >Reply-To: Loopers-Delight@loopers-delight.com >To: Loopers-Delight@loopers-delight.com >Subject: Loop IV reverse questions >Date: Mon, 2 Feb 2004 16:03:34 EST > >Hi all, > >I'm using loopIV in my EDP.. and recently discovered by accident that a CC >pedal I use for "hold" functions on synths (CC#64) is now kicking me into >reverse mode when the EDP is playing. My source # is set to 31.. so this >makes >sense as the offset for "go into reverse" is 33. (33+31=64... I went to >college ;) > >2 questions though... how do I get out of reverse? Is there a way to do it >from the front panel? > >and... with the nice long MIDI implementation now in Loop IV is there a way >to set the EDP so that it doesn't receive all of them? (dumb question... >pretty sure the answer is no... but....). > >Thanks! >Tom > _________________________________________________________________ Check out the coupons and bargains on MSN Offers! http://shopping.msn.com/softcontent/softcontent.aspx?scmId=1418 From Loopers-Delight-request@loopers-delight.com Mon Feb 2 18:23:07 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i12NJ6903991; Mon, 2 Feb 2004 18:19:06 -0500 Resent-Date: Mon, 2 Feb 2004 18:19:06 -0500 Old-Return-Path: Message-ID: <00d401c3e9f3$ffe07250$0200a8c0@amd> From: "Jesse Ray Lucas" To: References: Subject: Re: Loop IV reverse questions Date: Mon, 2 Feb 2004 18:21:06 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1106 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1106 Resent-Message-ID: <2LaedC.A.P-.qrtHAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40653 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Get out of reverse by sending a Forward command which, in your case (if your Source#=31), would be CC#63. Although, if it's going to be a constant problem, you're better off setting your source to a different number to avoid collisions, changing the hold CC on your synths, or using notes to control the EDP. No, you can't filter the DirectMIDI commands that the EDP receives from the EDP end, as far as I know. Although, you might be able to filter them from the PC with some extra software, if that's where the commands are coming from, or going through... Depends on your MIDI routing. -J ----- Original Message ----- From: "STEPHANIE TERCHA" To: Sent: Monday, February 02, 2004 3:20 PM Subject: RE: Loop IV reverse questions > I have no idea what you're talking about > > > >From: DialaThos@aol.com > >Reply-To: Loopers-Delight@loopers-delight.com > >To: Loopers-Delight@loopers-delight.com > >Subject: Loop IV reverse questions > >Date: Mon, 2 Feb 2004 16:03:34 EST > > > >Hi all, > > > >I'm using loopIV in my EDP.. and recently discovered by accident that a CC > >pedal I use for "hold" functions on synths (CC#64) is now kicking me into > >reverse mode when the EDP is playing. My source # is set to 31.. so this > >makes > >sense as the offset for "go into reverse" is 33. (33+31=64... I went to > >college ;) > > > >2 questions though... how do I get out of reverse? Is there a way to do it > >from the front panel? > > > >and... with the nice long MIDI implementation now in Loop IV is there a way > >to set the EDP so that it doesn't receive all of them? (dumb question... > >pretty sure the answer is no... but....). > > > >Thanks! > >Tom > > > > _________________________________________________________________ > Check out the coupons and bargains on MSN Offers! > http://shopping.msn.com/softcontent/softcontent.aspx?scmId=1418 > From Loopers-Delight-request@loopers-delight.com Mon Feb 2 21:24:44 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i132KkK28277; Mon, 2 Feb 2004 21:20:46 -0500 Resent-Date: Mon, 2 Feb 2004 21:20:46 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/9.0.2509 Date: Mon, 02 Feb 2004 21:21:05 -0500 Subject: Zappa From: Andre Cholmondeley To: Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40654 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com >>From: David Beardsley >>Date: Sun, 01 Feb 2004 13:57:04 -0500 >>To: Loopers-Delight@loopers-delight.com >>Subject: Re: Improvising vs. composing >>When I'm improvising, I'm composing. >>I think Frank Zappa called improvisation instant composition. -- >>* David Beardsley >>* microtonal guitar >>* http://biink.com/db And now.. Frank is DE-composing. (ouch. Sorry .. I Felt in a bad punny mood) From Loopers-Delight-request@loopers-delight.com Tue Feb 3 00:32:25 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i135TiL22461; Tue, 3 Feb 2004 00:29:44 -0500 Resent-Date: Tue, 3 Feb 2004 00:29:44 -0500 Old-Return-Path: Message-ID: <401F306F.34195112@earthlink.net> Date: Mon, 02 Feb 2004 21:24:00 -0800 From: Andre LaFosse X-Mailer: Mozilla 4.73C-CCK-MCD {C-UDP; EBM-APPLE} (Macintosh; U; PPC) X-Accept-Language: en MIME-Version: 1.0 To: loopers-delight@loopers-delight.com Subject: Los Angeles Gig Spam Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40655 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com The East Coast audiences last week rocked HARD - let's see if LA is up to it: Sunday, Feb. 8th The Equator 22 Mills Place Pasadena, CA 91105-1910 I'll play a solo set at 7:00 PM, followed by Daren Burns and Koorosh Daryaie (aka Dark Numbers) doing their live duo electronic thing after me. (This is the same duo Rick Walker was originally scheduled to do a NAMM week gig with). We'll play as a trio to wrap things up. The Equator is a very cool coffee shop tucked in Old Town Pasadena, quite a nice space to hang out and listen to music in, and it's a free show - swing by and check it out if you can. Best wishes, and thanks again to everyone who came to (and organized!) an East Coast show - 'twas a blast! --Andre LaFosse The Echoplex Analysis Pages: http://www.altruistmusic.com/EDP From Loopers-Delight-request@loopers-delight.com Tue Feb 3 02:19:58 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i137Edl03224; Tue, 3 Feb 2004 02:14:39 -0500 Resent-Date: Tue, 3 Feb 2004 02:14:39 -0500 Old-Return-Path: Message-Id: <6.0.1.1.2.20040202231331.03676438@loopers-delight.com> X-Sender: kflint@loopers-delight.com X-Mailer: QUALCOMM Windows Eudora Version 6.0.1.1 Date: Mon, 02 Feb 2004 23:16:10 -0800 To: Loopers-Delight@loopers-delight.com From: Kim Flint Subject: Re: Loop IV reverse questions In-Reply-To: <00d401c3e9f3$ffe07250$0200a8c0@amd> References: <00d401c3e9f3$ffe07250$0200a8c0@amd> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Resent-Message-ID: <6rVKgD.A.Ry.fp0HAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40656 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com In addition to what Jesse said, can't you just set the echoplex to a different midi channel from your synth? kim At 05:21 PM 2/2/2004, Jesse Ray Lucas wrote: >Get out of reverse by sending a Forward command which, in your case (if your >Source#=31), would be CC#63. Although, if it's going to be a constant >problem, you're better off setting your source to a different number to >avoid collisions, changing the hold CC on your synths, or using notes to >control the EDP. ______________________________________________________________________ Kim Flint | Looper's Delight kflint@loopers-delight.com | http://www.loopers-delight.com From Loopers-Delight-request@loopers-delight.com Tue Feb 3 02:43:53 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i137eax05495; Tue, 3 Feb 2004 02:40:36 -0500 Resent-Date: Tue, 3 Feb 2004 02:40:36 -0500 Old-Return-Path: Message-Id: <6.0.1.1.2.20040202234008.04fdcba8@loopers-delight.com> X-Sender: kflint@loopers-delight.com X-Mailer: QUALCOMM Windows Eudora Version 6.0.1.1 Date: Mon, 02 Feb 2004 23:42:08 -0800 To: Loopers-Delight@loopers-delight.com From: Kim Flint Subject: Re: Syncing EDP to Repeater? In-Reply-To: <00c801c3e996$8aeadd80$594179a5@D9MS6F11> References: <200308191556.h7JFuxW23736@hemlock.violacea.com> <00c801c3e996$8aeadd80$594179a5@D9MS6F11> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40657 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 06:12 AM 2/2/2004, The Tuned Univerese - Webmaster wrote: >Hi folks. I know this must have been covered elsewhere, but I can't seem to >find it. Anyone have any info on syncing a EDP to a repeater? you can easily sync them with midi clock. Is there something specific you want to know? You might try searching the list archives, many aspects of sync between these two have been discussed before. kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@loopers-delight.com | http://www.loopers-delight.com From Loopers-Delight-request@loopers-delight.com Tue Feb 3 06:35:42 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13BV2P30650; Tue, 3 Feb 2004 06:31:02 -0500 Resent-Date: Tue, 3 Feb 2004 06:31:02 -0500 Old-Return-Path: X-VirusChecked: Checked X-Env-Sender: goddard.duncan@mtvne.com X-Msg-Ref: server-11.tower-1.messagelabs.com!1075807856!7733159 X-StarScan-Version: 5.1.15; banners=-,-,- Message-ID: <45E3A7CF573DD411B7C20008C70D394708533F61@LON-MAIL07> From: goddard.duncan@mtvne.com To: Loopers-Delight@loopers-delight.com Subject: RE: Slash Matters/cat 5 guitar leads Date: Tue, 3 Feb 2004 11:30:39 -0000 MIME-Version: 1.0 X-Mailer: Internet Mail Service (5.5.2650.21) Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C3EA49.26314060" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40658 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ------_=_NextPart_001_01C3EA49.26314060 Content-Type: text/plain; charset="iso-8859-1" >> Not to mention his impact on the top hat market. << guitar stylings stolen from page and perry, image a mish-mash of johnny thunders and noddy holder... and gibson are holding him up as some sort of guitar hero? GnR may have sold millions of albums, but gibson's use of slash in their PR is an insult to les paul. and all this bullshit about superior digitisation happening inside the guitar.... it's just made me feel more strongly that gibson lost the plot in 1959 and have never got it back. I can only imagine that the PR we all just read was written out long-hand by a non-musician; there's no way any self-respecting live-performing guitarist with any experience of computer networks would've written that bad-science drivel. the idea of taking a computer onstage is bad enough- even "dedicated" hardware with any sort of processor onboard is asking for trouble somewhere down the line- but relying absolutely on it to extract a performance from the sacred piece of wood..... no thanks. tried a variax in a shop a few days ago- it's like a dog walking on it's hind legs. good trick, but now can I have a real '68 rick please? at least until line6 come up with a neck that changes profile too.... duncan/r.m.i. *************************************************************************** CONFIDENTIALITY NOTICE The contents of this e-mail are confidential to the ordinary user of the e-mail address to which it was addressed, and may also be privileged. If you are not the addressee of this e-mail you may not copy, forward, disclose or otherwise use it or any part of it in any form whatsoever.If you have received this e-mail in error, please e-mail the sender by replying to this message. It is your responsibility to carry out appropriate virus and other checks to ensure that this message and any attachments do not affect your systems / data. Any views or opinions expressed in this e-mail are solely those of the author and do not necessarily represent those of MTV Networks Europe unless specifically stated, nor does this message form any part of any contract unless so stated. MTV reserves the right to monitor e-mail communications from external/internal sources for the purposes of ensuring correct and appropriate use of MTV communication equipment. MTV Networks Europe *************************************************************************** ------_=_NextPart_001_01C3EA49.26314060 Content-Type: text/html; charset="iso-8859-1" Re: Slash Matters
 
 >> Not to mention his impact on the top hat market. <<
 
guitar stylings stolen from page and perry, image a mish-mash of johnny thunders and noddy holder... and gibson are holding him up as some sort of guitar hero? GnR may have sold millions of albums, but gibson's use of slash in their PR is an insult to les paul. 
 
and all this bullshit about superior digitisation happening inside the guitar.... it's just made me feel more strongly that gibson lost the plot in 1959 and have never got it back. I can only imagine that the PR we all just read was written out long-hand by a non-musician; there's no way any self-respecting live-performing guitarist with any experience of computer networks would've written that bad-science drivel.
 
the idea of taking a computer onstage is bad enough- even "dedicated" hardware with any sort of processor onboard is asking for trouble somewhere down the line- but relying absolutely on it to extract a performance from the sacred piece of wood..... no thanks.
 
tried a variax in a shop a few days ago- it's like a dog walking on it's hind legs. good trick, but now can I have a real '68 rick please? at least until line6 come up with a neck that changes profile too....
 
duncan/r.m.i.


***************************************************************************
CONFIDENTIALITY NOTICE

The contents of this e-mail are confidential to the ordinary user
of the e-mail address to which it was addressed, and may also
be privileged. If you are not the addressee of this e-mail you may
not copy, forward, disclose or otherwise use it or any part of it
in any form whatsoever.If you have received this e-mail in error,
please e-mail the sender by replying to this message.

It is your responsibility to carry out appropriate virus and other
checks to ensure that this message and any attachments do not
affect your systems / data. Any views or opinions expressed in this
e-mail are solely those of the author and do not necessarily
represent those of MTV Networks Europe unless specifically stated,
nor does this message form any part of any contract unless so stated.

MTV reserves the right to monitor e-mail communications from
external/internal sources for the purposes of ensuring correct
and appropriate use of MTV communication equipment.

MTV Networks Europe
***************************************************************************
 ------_=_NextPart_001_01C3EA49.26314060-- From Loopers-Delight-request@loopers-delight.com Tue Feb 3 08:21:43 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13DISe10653; Tue, 3 Feb 2004 08:18:28 -0500 Resent-Date: Tue, 3 Feb 2004 08:18:28 -0500 Old-Return-Path: Message-ID: From: Don Makoviney To: Loopers-Delight@loopers-delight.com Subject: RE: Slash Matters/cat 5 guitar leads Date: Tue, 3 Feb 2004 08:18:23 -0500 MIME-Version: 1.0 X-Mailer: Internet Mail Service (5.5.2653.19) Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C3EA58.3303E220" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40659 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ------_=_NextPart_001_01C3EA58.3303E220 Content-Type: text/plain Goddard said: "the idea of taking a computer onstage is bad enough- even "dedicated" hardware with any sort of processor onboard is asking for trouble somewhere down the line- " Goddard, that might be the wrong thing to say on a LIVE LOOPER list. Considering most of us on here have some sort of processor power onstage. Calm down dude. Plus, for kids in the late 80's who knew nothing beyond hot pink Kramers, Ibanez's, BC Rich's, and Yamaha's, having someone like Slash come along showing an appreciation for vintage riffs, instruments, etc was a nice breath of fresh air. For an old fart like you, maybe it was just an obvious ripoff. But for kids at the time, his "look" and influences helped millions of kids (like myself at the time) delve into those older records, influences, etc. Granted, he may not have been an originator, but he definitely helped keep the originators' influences alive and made them relevant and "cool" to kids like me. Besides, the originators weren't originators themselves. They ripped off their predecessors, and on down the line. It was just new to you at the time because you were a punk kid and didn't know any better. Peace, DM _____ From: goddard.duncan@mtvne.com [mailto:goddard.duncan@mtvne.com] Sent: Tuesday, February 03, 2004 6:31 AM To: Loopers-Delight@loopers-delight.com Subject: RE: Slash Matters/cat 5 guitar leads >> Not to mention his impact on the top hat market. << guitar stylings stolen from page and perry, image a mish-mash of johnny thunders and noddy holder... and gibson are holding him up as some sort of guitar hero? GnR may have sold millions of albums, but gibson's use of slash in their PR is an insult to les paul. and all this bullshit about superior digitisation happening inside the guitar.... it's just made me feel more strongly that gibson lost the plot in 1959 and have never got it back. I can only imagine that the PR we all just read was written out long-hand by a non-musician; there's no way any self-respecting live-performing guitarist with any experience of computer networks would've written that bad-science drivel. the idea of taking a computer onstage is bad enough- even "dedicated" hardware with any sort of processor onboard is asking for trouble somewhere down the line- but relying absolutely on it to extract a performance from the sacred piece of wood..... no thanks. tried a variax in a shop a few days ago- it's like a dog walking on it's hind legs. good trick, but now can I have a real '68 rick please? at least until line6 come up with a neck that changes profile too.... duncan/r.m.i. *************************************************************************** CONFIDENTIALITY NOTICE The contents of this e-mail are confidential to the ordinary user of the e-mail address to which it was addressed, and may also be privileged. If you are not the addressee of this e-mail you may not copy, forward, disclose or otherwise use it or any part of it in any form whatsoever.If you have received this e-mail in error, please e-mail the sender by replying to this message. It is your responsibility to carry out appropriate virus and other checks to ensure that this message and any attachments do not affect your systems / data. Any views or opinions expressed in this e-mail are solely those of the author and do not necessarily represent those of MTV Networks Europe unless specifically stated, nor does this message form any part of any contract unless so stated. MTV reserves the right to monitor e-mail communications from external/internal sources for the purposes of ensuring correct and appropriate use of MTV communication equipment. MTV Networks Europe *************************************************************************** ------_=_NextPart_001_01C3EA58.3303E220 Content-Type: text/html Re: Slash Matters
Goddard said:
"the idea of taking a computer onstage is bad enough- even "dedicated" hardware with any sort of processor onboard is asking for trouble somewhere down the line- "
 
Goddard, that might be the wrong thing to say on a LIVE LOOPER list. Considering most of us on here have some sort of processor power onstage.
 
Calm down dude.
 
Plus, for kids in the late 80's who knew nothing beyond hot pink Kramers, Ibanez's, BC Rich's, and Yamaha's, having someone like Slash come along showing an appreciation for vintage riffs, instruments, etc was a nice breath of fresh air.
 
For an old fart like you, maybe it was just an obvious ripoff. But for kids at the time, his "look" and influences helped millions of kids (like myself at the time) delve into those older records, influences, etc.
 
Granted, he may not have been an originator, but he definitely helped keep the originators' influences alive and made them relevant and "cool" to kids like me.
 
Besides, the originators weren't originators themselves. They ripped off their predecessors, and on down the line. It was just new to you at the time because you were a punk kid and didn't know any better.
 
Peace,
 
DM

From: goddard.duncan@mtvne.com [mailto:goddard.duncan@mtvne.com]
Sent: Tuesday, February 03, 2004 6:31 AM
To: Loopers-Delight@loopers-delight.com
Subject: RE: Slash Matters/cat 5 guitar leads

 
 >> Not to mention his impact on the top hat market. <<
 
guitar stylings stolen from page and perry, image a mish-mash of johnny thunders and noddy holder... and gibson are holding him up as some sort of guitar hero? GnR may have sold millions of albums, but gibson's use of slash in their PR is an insult to les paul. 
 
and all this bullshit about superior digitisation happening inside the guitar.... it's just made me feel more strongly that gibson lost the plot in 1959 and have never got it back. I can only imagine that the PR we all just read was written out long-hand by a non-musician; there's no way any self-respecting live-performing guitarist with any experience of computer networks would've written that bad-science drivel.
 
the idea of taking a computer onstage is bad enough- even "dedicated" hardware with any sort of processor onboard is asking for trouble somewhere down the line- but relying absolutely on it to extract a performance from the sacred piece of wood..... no thanks.
 
tried a variax in a shop a few days ago- it's like a dog walking on it's hind legs. good trick, but now can I have a real '68 rick please? at least until line6 come up with a neck that changes profile too....
 
duncan/r.m.i.


***************************************************************************
CONFIDENTIALITY NOTICE

The contents of this e-mail are confidential to the ordinary user
of the e-mail address to which it was addressed, and may also
be privileged. If you are not the addressee of this e-mail you may
not copy, forward, disclose or otherwise use it or any part of it
in any form whatsoever.If you have received this e-mail in error,
please e-mail the sender by replying to this message.

It is your responsibility to carry out appropriate virus and other
checks to ensure that this message and any attachments do not
affect your systems / data. Any views or opinions expressed in this
e-mail are solely those of the author and do not necessarily
represent those of MTV Networks Europe unless specifically stated,
nor does this message form any part of any contract unless so stated.

MTV reserves the right to monitor e-mail communications from
external/internal sources for the purposes of ensuring correct
and appropriate use of MTV communication equipment.

MTV Networks Europe
***************************************************************************
------_=_NextPart_001_01C3EA58.3303E220-- From Loopers-Delight-request@loopers-delight.com Tue Feb 3 09:22:39 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13EEmP17604; Tue, 3 Feb 2004 09:14:48 -0500 Resent-Date: Tue, 3 Feb 2004 09:14:48 -0500 Old-Return-Path: Message-ID: <01e101c3ea60$7f8f3ec0$0207a8c0@Stephen> From: "Steve Goodman" To: References: Subject: Re: Slash Matters/cat 5 guitar leads Date: Tue, 3 Feb 2004 14:17:46 -0000 MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_01DE_01C3EA60.7EBF6BA0" X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40660 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This is a multi-part message in MIME format. ------=_NextPart_000_01DE_01C3EA60.7EBF6BA0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Re: Slash MattersFrom: Don Makoviney=20 Plus, for kids in the late 80's who knew nothing beyond hot pink = Kramers, Ibanez's, BC Rich's, and Yamaha's, having someone like Slash = come along showing an appreciation for vintage riffs, instruments, etc = was a nice breath of fresh air. That's like calling the ripping off of other peoples' choreography an = "homage". Drunks n' Posers was just a Big Hair band without shampoo but = with plenty of cocaine and likker. For an old fart like you, maybe it was just an obvious ripoff. But for = kids at the time, his "look" and influences helped millions of kids = (like myself at the time) delve into those older records, influences, = etc. I would love to see anyplace where Slash ever talked about anything = about his influences, or for that matter encouraged anyone to look up = the people who did the work he picked up on. Granted, he may not have been an originator, but he definitely helped = keep the originators' influences alive and made them relevant and "cool" = to kids like me. In order to do that, again, he would have had to tell people what his = influences are. Besides, the originators weren't originators themselves. They ripped = off their predecessors, and on down the line. It was just new to you at = the time because you were a punk kid and didn't know any better. Which of course is no excuse for anything, after all. Steve Goodman * EarthLight Productions * http://www.earthlight.net ------=_NextPart_000_01DE_01C3EA60.7EBF6BA0 Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Re: Slash Matters
Plus, for = kids in the late=20 80's who knew nothing beyond hot pink Kramers, Ibanez's, BC Rich's, = and=20 Yamaha's, having someone like Slash come along showing an appreciation = for=20 vintage riffs, instruments, etc was a nice breath of fresh=20 air.
That's like = calling the=20 ripping off of other peoples' choreography an "homage".  Drunks n' = Posers=20 was just a Big Hair band without shampoo but with plenty of cocaine and=20 likker.
For an old = fart like you,=20 maybe it was just an obvious ripoff. But for kids at the time, his = "look" and=20 influences helped millions of kids (like myself at the time) delve = into those=20 older records, influences, = etc.
I would love = to=20 see anyplace where Slash ever talked about anything about = his=20 influences, or for that matter encouraged anyone to look up the people = who did=20 the work he picked up on.
Granted, he = may not have=20 been an originator, but he definitely helped keep the originators' = influences=20 alive and made them relevant and "cool" to kids like=20 me.
In order to do = that, again,=20 he would have had to tell people what his influences=20 are.
Besides, the = originators=20 weren't originators themselves. They ripped off their predecessors, = and on=20 down the line. It was just new to you at the time because you were a = punk kid=20 and didn't know any better.
Which of = course is no excuse=20 for anything, after all.
 
Steve = Goodman
*=20 EarthLight Productions
* http://www.earthlight.net
------=_NextPart_000_01DE_01C3EA60.7EBF6BA0-- From Loopers-Delight-request@loopers-delight.com Tue Feb 3 09:39:49 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13EZFu20037; Tue, 3 Feb 2004 09:35:15 -0500 Resent-Date: Tue, 3 Feb 2004 09:35:15 -0500 Old-Return-Path: X-MIMEOLE: Produced By Microsoft Exchange V6.0.6487.1 Content-Class: urn:content-classes:message MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Subject: RE: Slash Matters/cat 5 guitar leads Date: Tue, 3 Feb 2004 09:35:12 -0500 Message-ID: X-MS-Has-Attach: X-MS-TNEF-Correlator: Thread-Topic: Slash Matters/cat 5 guitar leads thread-index: AcPqYJExXzboqOAhQ4eTidHnapCvyAAAXG5w From: "Glenn Poorman" To: X-OriginalArrivalTime: 03 Feb 2004 14:35:12.0714 (UTC) FILETIME=[EE9802A0:01C3EA62] Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i13EZEc20014 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40661 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > > For an old fart like you, maybe it was just an obvious ripoff. > > But for kids at the time, his "look" and influences helped millions > > of kids (like myself at the time) delve into those older records, > > influences, etc. > > I would love to see anyplace where Slash ever talked about anything > about his influences, or for that matter encouraged anyone to look > up the people who did the work he picked up on. > > > Granted, he may not have been an originator, but he definitely > > helped keep the originators' influences alive and made them > > relevant and "cool" to kids like me. > > In order to do that, again, he would have had to tell people what > his influences are. I would argue that that's not necessarily true. I'm not a fan of Slash or G&R and probably fall more into the "old fart" category myself. But ... people who find themselves seriously getting into the stylings of particular musicians have a habit of sniffing out the influences on their own. We all have friends, parents, siblings right? How many times have any of us heard "if you like that, you should check this out". Tis what makes the world go round ... thankfully. Glenn From Loopers-Delight-request@loopers-delight.com Tue Feb 3 09:44:29 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13EcQx20508; Tue, 3 Feb 2004 09:38:26 -0500 Resent-Date: Tue, 3 Feb 2004 09:38:26 -0500 Old-Return-Path: Message-ID: From: Don Makoviney To: Loopers-Delight@loopers-delight.com Subject: RE: Slash Matters/cat 5 guitar leads Date: Tue, 3 Feb 2004 09:38:19 -0500 MIME-Version: 1.0 X-Mailer: Internet Mail Service (5.5.2653.19) Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C3EA63.5E2F5CD0" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40662 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ------_=_NextPart_001_01C3EA63.5E2F5CD0 Content-Type: text/plain Right. I wasn't saying it was the ONLY way, but it was certainly a help for many, including me. The Black Crowes were another one in the early 90's, turned me on to the Faces, Stones, etc. DM >>-----Original Message----- >>From: Glenn Poorman [mailto:glenn.poorman@autodesk.com] >>Sent: Tuesday, February 03, 2004 9:35 AM >>To: Loopers-Delight@loopers-delight.com >>Subject: RE: Slash Matters/cat 5 guitar leads >> >>> > For an old fart like you, maybe it was just an obvious ripoff. >>> > But for kids at the time, his "look" and influences >>helped millions >>> > of kids (like myself at the time) delve into those older records, >>> > influences, etc. >>> >>> I would love to see anyplace where Slash ever talked about anything >>> about his influences, or for that matter encouraged anyone >>to look up >>> the people who did the work he picked up on. >>> >>> > Granted, he may not have been an originator, but he definitely >>> > helped keep the originators' influences alive and made >>them relevant >>> > and "cool" to kids like me. >>> >>> In order to do that, again, he would have had to tell >>people what his >>> influences are. >> >>I would argue that that's not necessarily true. I'm not a fan >>of Slash or G&R and probably fall more into the "old fart" >>category myself. But ... people who find themselves seriously >>getting into the stylings of particular musicians have a >>habit of sniffing out the influences on their own. >> >>We all have friends, parents, siblings right? How many times >>have any of us heard "if you like that, you should check this >>out". Tis what makes the world go round ... thankfully. >> >>Glenn >> ------_=_NextPart_001_01C3EA63.5E2F5CD0 Content-Type: text/html RE: Slash Matters/cat 5 guitar leads

Right. I wasn't saying it was the ONLY way, but it was certainly a help for many, including me.

The Black Crowes were another one in the early 90's, turned me on to the Faces, Stones, etc.

DM

>>-----Original Message-----
>>From: Glenn Poorman [mailto:glenn.poorman@autodesk.com]
>>Sent: Tuesday, February 03, 2004 9:35 AM
>>To: Loopers-Delight@loopers-delight.com
>>Subject: RE: Slash Matters/cat 5 guitar leads
>>
>>> > For an old fart like you, maybe it was just an obvious ripoff.
>>> > But for kids at the time, his "look" and influences
>>helped millions
>>> > of kids (like myself at the time) delve into those older records,
>>> > influences, etc.
>>>
>>> I would love to see anyplace where Slash ever talked about anything
>>> about his influences, or for that matter encouraged anyone
>>to look up
>>> the people who did the work he picked up on.
>>>
>>> > Granted, he may not have been an originator, but he definitely
>>> > helped keep the originators' influences alive and made
>>them relevant
>>> > and "cool" to kids like me.
>>>
>>> In order to do that, again, he would have had to tell
>>people what his
>>> influences are.
>>
>>I would argue that that's not necessarily true. I'm not a fan
>>of Slash or G&R and probably fall more into the "old fart"
>>category myself. But ... people who find themselves seriously
>>getting into the stylings of particular musicians have a
>>habit of sniffing out the influences on their own.
>>
>>We all have friends, parents, siblings right? How many times
>>have any of us heard "if you like that, you should check this
>>out". Tis what makes the world go round ... thankfully.
>>
>>Glenn
>>

------_=_NextPart_001_01C3EA63.5E2F5CD0-- From Loopers-Delight-request@loopers-delight.com Tue Feb 3 09:56:40 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13EoVq21867; Tue, 3 Feb 2004 09:50:31 -0500 Resent-Date: Tue, 3 Feb 2004 09:50:31 -0500 Old-Return-Path: From: RODCSH1@aol.com Message-ID: <112.2e2599f9.2d510f31@aol.com> Date: Tue, 3 Feb 2004 09:50:25 EST Subject: Re: Slash Matters/cat 5 guitar leads To: Loopers-Delight@loopers-delight.com MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="-----------------------------1075819825" X-Mailer: 9.0 for Windows sub 5006 Resent-Message-ID: <7wc5OC.A.iVF.3U7HAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40663 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com -------------------------------1075819825 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit What does Slash have to do with looping? really. -------------------------------1075819825 Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable What does Slash have to do with looping? really. -------------------------------1075819825-- From Loopers-Delight-request@loopers-delight.com Tue Feb 3 09:58:58 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13Er0h22134; Tue, 3 Feb 2004 09:53:00 -0500 Resent-Date: Tue, 3 Feb 2004 09:53:00 -0500 Old-Return-Path: Message-ID: From: Don Makoviney To: Loopers-Delight@loopers-delight.com Subject: RE: Slash Matters/cat 5 guitar leads Date: Tue, 3 Feb 2004 09:52:55 -0500 MIME-Version: 1.0 X-Mailer: Internet Mail Service (5.5.2653.19) Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C3EA65.67F08BC0" Resent-Message-ID: <7V72VC.A.rZF.LX7HAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40664 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ------_=_NextPart_001_01C3EA65.67F08BC0 Content-Type: text/plain Nothing. Lets move on. Suffice it to say. A CAT-5 guitar could be a pretty cool thing for the experimental and/or looping musician. DM _____ From: RODCSH1@aol.com [mailto:RODCSH1@aol.com] Sent: Tuesday, February 03, 2004 9:50 AM To: Loopers-Delight@loopers-delight.com Subject: Re: Slash Matters/cat 5 guitar leads What does Slash have to do with looping? really. ------_=_NextPart_001_01C3EA65.67F08BC0 Content-Type: text/html
Nothing. Lets move on.
 
Suffice it to say. A CAT-5 guitar could be a pretty cool thing for the experimental and/or looping musician.
 
DM

From: RODCSH1@aol.com [mailto:RODCSH1@aol.com]
Sent: Tuesday, February 03, 2004 9:50 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Slash Matters/cat 5 guitar leads

What does Slash have to do with looping? really.
------_=_NextPart_001_01C3EA65.67F08BC0-- From Loopers-Delight-request@loopers-delight.com Tue Feb 3 11:57:06 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13Gmxn03908; Tue, 3 Feb 2004 11:48:59 -0500 Resent-Date: Tue, 3 Feb 2004 11:48:59 -0500 Old-Return-Path: Message-ID: <20040203164855.62086.qmail@web14001.mail.yahoo.com> Date: Tue, 3 Feb 2004 08:48:55 -0800 (PST) From: dylan Reply-To: dylanhassinger@yahoo.com Subject: re: matrix 1000 vs. vintage keys To: jimfowler@prodigy.net Cc: loopers-delight@loopers-delight.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40665 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com inown both. definitely would choose the matrix 1000 anyday. the vintage keys, to my ears, just isn't up to snuff. the patches sound flat. there's a *couple* ok rhodes-ish sounds, a good supply of biting leads. but really i think it's barely worth the money (and i only paid $150 for the sound rom). the matrix on the other hand is the real deal. fatty basses. analog. it cannot be programmed from the front panel, however (i lucked out and scored the Access control panel for it). if you want to be able to change the patches (which really makes it worthwhile) you'll need to do it in software or get a matrix 6r. in summary, the synth lead sounds on the vintage keys are decent, and there's a lot of them. but a korg ms2000 or microkorg is cooler. for clavinet and electric piano sounds, a yamaha motif is cooler. for all of the above, a roland fantom-s is the coolest. and there is a rackmount version of the fantom coming out in march! all these units have support. for analog sounds that are awesome but you won't use everyday, the matrix 1000. and you get no support. hope i've helped. or not at all maybe. -dylan __________________________________ Do you Yahoo!? Yahoo! SiteBuilder - Free web site building tool. Try it! http://webhosting.yahoo.com/ps/sb/ From Loopers-Delight-request@loopers-delight.com Tue Feb 3 12:11:56 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13H3BY06821; Tue, 3 Feb 2004 12:03:11 -0500 Resent-Date: Tue, 3 Feb 2004 12:03:11 -0500 Old-Return-Path: X-VirusChecked: Checked X-Env-Sender: goddard.duncan@mtvne.com X-Msg-Ref: server-10.tower-1.messagelabs.com!1075827773!7762589 X-StarScan-Version: 5.1.15; banners=-,-,- Message-ID: <45E3A7CF573DD411B7C20008C70D394708533F70@LON-MAIL07> From: goddard.duncan@mtvne.com To: Loopers-Delight@loopers-delight.com Subject: RE: Slash Matters/cat 5 guitar leads Date: Tue, 3 Feb 2004 17:03:52 -0000 MIME-Version: 1.0 X-Mailer: Internet Mail Service (5.5.2650.21) Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C3EA77.B34B2500" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40666 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ------_=_NextPart_001_01C3EA77.B34B2500 Content-Type: text/plain; charset="iso-8859-1" >> What does Slash have to do with looping? really. << I'll get me coat. really, the point was the parlous state of affairs that's led gibson to promote their wares thusly. and they sell the EDP. but I'll get me coat anyway. d. *************************************************************************** CONFIDENTIALITY NOTICE The contents of this e-mail are confidential to the ordinary user of the e-mail address to which it was addressed, and may also be privileged. If you are not the addressee of this e-mail you may not copy, forward, disclose or otherwise use it or any part of it in any form whatsoever.If you have received this e-mail in error, please e-mail the sender by replying to this message. It is your responsibility to carry out appropriate virus and other checks to ensure that this message and any attachments do not affect your systems / data. Any views or opinions expressed in this e-mail are solely those of the author and do not necessarily represent those of MTV Networks Europe unless specifically stated, nor does this message form any part of any contract unless so stated. MTV reserves the right to monitor e-mail communications from external/internal sources for the purposes of ensuring correct and appropriate use of MTV communication equipment. MTV Networks Europe *************************************************************************** ------_=_NextPart_001_01C3EA77.B34B2500 Content-Type: text/html; charset="iso-8859-1"
 >> What does Slash have to do with looping? really. <<
 
I'll get me coat.
 
really, the point was the parlous state of affairs that's led gibson to promote their wares thusly. and they sell the EDP.
 
but I'll get me coat anyway.
 
d. 


***************************************************************************
CONFIDENTIALITY NOTICE

The contents of this e-mail are confidential to the ordinary user
of the e-mail address to which it was addressed, and may also
be privileged. If you are not the addressee of this e-mail you may
not copy, forward, disclose or otherwise use it or any part of it
in any form whatsoever.If you have received this e-mail in error,
please e-mail the sender by replying to this message.

It is your responsibility to carry out appropriate virus and other
checks to ensure that this message and any attachments do not
affect your systems / data. Any views or opinions expressed in this
e-mail are solely those of the author and do not necessarily
represent those of MTV Networks Europe unless specifically stated,
nor does this message form any part of any contract unless so stated.

MTV reserves the right to monitor e-mail communications from
external/internal sources for the purposes of ensuring correct
and appropriate use of MTV communication equipment.

MTV Networks Europe
***************************************************************************
 ------_=_NextPart_001_01C3EA77.B34B2500-- From Loopers-Delight-request@loopers-delight.com Tue Feb 3 13:42:35 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13IZHN21351; Tue, 3 Feb 2004 13:35:17 -0500 Resent-Date: Tue, 3 Feb 2004 13:35:17 -0500 Old-Return-Path: From: "Neil Goldstein" To: Subject: 2 EDP in stereo: how to match parameters Date: Tue, 3 Feb 2004 10:34:16 -0800 Message-ID: <000001c3ea84$556c7620$6401a8c0@neil> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit X-Priority: 3 (Normal) X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook, Build 10.0.2627 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Importance: Normal In-Reply-To: <20040129200726.SNED9070.mta10.adelphia.net@mail.adelphia.net> Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40667 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com I have been looping with 2 EDPs in stereo, and want to make sure that each unit has the same parameter settings. What is the best way to go about this? I have the brother sync cable attached, and midi out from EDP1 to EDP2. I notice that changing a parameter from #1 will change the same parameter on #2, incrementally, so if #2 starts at a different setting it will not change to match #1, so it is necessary to manually adjust the #2 parameter to match #1. I'm getting this straightened out by manually changing #2 to match #1, but still am getting some unexpected behaviour: sometimes doing a Multiply doesn't end on #2 along with #1. I was getting some cool results by inadvertently having different quantize settings on each unit. Hoping to elicit some wisdom and instruction here, including: What is the list of parameters that have to match to insure total stereo connectivity? Can you send preset from #1 to #2 via midi? What are cool ideas that people have found for deviating parameters on #1 and #2, esp while operating as "stereo" (recording the same audio to each EDP) Footpedal programming: The best way to go from stereo operation to dual mono (different midi channels) in a live setting. Seems like there a lot of dual EDP owners who piped up here. Please share your secrets! Neil From Loopers-Delight-request@loopers-delight.com Tue Feb 3 14:06:24 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13IoxF24534; Tue, 3 Feb 2004 13:50:59 -0500 Resent-Date: Tue, 3 Feb 2004 13:50:59 -0500 Old-Return-Path: Message-ID: <20040203185051.9674.qmail@web80204.mail.yahoo.com> Date: Tue, 3 Feb 2004 10:50:51 -0800 (PST) From: "JAMES FOWLER, III" Subject: Re: 2 EDP in stereo: how to match parameters To: Loopers-Delight@loopers-delight.com In-Reply-To: <000001c3ea84$556c7620$6401a8c0@neil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-2139873950-1075834251=:9090" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40668 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com --0-2139873950-1075834251=:9090 Content-Type: text/plain; charset=us-ascii sometimes i get glitchy behaviour, particularly when selecting the reverse function from the front panel on the master edp. of course, any control input into the slave edp will not be echoed to the master (midi connection is uni-directional). if i recall correctly (and there's a good chance i don't), you can connect them via midi and set the params on the master, which will in turn select them in the slave. for example, if you're in param X and slave differs from master, then you can adjust slave to match and continue on with the programming. -jim --0-2139873950-1075834251=:9090 Content-Type: text/html; charset=us-ascii
sometimes i get glitchy behaviour, particularly when selecting the reverse function from the front panel on the master edp. 
 
of course, any control input into the slave edp will not be echoed to the master (midi connection is uni-directional). 
 
if i recall correctly (and there's a good chance i don't), you can connect them via midi and set the params on the master, which will in turn select them in the slave.  for example, if you're in param X and slave differs from master, then you can adjust slave to match and continue on with the programming. 
 
-jim
--0-2139873950-1075834251=:9090-- From Loopers-Delight-request@loopers-delight.com Tue Feb 3 14:10:24 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13ItIh25058; Tue, 3 Feb 2004 13:55:18 -0500 Resent-Date: Tue, 3 Feb 2004 13:55:18 -0500 Old-Return-Path: X-MIMEOLE: Produced By Microsoft Exchange V6.0.6487.1 Content-Class: urn:content-classes:message MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Subject: RE: 2 EDP in stereo: how to match parameters Date: Tue, 3 Feb 2004 13:55:15 -0500 Message-ID: X-MS-Has-Attach: X-MS-TNEF-Correlator: Thread-Topic: 2 EDP in stereo: how to match parameters thread-index: AcPqhr0qzt1ZVUDBSVebwpk2Uex5tQAABjxA From: "Glenn Poorman" To: X-OriginalArrivalTime: 03 Feb 2004 18:55:16.0070 (UTC) FILETIME=[42EB3060:01C3EA87] Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i13ItHc25033 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40669 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com If you're setup to use Brother Sync, any parameter selection on the master should automatically be done on the slave as well. When I setup my 2nd unit, I went through manually and set all the parameters the same. After that, all parameter changes are done with my MIDI foot controller and happen on both units. Even if I were to change parameters on the front panel of the master though, they would still change on the slave. The one thing I haven't played with yet is presets. I'm finding more and more reason to investigate this so I'll probably do that within the next week. Glenn > -----Original Message----- > From: JAMES FOWLER, III [mailto:jimfowler@prodigy.net] > Sent: Tuesday, February 03, 2004 1:51 PM > To: Loopers-Delight@loopers-delight.com > Subject: Re: 2 EDP in stereo: how to match parameters > > sometimes i get glitchy behaviour, particularly when selecting > the reverse function from the front panel on the master edp. > > of course, any control input into the slave edp will not be > echoed to the master (midi connection is uni-directional). > > if i recall correctly (and there's a good chance i don't), you > can connect them via midi and set the params on the master, > which will in turn select them in the slave. for example, if > you're in param X and slave differs from master, then you can > adjust slave to match and continue on with the programming. > > -jim From Loopers-Delight-request@loopers-delight.com Tue Feb 3 14:21:34 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13JHC928680; Tue, 3 Feb 2004 14:17:12 -0500 Resent-Date: Tue, 3 Feb 2004 14:17:12 -0500 Old-Return-Path: From: "Neil Goldstein" To: Subject: RE: 2 EDP in stereo: how to match parameters Date: Tue, 3 Feb 2004 11:16:12 -0800 Message-ID: <000201c3ea8a$30807fe0$6401a8c0@neil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0003_01C3EA47.225EC680" X-Priority: 3 (Normal) X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook, Build 10.0.2627 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Importance: Normal In-Reply-To: <20040203185051.9674.qmail@web80204.mail.yahoo.com> Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40670 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This is a multi-part message in MIME format. ------=_NextPart_000_0003_01C3EA47.225EC680 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Well that's what I just reported. It doesn't match automatically unless they both START at the same setting. Incrementing a param on the master increments on the slave but doesn't match it automatically. Unless I was hallucinating, or I have a deviant 2nd EDP, that's what I've seen on mine. Seems that saving/recalling a preset on EDP slave that matches the master is the best way to insure they're set for perfect stereo operation. if i recall correctly (and there's a good chance i don't), you can connect them via midi and set the params on the master, which will in turn select them in the slave. for example, if you're in param X and slave differs from master, then you can adjust slave to match and continue on with the programming. -jim ------=_NextPart_000_0003_01C3EA47.225EC680 Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

Well that’s what I just = reported. It doesn’t match automatically unless they both START at the same = setting. Incrementing a param on the master increments on the slave but doesn’t match it automatically. Unless I was hallucinating, or I have a deviant = 2nd EDP, that’s what I’ve seen on mine.  

 

Seems that saving/recalling a = preset on EDP slave that matches the master is the best way to insure = they’re set for perfect stereo operation.

 

 

if i recall correctly (and there's a good chance i don't), you = can connect them via midi and set the params on the master, which will in turn = select them in the slave.  for example, if you're in param X and slave differs = from master, then you can adjust slave to match and continue on with the programming. 

 

-jim

------=_NextPart_000_0003_01C3EA47.225EC680-- From Loopers-Delight-request@loopers-delight.com Tue Feb 3 14:54:18 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13JmHr00882; Tue, 3 Feb 2004 14:48:17 -0500 Resent-Date: Tue, 3 Feb 2004 14:48:17 -0500 Old-Return-Path: X-MIMEOLE: Produced By Microsoft Exchange V6.0.6487.1 Content-Class: urn:content-classes:message MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Subject: RE: 2 EDP in stereo: how to match parameters Date: Tue, 3 Feb 2004 14:48:14 -0500 Message-ID: X-MS-Has-Attach: X-MS-TNEF-Correlator: Thread-Topic: 2 EDP in stereo: how to match parameters thread-index: AcPqimO8yMX0BOlyRQWR0lnDIxAYIAAA7Fsw From: "Glenn Poorman" To: X-OriginalArrivalTime: 03 Feb 2004 19:48:14.0769 (UTC) FILETIME=[A9922A10:01C3EA8E] Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i13JmGc00856 Resent-Message-ID: <8dO2jC.A.rN.Bs_HAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40671 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com You are correct that it doesn't match it automatically. But if you match them once and make it a point to always use the master for changes, you shouldn't have to worry about it. That is, unless you make it a point to mess with the slave separately. Then yes, storing off a "starting point" preset in both units would be a good way to make sure you start matched. Glenn > -----Original Message----- > From: Neil Goldstein [mailto:ngold@comcast.net] > Sent: Tuesday, February 03, 2004 2:16 PM > To: Loopers-Delight@loopers-delight.com > Subject: RE: 2 EDP in stereo: how to match parameters > > Well that's what I just reported. It doesn't match automatically > unless they both START at the same setting. Incrementing a param > on the master increments on the slave but doesn't match it > automatically. Unless I was hallucinating, or I have a deviant > 2nd EDP, that's what I've seen on mine. > > Seems that saving/recalling a preset on EDP slave that matches > the master is the best way to insure they're set for perfect > stereo operation. > > > if i recall correctly (and there's a good chance i don't), you > > can connect them via midi and set the params on the master, > > which will in turn select them in the slave. for example, > > if you're in param X and slave differs from master, then you > > can adjust slave to match and continue on with the programming. > > > > -jim From Loopers-Delight-request@loopers-delight.com Tue Feb 3 15:09:53 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13K4Kv03087; Tue, 3 Feb 2004 15:04:20 -0500 Resent-Date: Tue, 3 Feb 2004 15:04:20 -0500 Old-Return-Path: Message-ID: <006201c3ea90$8ab95da0$0e0aa8c0@upstairs> From: "Doug Cox" To: References: <000001c3ea84$556c7620$6401a8c0@neil> Subject: Re: 2 EDP in stereo: how to match parameters Date: Tue, 3 Feb 2004 14:01:35 -0600 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40672 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > I have been looping with 2 EDPs in stereo, and want to make sure that > each unit has the same parameter settings. What is the best way to go > about this? > > I have the brother sync cable attached, and midi out from EDP1 to EDP2. > I notice that changing a parameter from #1 will change the same > parameter on #2, incrementally, so if #2 starts at a different setting > it will not change to match #1, so it is necessary to manually adjust > the #2 parameter to match #1. > > I'm getting this straightened out by manually changing #2 to match #1, > but still am getting some unexpected behaviour: sometimes doing a > Multiply doesn't end on #2 along with #1. A happy mistake!! > I was getting some cool results by inadvertently having different > quantize settings on each unit. Nice, huh? > Hoping to elicit some wisdom and instruction here, including: > > What is the list of parameters that have to match to insure total stereo > connectivity? Can you send preset from #1 to #2 via midi? You just need Sync=Out on both units, and a Brother Sync cable to ensure sample-level accuracy (no phase problems). > What are cool ideas that people have found for deviating parameters on > #1 and #2, esp while operating as "stereo" (recording the same audio to > each EDP) I'm experimenting a lot with this lately. Right now, I'm in love with the effect I get with one EDP InsertMode set to Reverse and one set to 1/2 speed/full speed. Try all the combinations of InsertMode - fun stuff. Also different Quant settings in those scenarios are cool. > Footpedal programming: The best way to go from stereo operation to dual > mono (different midi channels) in a live setting. With my footcontroller (FCB1010) it's kinda clunky to do this. I have to use Notes to control the EDP. What I do is set the offset parameter on the 2nd EDP to 86, and then I have different patches on my footcontroller that can address each EDP separately. Unfortunately, there's no way to save the offset paramter as part of an EDP preset :( So, I have to do this manually from the front panel. Sucks. > Seems like there a lot of dual EDP owners who piped up here. Please > share your secrets! > > Neil > Hope some of that helps. Enjoy! Doug From Loopers-Delight-request@loopers-delight.com Tue Feb 3 16:34:20 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13LQlw14788; Tue, 3 Feb 2004 16:26:47 -0500 Resent-Date: Tue, 3 Feb 2004 16:26:47 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/10.1.4.030702.0 Date: Tue, 03 Feb 2004 16:26:45 -0500 Subject: Re: Lafosse/Reynolds clinic From: todd reynolds To: Message-ID: In-Reply-To: <200402010456.i114uEk07150@hemlock.violacea.com> Mime-version: 1.0 Content-type: multipart/alternative; boundary="B_3158670406_531173" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40673 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. --B_3158670406_531173 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable You=B9re so welcome alan. Pleasure was mine, in meeting you as well... T. On 1/31/04 10:56 PM, "Alan Kroeger" wrote: > Ah this was excelent thanks Todd for hosting the clinic (you are definate= ly > the host with the most) it was a pleasure meeting you all (Todd, Jesse, D= ave, > Harry, Lou, Scott, Chris & Andre (did I miss anyone?)) and will say Andre= is > amazing I was already impressed by your music but getting to pick your br= ain > and everyone else's was fabulous and quite fun. > =20 > Thanks > Alan Kroeger >=20 >=20 > Subject: Lafosse/Reynolds clinic >=20 > After Andre=B9s wonderful performance last nite, it=B9ll be great to get toge= ther. > Lou, Jesse, great to see you there, and paul sullivan was there as well a= nd > sends his regrets, which opens up a space. >=20 > So, this message is in two parts. What I need and What you need. >=20 > =20 > http://www.toddreynolds.com > http://www.ethelcentral.com >=20 > =20 >=20 >=20 >=20 >=20 --B_3158670406_531173 Content-type: text/html; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Re: Lafosse/Reynolds clinic You’re so welcom= e alan.  Pleasure was mine, in meeting you as well...

T.


On 1/31/04 10:56 PM, "Alan Kroeger" <nospam@developsolutions.c= om> wrote:

Ah this was excelent thanks Todd for hosting the clin= ic (you are definately the host with the most) it was a pleasure meeting you= all (Todd, Jesse, Dave, Harry, Lou, Scott, Chris & Andre (did I miss an= yone?)) and will say Andre is amazing I was already impressed by your music = but getting to pick your brain and everyone else's was fabulous and quite fu= n.
 
Thanks
Alan Kroeger

Subjec= t: Lafosse/Reynolds clinic

After Andre’s wonderful performance last nite, it’ll be great t= o get together.  Lou, Jesse, great to see you there, and paul sullivan = was there as well and sends his regrets, which opens up a space.

So, this message is in two parts.  What I need and What you need.
http://www.toddreynolds= .com
http://www.ethelcentral.com

 
<= BR>



--B_3158670406_531173-- From Loopers-Delight-request@loopers-delight.com Tue Feb 3 16:50:24 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13LgVK16607; Tue, 3 Feb 2004 16:42:31 -0500 Resent-Date: Tue, 3 Feb 2004 16:42:31 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/9.0.2509 Date: Tue, 03 Feb 2004 16:42:52 -0500 Subject: Even More Slash.... From: Andre Cholmondeley To: Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i13LgVc16580 Resent-Message-ID: <001A0D.A.VDE.HXBIAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40674 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com >>What does Slash have to do with looping? really. Good point.... I guess it had as much to do as the original article on Gibson LPs did...?? For me - it's been a great discussion, because so far I've seen so many different sides of what people think... Which I greatly respect and i'll take to my next solo basement loopfest tonite..And I've seen [again...sigh] how musical sectarianism just WILL NEVER DIE... Most jazzbos think rock sucks... most bluegrass fans like their music entirely unplugged, most metalheads disdain ambient music, most loopers dis some of the music they 'liked' before they knew better..fusion fans look down their noses at anything 'simple'....and most classical fans hate the whole lot...!! OF COURSE I'm generalizing.. But I carefully used the word MOST - and I'm sorry but C'mon folks... How many Slash interviews have you read, really...?? It sounds (from what some have said) that you were not AT ALL interested in what GnR was doing... I wasn¹t a huge fan.. But I read my share of interviews and for sure - Slash - like anyone - would speak about guitarists he dug... And to attack him for ripping off Page etc....sheesh.... I guess NO ONE on this list EVER sounds at all like Frisell, Fripp, Belew, Eno, Schulze, Torn, Keller, Jaco, Brooks or any other well known musician who work with loops or sequences.......? I for one have NO PROBLEM with the fact that I'll be playing live or recording.. And say to my inner self.."gee - there's your Belew influence..." so what??? There's NO NEW MUSICAL MATERIAL.... Check out some Raymond Scott -- what really has been done NEW in electronic music since the late 50s.....?? Music is like genetics... No one EVER has new genes.. Yet we are all different. The basic material in all the music we ALL do has been here for a while -- the beauty, like genetics - is that we can all come up with some of the BILLIONS of possible combinations..... C'mon/ Let your hair down!! Slash played a couple fun songs -- Sometimes...we shouldn't let it mean more than that! He ROCKED.. They had some cool riffs.. Kids got pysched.. Jeez -- some kids may have even decided to BECOME MUSICIANS thanks to Slash.. Or even Britney !! Can we really be bummed about that?? We're all gonna die- why stress it!??! Anyway - here's my LOOPING RELATED tip (actually ,my whole post is).. GEAR ALERT... Musicians friend is blowing out the ALESIS effects units ($49.95!!!) from 2002.. Remember the BITRMAN...PHILTRE....METAVOX etc??? These are bitchin soundin' effects... They came out at $150 or more.. And are great interactive little toys...search 'bitrman' or 'metavox' or 'philtre' Here's the metavox; http://www.musiciansfriend.com/srs7/sid=040203124629067072144124267533/g=hom e/search/detail/base_pid/182527/ I tried the bitrman...brilliant!! Compression, distortion, a dual phasor, and some cheezy ring mod, frequency mod and shift, and my fave - a 'bit reducer' that shreds your sound down to garbage.... Useful on drums etc. I dunno - I know there's software out there that does all this - I try to look for this oddball cheapskate stuff... Hey it's fifty bucks!! LOOPS AWEIGH!!!! From Loopers-Delight-request@loopers-delight.com Tue Feb 3 17:22:55 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13MEkb20840; Tue, 3 Feb 2004 17:14:46 -0500 Resent-Date: Tue, 3 Feb 2004 17:14:46 -0500 Old-Return-Path: From: "Neil Goldstein" To: Subject: RE: 2 EDP in stereo: how to match parameters Date: Tue, 3 Feb 2004 14:13:46 -0800 Message-ID: <000001c3eaa2$ff4cca50$6401a8c0@neil> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit X-Priority: 3 (Normal) X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook, Build 10.0.2627 Importance: Normal In-Reply-To: <006201c3ea90$8ab95da0$0e0aa8c0@upstairs> X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40675 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Thanks Doug. > You just need Sync=Out on both units, and a Brother Sync cable to ensure > sample-level accuracy (no phase problems). I'm talking about Parameters on the EDP. I suppose every Param has to be the same to have total parity. In a way its kind of fun to experiment with every param to hear the "significance" of what results. > I'm experimenting a lot with this lately. Right now, I'm in love with the > effect I get with one EDP InsertMode set to Reverse and one set to 1/2 > speed/full speed. Try all the combinations of InsertMode - fun stuff. > Also > different Quant settings in those scenarios are cool. Great way to get polyrhythms. I tried having one set to Quantize=Cycle and the other at 8th (varying the 8th value too) and am amazed at the richness of happy accidents. > With my footcontroller (FCB1010) it's kinda clunky to do this. I have to > use Notes to control the EDP. What I do is set the offset parameter on > the > 2nd EDP to 86, and then I have different patches on my footcontroller that > can address each EDP separately. Unfortunately, there's no way to save > the > offset paramter as part of an EDP preset :( So, I have to do this > manually > from the front panel. Sucks. I'm using the PMC, which does offer advantages. I haven't had the patience to design a flow chart for arranging patches, for dual mono EDP use, then got detoured by just using it Stereo, as we've been discussing. Your technique of changing the offset sounds interesting, but not much improvement of what I was doing before, changing the channel on the faceplate. I think a patch which duplicates the manual keypresses to change the channel (and back again) is in order, and I think the PMC10 could do it, but each keypress only INCREMENTS the channel value so it would take like 15 virtual presses to get from say 8 back to 7 again. There's gotta be a simple workaround, that could change from dual mono to stereo via midi without touching the EDP. Neil From Loopers-Delight-request@loopers-delight.com Tue Feb 3 17:31:44 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13MNo622398; Tue, 3 Feb 2004 17:23:50 -0500 Resent-Date: Tue, 3 Feb 2004 17:23:50 -0500 Old-Return-Path: From: "Clayton Lehman" To: Subject: RE: 2 EDP in stereo: how to match parameters Date: Tue, 3 Feb 2004 14:23:40 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit X-Mailer: Microsoft Office Outlook, Build 11.0.5510 In-Reply-To: <000001c3eaa2$ff4cca50$6401a8c0@neil> X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 thread-index: AcPqo4sNKqA/QrdQTQCCx/MNF4NqSQAAJmWw Message-Id: <20040203222342.YMBU5698.fed1mtao08.cox.net@Desktop2002> Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40676 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com -----Original Message----- From: Neil Goldstein [mailto:ngold@comcast.net] I think a patch which duplicates the manual keypresses to change the channel (and back again) is in order, and I think the PMC10 could do it, but each keypress only INCREMENTS the channel value so it would take like 15 virtual presses to get from say 8 back to 7 again. Note on with no note off is read as a long press--resets channel to 1. Hey, try it! Relay From Loopers-Delight-request@loopers-delight.com Tue Feb 3 18:05:52 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13Mujw26441; Tue, 3 Feb 2004 17:56:45 -0500 Resent-Date: Tue, 3 Feb 2004 17:56:45 -0500 Old-Return-Path: From: "Neil Goldstein" To: Subject: RE: 2 EDP in stereo: how to match parameters Date: Tue, 3 Feb 2004 14:55:42 -0800 Message-ID: <000001c3eaa8$dac73700$6401a8c0@neil> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit X-Priority: 3 (Normal) X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook, Build 10.0.2627 In-Reply-To: <20040203222342.YMBU5698.fed1mtao08.cox.net@Desktop2002> X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Importance: Normal Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40677 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Thanks Gary This is helpful to know. But when the 2 EDP are on the same channel (stereo) they're both going to be changing channels together, so you can't have them be different until one or the other is set to different channels anyways. Still hoping lightning strikes (I'm beginning to think this may be a facility for the next EDP upgrade)! I'm beginning to think this is just the way it is and touching the EDP is required. > -----Original Message----- > From: Clayton Lehman [mailto:hqr@cox.net] > Sent: Tuesday, February 03, 2004 2:24 PM > To: Loopers-Delight@loopers-delight.com > Subject: RE: 2 EDP in stereo: how to match parameters > > -----Original Message----- > From: Neil Goldstein [mailto:ngold@comcast.net] > > > I think a patch which duplicates the manual keypresses to change the > channel > (and back again) is in order, and I think the PMC10 could do it, but each > keypress only INCREMENTS the channel value so it would take like 15 > virtual > presses to get from say 8 back to 7 again. > > Note on with no note off is read as a long press--resets channel to 1. > Hey, try it! > Relay From Loopers-Delight-request@loopers-delight.com Tue Feb 3 18:23:10 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13NGV828996; Tue, 3 Feb 2004 18:16:31 -0500 Resent-Date: Tue, 3 Feb 2004 18:16:31 -0500 Old-Return-Path: From: "Gary Lehmann" To: Subject: How to match parameters on two EDPs Date: Tue, 3 Feb 2004 15:16:22 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit X-Mailer: Microsoft Office Outlook, Build 11.0.5510 In-Reply-To: <000001c3eaa8$dac73700$6401a8c0@neil> X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 thread-index: AcPqqgB8WOKinC62SaGA0qkax2+yRgAANUyQ Message-Id: <20040203231624.XTFL11482.fed1mtao07.cox.net@Desktop2002> Resent-Message-ID: <468f1D.A.7EH.PvCIAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40678 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com How about sysx? That should work--'course, I haven't done it--but I think Claude Voit wrote an editor http://www.loopers-delight.com/LDarchive/200307/msg00081.html That should let you do it that way. Best, Relay From Loopers-Delight-request@loopers-delight.com Tue Feb 3 18:37:45 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13NVuX31154; Tue, 3 Feb 2004 18:31:56 -0500 Resent-Date: Tue, 3 Feb 2004 18:31:56 -0500 Old-Return-Path: Message-ID: <20040203233150.83870.qmail@web80203.mail.yahoo.com> Date: Tue, 3 Feb 2004 15:31:50 -0800 (PST) From: "JAMES FOWLER, III" Subject: RE: 2 EDP in stereo: how to match parameters To: Loopers-Delight@loopers-delight.com In-Reply-To: <000201c3ea8a$30807fe0$6401a8c0@neil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-534645304-1075851110=:83653" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40679 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com --0-534645304-1075851110=:83653 Content-Type: text/plain; charset=us-ascii It doesn’t match automatically unless they both START at the same setting. Incrementing a param on the master increments on the slave but doesn’t match it automatically. Unless I was hallucinating, or I have a deviant 2nd EDP, that’s what I’ve seen on mine. --that's correct...and that's what i meant by scrolling through the params on the master and if there's any disagreement between the two, you then make the appropriate adjustments on the slave. now the two should be in tandem. -jim --0-534645304-1075851110=:83653 Content-Type: text/html; charset=us-ascii

It doesn’t match automatically unless they both START at the same setting. Incrementing a param on the master increments on the slave but doesn’t match it automatically. Unless I was hallucinating, or I have a deviant 2nd EDP, that’s what I’ve seen on mine.  

--that's correct...and that's what i meant by scrolling through the params on the master and if there's any disagreement between the two, you then make the appropriate adjustments on the slave.  now the two should be in tandem.

-jim

--0-534645304-1075851110=:83653-- From Loopers-Delight-request@loopers-delight.com Tue Feb 3 18:41:46 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i13NaoA31843; Tue, 3 Feb 2004 18:36:50 -0500 Resent-Date: Tue, 3 Feb 2004 18:36:50 -0500 Old-Return-Path: Message-ID: <20040203233644.25868.qmail@web80202.mail.yahoo.com> Date: Tue, 3 Feb 2004 15:36:44 -0800 (PST) From: "JAMES FOWLER, III" Subject: RE: 2 EDP in stereo: how to match parameters To: Loopers-Delight@loopers-delight.com In-Reply-To: <000001c3eaa2$ff4cca50$6401a8c0@neil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-2122330455-1075851404=:23427" Resent-Message-ID: <3ogdyD.A.ZxH.SCDIAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40680 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com --0-2122330455-1075851404=:23427 Content-Type: text/plain; charset=us-ascii "There's gotta be a simple workaround, that could change from dual mono to stereo via midi without touching the EDP." there is...and it all has to do with the foot controller. set each to a different channel, say 1 and 2. program your controller to send identical messages on 1 and 2 simultaneously. edp1 will accept ch. 1 messages and pass ch. 2 (i think...if not, split your midi cable to both units.) this will allow for stereo operation. do the same, but have the presets for edp1 and edp2 seperately. now they should function fairly independently. this is all just in my head though...never actually tried it, so it may not work. -jim --0-2122330455-1075851404=:23427 Content-Type: text/html; charset=us-ascii

"There's gotta be a simple workaround, that could change from dual mono to stereo via midi without touching the EDP."

there is...and it all has to do with the foot controller.  set each to a different channel, say 1 and 2.  program your controller to send identical messages on 1 and 2 simultaneously.  edp1 will accept ch. 1 messages and pass ch. 2 (i think...if not, split your midi cable to both units.)  this will allow for stereo operation.  do the same, but have the presets for edp1 and edp2 seperately.  now they should function fairly independently.

this is all just in my head though...never actually tried it, so it may not work.

-jim

--0-2122330455-1075851404=:23427-- From Loopers-Delight-request@loopers-delight.com Tue Feb 3 19:20:15 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i140Axp04375; Tue, 3 Feb 2004 19:10:59 -0500 Resent-Date: Tue, 3 Feb 2004 19:10:59 -0500 Old-Return-Path: From: "Neil Goldstein" To: Subject: RE: 2 EDP in stereo: how to match parameters Date: Tue, 3 Feb 2004 16:09:57 -0800 Message-ID: <000701c3eab3$3a2fc2c0$6401a8c0@neil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0008_01C3EA70.2C0C82C0" X-Priority: 3 (Normal) X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook, Build 10.0.2627 In-Reply-To: <20040203233644.25868.qmail@web80202.mail.yahoo.com> X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Importance: Normal Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40681 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This is a multi-part message in MIME format. ------=_NextPart_000_0008_01C3EA70.2C0C82C0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I hear you, I have already done this. I use 5 banks in my PMC set for one EDP and duplicated them for the second EDP. I was hoping to finess this using a few banks to control both, with a couple patches to switch from stereo to dual mono. I think Sysex is what's going to do this. A different ID # on each EDP What is the sysex string that I'd need to put into the PMC to switch channels back and forth? Say changing from Ch 6 to 7 Then changing back from 7 to 6 Neil -----Original Message----- From: JAMES FOWLER, III [mailto:jimfowler@prodigy.net] Sent: Tuesday, February 03, 2004 3:37 PM To: Loopers-Delight@loopers-delight.com Subject: RE: 2 EDP in stereo: how to match parameters "There's gotta be a simple workaround, that could change from dual mono to stereo via midi without touching the EDP." there is...and it all has to do with the foot controller. set each to a different channel, say 1 and 2. program your controller to send identical messages on 1 and 2 simultaneously. edp1 will accept ch. 1 messages and pass ch. 2 (i think...if not, split your midi cable to both units.) this will allow for stereo operation. do the same, but have the presets for edp1 and edp2 seperately. now they should function fairly independently. this is all just in my head though...never actually tried it, so it may not work. -jim ------=_NextPart_000_0008_01C3EA70.2C0C82C0 Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

I hear you, I have already done = this. I use 5 banks in my PMC set for one EDP and duplicated them for the second = EDP.  

 

I was hoping to finess this using a = few banks to control both, with a couple patches to switch from stereo to = dual mono.

 

I think Sysex is what’s going = to do this. A different ID # on each EDP

 

What is the sysex string that = I’d need to put into the PMC to switch channels back and = forth?

 

Say changing from Ch 6 to = 7

Then changing back from 7 to = 6

 

Neil

 

 

 

 

-----Original Message-----
From: JAMES FOWLER, III [mailto:jimfowler@prodigy.net]
Sent: Tuesday, February = 03, 2004 3:37 PM
To: Loopers-Delight@loopers-delight.com
Subject: RE: 2 EDP in = stereo: how to match parameters

 

"There's gotta be a simple workaround, that could change from dual mono to stereo = via midi without touching the EDP."

there is...and it all has to do with the foot controller.  set each to a different channel, say 1 and 2.  program your controller to send = identical messages on 1 and 2 simultaneously.  edp1 will accept ch. 1 = messages and pass ch. 2 (i think...if not, split your midi cable to both = units.)  this will allow for stereo operation.  do the same, but have the presets = for edp1 and edp2 seperately.  now they should function fairly = independently.

this is all just in my head though...never actually tried it, so it may not = work.

-jim

------=_NextPart_000_0008_01C3EA70.2C0C82C0-- From Loopers-Delight-request@loopers-delight.com Tue Feb 3 19:41:56 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i140ZRo06915; Tue, 3 Feb 2004 19:35:27 -0500 Resent-Date: Tue, 3 Feb 2004 19:35:27 -0500 Old-Return-Path: From: "Neil Goldstein" To: Subject: RE: How to match parameters on two EDPs Date: Tue, 3 Feb 2004 16:34:25 -0800 Message-ID: <001501c3eab6$a4f4f410$6401a8c0@neil> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit X-Priority: 3 (Normal) X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook, Build 10.0.2627 In-Reply-To: <20040203231624.XTFL11482.fed1mtao07.cox.net@Desktop2002> X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Importance: Normal Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40682 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com The Sound Diver editor you're talking about is to control the EDP on the computer via sysex. I'm looking to get the right Sysex into my controller to make it switch back and forth for midi channels. I think if someone would walk us through putting sysex strings into the PMC that would be the way to do it. I looked at the sysex documentation in the Loop IV manual, but can't figure out how to change the channels via sysex. Could one of you programmers spell out the appropriate strings with the correct syntax so we could input this into our midi controllers? Thanks Neil > -----Original Message----- > From: Gary Lehmann [mailto:hqr@cox.net] > Sent: Tuesday, February 03, 2004 3:16 PM > To: Loopers-Delight@loopers-delight.com > Subject: How to match parameters on two EDPs > > How about sysx? That should work--'course, I haven't done it--but I think > Claude Voit wrote an editor > http://www.loopers-delight.com/LDarchive/200307/msg00081.html > That should let you do it that way. > Best, > Relay From Loopers-Delight-request@loopers-delight.com Tue Feb 3 23:34:45 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i144Riv31250; Tue, 3 Feb 2004 23:27:44 -0500 Resent-Date: Tue, 3 Feb 2004 23:27:44 -0500 Old-Return-Path: Message-Id: <6.0.1.1.2.20040203202506.04ce2708@loopers-delight.com> X-Sender: kflint@loopers-delight.com X-Mailer: QUALCOMM Windows Eudora Version 6.0.1.1 Date: Tue, 03 Feb 2004 20:29:19 -0800 To: Loopers-Delight@loopers-delight.com From: Kim Flint Subject: Re: 2 EDP in stereo: how to match parameters In-Reply-To: <000001c3ea84$556c7620$6401a8c0@neil> References: <20040129200726.SNED9070.mta10.adelphia.net@mail.adelphia.net> <000001c3ea84$556c7620$6401a8c0@neil> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40683 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 10:34 AM 2/3/2004, Neil Goldstein wrote: >I have been looping with 2 EDPs in stereo, and want to make sure that >each unit has the same parameter settings. What is the best way to go >about this? when you edit presets, a long press of the button puts it to the default value. Do this first, then all units will be the same and you can edit from there. This is also a good way to edit parameters without actually looking at the display. or similarly, having a sequencer blindly edit parameters. kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@loopers-delight.com | http://www.loopers-delight.com From Loopers-Delight-request@loopers-delight.com Wed Feb 4 04:52:40 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i149iUc28409; Wed, 4 Feb 2004 04:44:30 -0500 Resent-Date: Wed, 4 Feb 2004 04:44:30 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: mpf7428@pop.chello.se Message-Id: Date: Wed, 4 Feb 2004 10:47:06 +0100 To: Loopers-Delight@loopers-delight.com From: Jair-Rohm Wells Subject: my soundclick page... Content-Type: text/plain; charset="us-ascii" ; format="flowed" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40684 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com High; Just a quick update here. The tracks on my soundclick page (http://www.soundclick.com/bands/6/jairrohmparkerwellsmusic.htm) are now available as free downloads. There will soon be a site where the cd can be purchased also. I would really appreciate feedback on my tracks. This is my "Loopadelica" cd. "Loopadelica" is a method of improvising with looping devices. I warn you: this is not pretty. Beautiful, exquisite, yes. Certainly not "pretty". The entire cd was produced using the DPS12i. From tracking to mastering. The only outboard was my Ultradyne and the RFX2000. I'm sure that my material isn't everyone's cup of tea. Just the same, for those of you who do appreciate "noise" and "experimental" music please surf on in. Thanks; Jair-Rohm -- Jair-Rohm Parker Wells Doer Glass Thought Communications "Records for people to listen to at home" http://members.chello.se/gtc/index.htm Phone: +46 708 940893 From Loopers-Delight-request@loopers-delight.com Wed Feb 4 10:14:20 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i14EuA429719; Wed, 4 Feb 2004 09:56:10 -0500 Resent-Date: Wed, 4 Feb 2004 09:56:10 -0500 Old-Return-Path: Message-ID: <001601c3eb2f$014f9990$0100a8c0@mini> From: "Claude Voit" To: References: <001501c3eab6$a4f4f410$6401a8c0@neil> Subject: Re: How to match parameters on two EDPs Date: Wed, 4 Feb 2004 15:54:00 +0100 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: <9yO4mC.A.QQH.KgQIAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40685 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > > > The Sound Diver editor you're talking about is to control the EDP on the > computer via sysex. I'm looking to get the right Sysex into my > controller to make it switch back and forth for midi channels. in sounddiver there is a midi monitor where you can see what message the edp editor spits to the edp (individual param messages for the edp pset edit buffer only; global params are sent as one dump) F0 00 01 30 0B 01 01 11 02 01 7F ch F7 this should change the channel where ch 1=$00, Ch2=$01, et BUT this changes channels to both edps if you want to change ch on only the slave you must set it to a different device id manually (check the manual) so that the message only go to one of the pair F0 00 01 30 0B xx 01 11 02 01 7F ch F7 xx is device id, id 01=$01, id 02=$02 etc.... but frankly you're looking for trouble when asking for complicated stuff without really studying midi and the manual for a while IMHO advanced stuff is for advanced users that can debug it themselves.... Good luck Claude > I think if someone would walk us through putting sysex strings into the > PMC that would be the way to do it. I looked at the sysex documentation > in the Loop IV manual, but can't figure out how to change the channels > via sysex. Could one of you programmers spell out the appropriate > strings with the correct syntax so we could input this into our midi > controllers? > > Thanks > > > Neil > > > -----Original Message----- > > From: Gary Lehmann [mailto:hqr@cox.net] > > Sent: Tuesday, February 03, 2004 3:16 PM > > To: Loopers-Delight@loopers-delight.com > > Subject: How to match parameters on two EDPs > > > > How about sysx? That should work--'course, I haven't done it--but I > think > > Claude Voit wrote an editor > > http://www.loopers-delight.com/LDarchive/200307/msg00081.html > > That should let you do it that way. > > Best, > > Relay > > From Loopers-Delight-request@loopers-delight.com Wed Feb 4 12:33:55 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i14HQPq20794; Wed, 4 Feb 2004 12:26:25 -0500 Resent-Date: Wed, 4 Feb 2004 12:26:25 -0500 Old-Return-Path: From: "Neil Goldstein" To: Subject: RE: How to match parameters on two EDPs Date: Wed, 4 Feb 2004 09:25:17 -0800 Message-ID: <000001c3eb43$dc4436a0$6401a8c0@neil> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit X-Priority: 3 (Normal) X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook, Build 10.0.2627 Importance: Normal In-Reply-To: <001601c3eb2f$014f9990$0100a8c0@mini> X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40686 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Thanks Claude! This is the ONLY sysex I want to mess with, but is exactly what I was looking for! With a couple of patches to switch units to the same midi channel AND/OR different midi channels, live footpedal midi can switch between dual mono and stereo use, where the same PMC10 banks can control both or either EDP with an economy of effort/patches. Very cool! Thanks for the reminder about SoundDiver's monitor as a way of seeing the syntax of parameter changes... Neil > in sounddiver there is a midi monitor where you can see what message the > edp > editor spits to the edp (individual param messages for the edp pset edit > buffer only; global params are sent as one dump) > > F0 00 01 30 0B 01 01 11 02 01 7F ch F7 this should change the channel > where > ch 1=$00, Ch2=$01, et > > BUT this changes channels to both edps > > if you want to change ch on only the slave you must set it to a different > device id manually (check the manual) so that the message only go to one > of > the pair > > > F0 00 01 30 0B xx 01 11 02 01 7F ch F7 > > xx is device id, id 01=$01, id 02=$02 etc.... > > but frankly you're looking for trouble when asking for complicated stuff > without really studying midi and the manual for a while > IMHO advanced stuff is for advanced users that can debug it themselves.... > From Loopers-Delight-request@loopers-delight.com Wed Feb 4 13:06:43 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i14HvCF26852; Wed, 4 Feb 2004 12:57:12 -0500 Resent-Date: Wed, 4 Feb 2004 12:57:12 -0500 Old-Return-Path: Date: Wed, 04 Feb 2004 12:58:16 -0500 From: Douglas Baldwin Subject: Re: Even More Slash.... To: Andre Cholmondeley , Loopers-Delight@loopers-delight.com Message-id: <007901c3eb48$7d85cfc0$9715be18@oemcomputer> MIME-version: 1.0 X-MIMEOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 X-Mailer: Microsoft Outlook Express 6.00.2800.1158 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT X-Priority: 3 X-MSMail-priority: Normal References: Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40687 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com The first time I heard G'nR, I thought they had TWO vocalists. I figured no one person could have that range. And I had to *practice* to play "Sweet Child o'Mine" flawlessly at the drop of a (top) hat. And I'm a half-century-old serious guitarist who does the deep theory thing AND who tries to steal from my foreartists. I dig Andre's flow. And thanx for the tip on the Alesis blowout! Two cents from Douglas Baldwin, coyote-at-large coyotelk@optonline.net From Loopers-Delight-request@loopers-delight.com Wed Feb 4 14:02:54 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i14ImrS04972; Wed, 4 Feb 2004 13:48:53 -0500 Resent-Date: Wed, 4 Feb 2004 13:48:53 -0500 Old-Return-Path: Mime-Version: 1.0 (Apple Message framework v612) In-Reply-To: References: Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed Message-Id: From: Ken Hawkins Subject: Re: echoplex- footswitch problem? Date: Wed, 4 Feb 2004 10:48:51 -0800 To: Loopers-Delight@loopers-delight.com X-Mailer: Apple Mail (2.612) Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i14Imqc04943 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40688 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com here's my 2 er 1-1/2 cents. diconect all midi interafces from the machine and reset the machine to it's default state e.g. no threshold on record, sustain record not turned on, etc. i experienced close to the kind of behavior you have gong on and actually i found out that when monky'en around with some midi rerouting i fu...g'd something up. when i turned on my apple to record it would send all kinds of stuff through the unitor interface, between other midi machines and poof my recoding button seemed to have a life of its own. just a thought before you go tearing through the hardware and soldering. good luck, ken; On Jan 29, 2004, at 3:15 PM, Dani Oore wrote: > > thanks Ted, Steve, Andre, Dave. > > i'll look into, and prob buy, the mouser electronics bag of switches, > and work on my soldering skills. i'll let you know how it goes. > > best, > danny > > > > > >> From: ArsOcarina@aol.com >> Reply-To: Loopers-Delight@loopers-delight.com >> To: Loopers-Delight@loopers-delight.com >> Subject: Re: echoplex- footswitch problem? >> Date: Thu, 29 Jan 2004 15:29:24 EST >> >> Dani, >> >> In a message dated 1/29/04 8:05:15 AM, danioore@hotmail.com writes: >> >> >pressing record takes me into 'parameter' select mode or switches >> >to next loop and starts recording or some other mode, and if/when >> >i manage to reset by long pressing record, it usually stubbornly >> resets >> >to "2.00" or "2.25" seconds -or some number other than empty loop. >> >other buttons become equally disfunctional in these cases, and >> turning >> >the echoplex off, global reset does not always solve the problem. >> >> I'll pipe in here with my 2 cents. The symptoms you describe sound to >> me >> like the "record" switch has gone bad (intermittently getting stuck) >> on the >> EFC-7. For me this has been the typical problem when a switch fails >> -- and >> more often than not it IS the "record" switch since that's the one you >> hit most. >> >> These parts are cheap and none-too-sturdy. However, they are nice and >> quiet -- no loud "clicks" when they're depressed like those sturdier >> metal >> footswitches common on many other effects. Replacements are easily >> obtained from Mouser Electronic Supply. For something like $17.00 you >> can buy a bulk bag of 'em that will be a lifetime supply. >> >> I've had my EDPs since the mid '90s and with semi-continual use (and >> heavy >> feet) these things break every so often. I'm glad I bought the big >> bag. >> Anyone who is even halfway competent with a soldering iron can replace >> these switches in just a few minutes. It's not hard at all. In fact, >> I'll go >> a little further . . . any musician who uses electricity owes it to >> themselves >> to learn basic soldering skills. It'll save you time, money and no >> end of >> grief in the long run. >> >> Anywho the part number is availble on the LD website somewhere. >> Check it out. >> >> Best, >> >> tEd ® kiLLiAn >> >> http://www.pfmentum.com/flux.html >> http://www.CDbaby.com/cd/tedkillian >> http://www.guitar9.com/fluxaeterna.html >> http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=193 >> > > _________________________________________________________________ > Add photos to your e-mail with MSN 8. Get 2 months FREE*. > http://join.msn.com/?page=features/photos&pgmarket=en- > ca&RU=http%3a%2f%2fjoin.msn.com%2f%3fpage%3dmisc%2fspecialoffers%26pgma > rket%3den-ca > From Loopers-Delight-request@loopers-delight.com Wed Feb 4 14:10:18 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i14IwRM06483; Wed, 4 Feb 2004 13:58:27 -0500 Resent-Date: Wed, 4 Feb 2004 13:58:27 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/9.0.2509 Date: Wed, 04 Feb 2004 13:59:10 -0500 Subject: Yamaha UD stomp From: Andre Cholmondeley To: Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40689 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Hey Any UD stomp users out there?? I hear this is a pretty cool unit for modulation delay and a simple loop. My Line 6 MM has a weird erratic noise/explosion problem. Any thoughts on either?? PLs Email me offlist if this has been beaten to death recently. Thanks, andre' From Loopers-Delight-request@loopers-delight.com Wed Feb 4 14:27:06 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i14JMoW11169; Wed, 4 Feb 2004 14:22:50 -0500 Resent-Date: Wed, 4 Feb 2004 14:22:50 -0500 Old-Return-Path: Mime-Version: 1.0 Message-Id: In-Reply-To: <001601c3eb2f$014f9990$0100a8c0@mini> References: <001601c3eb2f$014f9990$0100a8c0@mini> Date: Wed, 4 Feb 2004 14:22:47 -0500 To: Loopers-Delight@loopers-delight.com From: Andrew Hearst Subject: good deal on a used EDP Content-Type: text/plain; charset="us-ascii" ; format="flowed" X-Virus-Scanned: Symantec AntiVirus Scan Engine Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40691 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Just wanted to alert the list to the fact that Manhattan's Two Lines Music has a used EDP + matching pedalboard for sale for $600, which seems like a good deal to me. The unit is cream-colored and looks in pretty good shape, but I don't know anything else about it (software version, etc.). If you want to investigate, the number for Two Lines is 212.227.9552 (or at least it was the last time I checked). The store is on the east side of Broadway a few blocks south of Canal. Andrew Hearst From Loopers-Delight-request@loopers-delight.com Wed Feb 4 14:32:15 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i14JFIh09524; Wed, 4 Feb 2004 14:15:18 -0500 Resent-Date: Wed, 4 Feb 2004 14:15:18 -0500 Old-Return-Path: Message-ID: From: Don Makoviney To: Loopers-Delight@loopers-delight.com Subject: Alesis Blowout (was Even More Slash....) Date: Wed, 4 Feb 2004 14:15:16 -0500 MIME-Version: 1.0 X-Mailer: Internet Mail Service (5.5.2653.19) Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C3EB53.38AE5D30" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40690 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ------_=_NextPart_001_01C3EB53.38AE5D30 Content-Type: text/plain Anyone have some good sound clips of the Bitrman pedal? DM >>-----Original Message----- >>From: Douglas Baldwin [mailto:coyotelk@optonline.net] >>Sent: Wednesday, February 04, 2004 12:58 PM >>To: Andre Cholmondeley; Loopers-Delight@loopers-delight.com >>Subject: Re: Even More Slash.... >> >>The first time I heard G'nR, I thought they had TWO >>vocalists. I figured no one person could have that range. And >>I had to *practice* to play "Sweet Child o'Mine" flawlessly >>at the drop of a (top) hat. And I'm a half-century-old >>serious guitarist who does the deep theory thing AND who >>tries to steal from my foreartists. I dig Andre's flow. And >>thanx for the tip on the Alesis blowout! >>Two cents from >>Douglas Baldwin, coyote-at-large >>coyotelk@optonline.net >> >> ------_=_NextPart_001_01C3EB53.38AE5D30 Content-Type: text/html Alesis Blowout (was Even More Slash....)

Anyone have some good sound clips of the Bitrman pedal?

DM

>>-----Original Message-----
>>From: Douglas Baldwin [mailto:coyotelk@optonline.net]
>>Sent: Wednesday, February 04, 2004 12:58 PM
>>To: Andre Cholmondeley; Loopers-Delight@loopers-delight.com
>>Subject: Re: Even More Slash....
>>
>>The first time I heard G'nR, I thought they had TWO
>>vocalists. I figured no one person could have that range. And
>>I had to *practice* to play "Sweet Child o'Mine" flawlessly
>>at the drop of a (top) hat. And I'm a half-century-old
>>serious guitarist who does the deep theory thing AND who
>>tries to steal from my foreartists. I dig Andre's flow. And
>>thanx for the tip on the Alesis blowout!
>>Two cents from
>>Douglas Baldwin, coyote-at-large
>>coyotelk@optonline.net
>>
>>

------_=_NextPart_001_01C3EB53.38AE5D30-- From Loopers-Delight-request@loopers-delight.com Wed Feb 4 14:47:40 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i14Jan014184; Wed, 4 Feb 2004 14:36:49 -0500 Resent-Date: Wed, 4 Feb 2004 14:36:49 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: emile@foryourhead.com@mail.speakeasy.net Message-Id: In-Reply-To: References: Date: Wed, 4 Feb 2004 14:23:31 -0500 To: Loopers-Delight@loopers-delight.com From: "Emile Tobenfeld (a.k.a Dr. T)" Subject: MMT-8 was Re: Alesis Blowout (was Even More Slash....) Content-Type: text/plain; charset="us-ascii" ; format="flowed" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40692 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Reminds me. What should I be willing to pay for an MMT-8, and is there any[lace but ebay I should be looking,. At 2:15 PM -0500 2/4/04, Don Makoviney wrote: >Anyone have some good sound clips of the Bitrman pedal? > >DM > > >>-----Original Message----- >>>From: Douglas Baldwin >>>[mailto:coyotelk@optonline.net] >>>Sent: Wednesday, February 04, 2004 12:58 PM >>>To: Andre Cholmondeley; Loopers-Delight@loopers-delight.com >>>Subject: Re: Even More Slash.... >>> >>>The first time I heard G'nR, I thought they had TWO >>>vocalists. I figured no one person could have that range. And >>>I had to *practice* to play "Sweet Child o'Mine" flawlessly >>>at the drop of a (top) hat. And I'm a half-century-old >>>serious guitarist who does the deep theory thing AND who >>>tries to steal from my foreartists. I dig Andre's flow. And >>>thanx for the tip on the Alesis blowout! >>>Two cents from >>>Douglas Baldwin, coyote-at-large >>>coyotelk@optonline.net >>> >>> -- "Any universe simple enough to be understood is too simple to produce a mind able to understand it" -- John D. Barrow This conjecture strikes me as a logical extension of Godel's Incompleteness Theorem. Visit "Before the Fall -- Images of the World Trade Center" at http://www.foryourhead.com Emile Tobenfeld, Ph. D. Video Producer Image Processing Specialist Video for your HEAD! Boris FX http://www.foryourhead.com http://www.borisfx.com From Loopers-Delight-request@loopers-delight.com Wed Feb 4 14:57:04 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i14JgKH15969; Wed, 4 Feb 2004 14:42:20 -0500 Resent-Date: Wed, 4 Feb 2004 14:42:20 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: (Unverified) Message-Id: In-Reply-To: References: Date: Wed, 4 Feb 2004 11:41:22 -0800 To: Loopers-Delight@loopers-delight.com From: asterion@hell.com Subject: Re: Even More Slash.... Content-Type: text/plain; charset="us-ascii" ; format="flowed" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40694 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 4:42 PM -0500 2/3/04, Andre Cholmondeley wrote: >C'mon folks... How many Slash interviews have you read, really...?? None. >Check out some Raymond Scott Some pretty silly shit. -- /| |\ \ \ / / < * * > ( o o ) A From Loopers-Delight-request@loopers-delight.com Wed Feb 4 14:57:42 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i14JeRK15266; Wed, 4 Feb 2004 14:40:27 -0500 Resent-Date: Wed, 4 Feb 2004 14:40:27 -0500 Old-Return-Path: Message-ID: <20040204194020.4633.qmail@web80206.mail.yahoo.com> Date: Wed, 4 Feb 2004 11:40:20 -0800 (PST) From: "JAMES FOWLER, III" Subject: Re: good deal on a used EDP To: Loopers-Delight@loopers-delight.com In-Reply-To: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-45419615-1075923620=:1793" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40693 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com --0-45419615-1075923620=:1793 Content-Type: text/plain; charset=us-ascii be VERY clear when ordering from two lines. i bought a roland jv1080 from them and it went to indiana first, then to florida, and finally to me in mississippi. some crap about messing up the zip code. -jim --0-45419615-1075923620=:1793 Content-Type: text/html; charset=us-ascii

be VERY clear when ordering from two lines.  i bought a roland jv1080 from them and it went to indiana first, then to florida, and finally to me in mississippi.  some crap about messing up the zip code.

-jim

--0-45419615-1075923620=:1793-- From Loopers-Delight-request@loopers-delight.com Wed Feb 4 15:39:19 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i14KWbo26251; Wed, 4 Feb 2004 15:32:37 -0500 Resent-Date: Wed, 4 Feb 2004 15:32:37 -0500 Old-Return-Path: Message-ID: <001001c3eb5e$21f71540$a19f5142@Biffoz> From: "Miko Biffle" To: References: <007901c3eb48$7d85cfc0$9715be18@oemcomputer> Subject: Re: Even More Slash.... Date: Wed, 4 Feb 2004 12:33:20 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40695 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Crazy, but more than 75% of my guitar students ask me to teach them 'Welcome To The Jungle', and usually Sweet Child follows. They're both fun rock songs, and get a boatload of players motivated to work on their articulation and tone. At least half of my students are also in theory and deeper musical issues as well. At some point I fire up a looper or two and they're usually totally stoked, and want a wack at it. -Miko "Running scared from all the usual distractions!" Now playing 'Rough' at CDBaby.com www.cdbaby.com/biffoz ICS Santa Cruz X-Ray Lodge! http://www.powerhat.com/ics ----- Original Message ----- From: "Douglas Baldwin" To: "Andre Cholmondeley" ; Sent: Wednesday, February 04, 2004 9:58 AM Subject: Re: Even More Slash.... > The first time I heard G'nR, I thought they had TWO vocalists. I figured no > one person could have that range. And I had to *practice* to play "Sweet > Child o'Mine" flawlessly at the drop of a (top) hat. And I'm a > half-century-old serious guitarist who does the deep theory thing AND who > tries to steal from my foreartists. I dig Andre's flow. And thanx for the > tip on the Alesis blowout! > Two cents from > Douglas Baldwin, coyote-at-large > coyotelk@optonline.net > > > From Loopers-Delight-request@loopers-delight.com Wed Feb 4 16:34:57 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i14LC4K01159; Wed, 4 Feb 2004 16:12:04 -0500 Resent-Date: Wed, 4 Feb 2004 16:12:04 -0500 Old-Return-Path: Message-ID: <40216060.3070408@soundscapes.us> Date: Wed, 04 Feb 2004 16:13:04 -0500 From: Bill Fox User-Agent: Mozilla/5.0 (Windows; U; Win98; en-US; rv:1.5) Gecko/20031007 X-Accept-Language: en-us, en MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Re: Public music beta testing - preview of upcoming CD release References: In-Reply-To: Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: 7bit Resent-Message-ID: <9PD2sD.A.9R.kAWIAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40696 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Per Boysen wrote:
I would like to invite anyone interested in ambient live electronica/looping
to listen to the upcoming CD with per2per. When we played at a festival this
summer they recorded us to DAT. We are quite happy with the recording and
plan to release it on CD. But we really don't know how to market the beast
since it is 55:56 long. If it's not "a single album" it might be "an album
single".... or what? And is there a relevant "musical style" to file it
under? We're open for suggestions.
Hi Per,

I have 56k dialup and no time for downloading so I can't comment on your song.  But in your first sentence, you called it ambient so why are you looking for a style name?  Marketing a CD is the hardest part of being a musician if you're marketing it yourself.  Or you could shop it to record labels.  Have you tried Groove, Hypnos, Space for Music, or any of the others?

Cheers,

Bill Fox


From Loopers-Delight-request@loopers-delight.com Wed Feb 4 16:37:02 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i14LVp405202; Wed, 4 Feb 2004 16:31:51 -0500 Resent-Date: Wed, 4 Feb 2004 16:31:51 -0500 Old-Return-Path: From: "Gary Lehmann" To: Subject: RE: Public music beta testing - preview of upcoming CD release Date: Wed, 4 Feb 2004 13:31:42 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit X-Mailer: Microsoft Office Outlook, Build 11.0.5510 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 In-Reply-To: <40216060.3070408@soundscapes.us> Thread-Index: AcPrZLhusjSKeQGyQWSA6pKHQxL8HAAAOCug Message-Id: <20040204213144.NFBM29509.fed1mtao04.cox.net@Desktop2002> Resent-Message-ID: <337FFD.A.KRB.HTWIAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40697 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Bill Fox commented on Per Boysen's request for comments on his song. "But in your first sentence, you called it ambient so why are you looking for a style name? Marketing a CD is the hardest part of being a musician if you're marketing it yourself. Or you could shop it to record labels. Have you tried Groove, Hypnos, Space for Music, or any of the others?" -----> I caught Bill with Greg Waltzer and several others at Arcosanti--"space music" is a pretty good term for this stuff--too attention grabbing to call ambient, I think (but I'm no expert on this stuff--60's rock, really). Drones, pads, etc . . . Calling all aliens . . . Relay From Loopers-Delight-request@loopers-delight.com Wed Feb 4 18:05:40 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i14N1MM23463; Wed, 4 Feb 2004 18:01:22 -0500 Resent-Date: Wed, 4 Feb 2004 18:01:22 -0500 Old-Return-Path: Mime-Version: 1.0 (Apple Message framework v612) In-Reply-To: References: Content-Type: text/plain; charset=US-ASCII; format=flowed Message-Id: Content-Transfer-Encoding: 7bit From: Eric Williamson Subject: Re: Even More Slash.... Date: Wed, 4 Feb 2004 17:00:57 -0600 To: Loopers-Delight@loopers-delight.com X-Mailer: Apple Mail (2.612) Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40698 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com On Feb 4, 2004, at 1:41 PM, asterion@hell.com wrote: > At 4:42 PM -0500 2/3/04, Andre Cholmondeley wrote: >> Check out some Raymond Scott > Some pretty silly shit. ah, you must be thinking of his jazz ensemble music. have you heard his electronic stuff? btw, the only thing i would take issue with in Andre's excellent post would be that nothing _truly_ new has been done in electronic music since the seventies, not the 50s. i believe that Tangerine Dream's application of improvisational sequencing (and Giorgio Moroder's parallel discoveries of both Acid House and Diva House in 1975) is significant enough to push that number forward by 20. but yes, one of my favourite realities of music in the year 2004 is that there is truly nothing new, as our musical opportunities are limited by the overtone series of western instruments. all that is left is to discover what is _good_. --- Eric Williamson www.suitandtieguy.com From Loopers-Delight-request@loopers-delight.com Wed Feb 4 19:24:29 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i150Iem06988; Wed, 4 Feb 2004 19:18:40 -0500 Resent-Date: Wed, 4 Feb 2004 19:18:40 -0500 Old-Return-Path: Message-ID: <000a01c3eb7d$4d2add40$5f23de40@htgds01> From: "vze6n8vs" To: Subject: Tascam Pocketstudio and Repeater? Date: Wed, 4 Feb 2004 19:16:28 -0500 MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0007_01C3EB53.63C56680" X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 X-Authentication-Info: Submitted using SMTP AUTH at out007.verizon.net from [64.222.35.95] at Wed, 4 Feb 2004 18:18:38 -0600 Resent-Message-ID: <3pFyaD.A.EtB.fvYIAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40699 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This is a multi-part message in MIME format. ------=_NextPart_000_0007_01C3EB53.63C56680 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I was wondering if anybody knows if the CFC media used for storing audio = loops on the Repeater could be directly used with the Tascam = Pocketstudio, which also uses CFCs? It's a long shot, but I figure both = of them have 4 primary tracks, both have some looping capabilities, = etc.; does anyone know if it's possible to transfer loops from the = Repeater to the Pocketstudio directly, via CFCs? Thanks, Ryan ------=_NextPart_000_0007_01C3EB53.63C56680 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
I was wondering if anybody knows if the CFC media used for storing = audio=20 loops on the Repeater could be directly used with the Tascam = Pocketstudio, which=20 also uses CFCs?  It's a long shot, but I figure both of them have 4 = primary=20 tracks, both have some looping capabilities, etc.; does anyone know if = it's=20 possible to transfer loops from the Repeater to the Pocketstudio = directly, via=20 CFCs?
 
Thanks,
Ryan
------=_NextPart_000_0007_01C3EB53.63C56680-- From Loopers-Delight-request@loopers-delight.com Wed Feb 4 19:33:38 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i150SJZ09204; Wed, 4 Feb 2004 19:28:19 -0500 Resent-Date: Wed, 4 Feb 2004 19:28:19 -0500 Old-Return-Path: Message-ID: <40218E23.5000309@biink.com> Date: Wed, 04 Feb 2004 19:28:19 -0500 From: David Beardsley Reply-To: db@biink.com Organization: Biink & SSI User-Agent: Mozilla/5.0 (Windows; U; Windows NT 5.1; en-US; rv:1.5) Gecko/20031007 X-Accept-Language: en-us, en MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Re: Even More Slash.... References: In-Reply-To: Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40700 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Eric Williamson wrote: > but yes, one of my favourite realities of music in the year 2004 is > that there is truly nothing new, as our musical opportunities are > limited by the overtone series of western instruments. Care to elaborate on that statement? Why limited? -- * David Beardsley * microtonal guitar * http://biink.com/db From Loopers-Delight-request@loopers-delight.com Wed Feb 4 19:44:43 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i150cL811603; Wed, 4 Feb 2004 19:38:21 -0500 Resent-Date: Wed, 4 Feb 2004 19:38:21 -0500 Old-Return-Path: From: Mmrksrg@aol.com Message-ID: <29.5066b2c0.2d52ea78@aol.com> Date: Wed, 4 Feb 2004 19:38:16 EST Subject: Re: MMT-8 was Re: Alesis Blowout (was Even More Slash....) To: Loopers-Delight@loopers-delight.com MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="part1_29.5066b2c0.2d52ea78_boundary" X-Mailer: 7.0 for Windows sub 540 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40701 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com --part1_29.5066b2c0.2d52ea78_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Emile what ever you do regarding price of an MMT-8 is check the condition of the buttons. This is the machine weakest point other than having no on board data backup other than to an external device. They can become very unstable with use. Great device though. Would work very well triggerring visual sequences via midi in Vjam etc. Mark Sargeant --part1_29.5066b2c0.2d52ea78_boundary Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable Emile what ever you do regarding pr= ice of an MMT-8 is check the condition of the  buttons. This is the mac= hine weakest point other than having no on board data backup other than to a= n external device. They can become very unstable with use. Great  devic= e though. Would work very well triggerring visual sequences via midi in Vjam= etc.

Mark Sargeant --part1_29.5066b2c0.2d52ea78_boundary-- From Loopers-Delight-request@loopers-delight.com Wed Feb 4 20:22:29 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i151Gv719696; Wed, 4 Feb 2004 20:16:57 -0500 Resent-Date: Wed, 4 Feb 2004 20:16:57 -0500 Old-Return-Path: Date: Wed, 04 Feb 2004 20:18:00 -0500 From: Greg Waltzer Subject: space music retreat To: the_ambient_way@yahoogroups.com, ambient@hyperreal.org, spacemusic@yahoogroups.com, loopers-delight@loopers-delight.com, analogue@hyperreal.org, oddmusic@yahoogroups.com, Philadelphia Ambient Consortium Message-id: <402199C8.4010000@optonline.net> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7BIT X-Accept-Language: en-us, en User-Agent: Mozilla/5.0 (Windows; U; Win98; en-US; rv:1.3.1) Gecko/20030425 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40702 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com SYNAPTIC CONFLUENCE space music retreat May 3-7 2004 Sky Lake Lodge, Rosendale NY There will be a retreat for electronic musicians at a secluded lodge in the Catskills of NY state. Anyone who is interested in sharing 4 days of space, ambient, electronic and experimental music is invited to participate. Musical activities will include individual performances, group improvisations, and collaborations. This is a great opportunity to develop creative ideas and broaden your musical community, while relaxing in a peaceful, natural setting. Non-musicians are also welcome. The registration fee of $320 will cover 4 nights lodging and 3 meals per day. Details are available here: http://spacemusic.us We are also planning a one day space music festival in Philadelphia, on the Sunday after the retreat (May 9). Priority for performances at the festival will be given to those traveling longer distances to the retreat, and collaborations formed there. From Loopers-Delight-request@loopers-delight.com Wed Feb 4 21:41:24 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i152ZUN04003; Wed, 4 Feb 2004 21:35:30 -0500 Resent-Date: Wed, 4 Feb 2004 21:35:30 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: emile@foryourhead.com@mail.speakeasy.net Message-Id: In-Reply-To: <29.5066b2c0.2d52ea78@aol.com> References: <29.5066b2c0.2d52ea78@aol.com> Date: Wed, 4 Feb 2004 21:35:16 -0500 To: Loopers-Delight@loopers-delight.com From: "Emile Tobenfeld (a.k.a Dr. T)" Subject: Re: MMT-8 was Re: Alesis Blowout (was Even More Slash....) Content-Type: text/plain; charset="us-ascii" ; format="flowed" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40703 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 7:38 PM -0500 2/4/04, Mmrksrg@aol.com wrote: >Emile what ever you do regarding price of an MMT-8 is check the >condition of the buttons. This is the machine weakest point other >than having no on board data backup other than to an external >device. They can become very unstable with use. Great device >though. Would work very well triggerring visual sequences via midi >in Vjam etc. Planing to use it with a V4 video mixer actually, > >Mark Sargeant Thanks -- I'll keep that in mind, though if I buy it on line I have to trust the seller to answer my questions honestly. -- "Any universe simple enough to be understood is too simple to produce a mind able to understand it" -- John D. Barrow This conjecture strikes me as a logical extension of Godel's Incompleteness Theorem. Visit "Before the Fall -- Images of the World Trade Center" at http://www.foryourhead.com Emile Tobenfeld, Ph. D. Video Producer Image Processing Specialist Video for your HEAD! Boris FX http://www.foryourhead.com http://www.borisfx.com From Loopers-Delight-request@loopers-delight.com Wed Feb 4 23:40:14 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i154bJM29547; Wed, 4 Feb 2004 23:37:19 -0500 Resent-Date: Wed, 4 Feb 2004 23:37:19 -0500 Old-Return-Path: X-Mailer: Openwave WebEngine, version 2.8.12 (webedge20-101-197-20030912) From: To: Subject: Loop IV for EDP: How long to get it? Date: Wed, 4 Feb 2004 23:37:12 -0500 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Message-Id: <20040205043712.FXYR11898.mta11.adelphia.net@mail.adelphia.net> Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40704 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Hi all, Looking at the Aurisis site it says standard delivery for the Loop IV update is 2-3 weeks for standard USPS delivery. This seems like a nutty long amount of time for this. It also says express delivery is within a week via Fedex, but it's $30. That's a nutty price for standard Fedex delivery. What gives? Is it really that long to get a couple of chips and a manual? I hate to wait 3 weeks for this, but I also hate to pay $30 for a Fedex Letter too! Any alternatives? Thanks, Paul From Loopers-Delight-request@loopers-delight.com Wed Feb 4 23:51:28 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i154mpx32188; Wed, 4 Feb 2004 23:48:51 -0500 Resent-Date: Wed, 4 Feb 2004 23:48:51 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: jcshirke@nsit-imap.uchicago.edu (Unverified) Message-Id: In-Reply-To: <20040205043712.FXYR11898.mta11.adelphia.net@mail.adelphia.net> References: <20040205043712.FXYR11898.mta11.adelphia.net@mail.adelphia.net> Date: Wed, 4 Feb 2004 22:48:12 -0600 To: Loopers-Delight@loopers-delight.com From: Jeff Shirkey Subject: Re: Loop IV for EDP: How long to get it? Content-Type: text/plain; charset="us-ascii" ; format="flowed" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40705 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > It also says express delivery is within a week via Fedex, but it's >$30. That's a nutty price for standard Fedex delivery. Our standard Fedex rate (for overnight) is $26 and change. Fedex gives different rates to different companies based on how much business they do. So that may explain the increased rate. Jeff From Loopers-Delight-request@loopers-delight.com Thu Feb 5 00:03:48 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i154xNC02224; Wed, 4 Feb 2004 23:59:23 -0500 Resent-Date: Wed, 4 Feb 2004 23:59:23 -0500 Old-Return-Path: Message-ID: <018a01c3ebb5$de409c10$0200a8c0@amd> From: "Jesse Ray Lucas" To: References: <20040205043712.FXYR11898.mta11.adelphia.net@mail.adelphia.net> Subject: Re: Loop IV for EDP: How long to get it? Date: Thu, 5 Feb 2004 00:01:22 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1106 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1106 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40706 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This very small "company" doesn't have a ton of orders coming in for this rather obscure product, so they can't take time out to run to the post office every day is what I'm guessing. Be patient and read the manual in your lame-duck period (ooo -- hahahah, I am so fucking funny). You'll be glad you had three weeks of prep. -J ----- Original Message ----- From: To: Sent: Wednesday, February 04, 2004 9:37 PM Subject: Loop IV for EDP: How long to get it? > Hi all, > > Looking at the Aurisis site it says standard delivery for the Loop IV update is 2-3 weeks for standard USPS delivery. This seems like a nutty long amount of time for this. It also says express delivery is within a week via Fedex, but it's $30. That's a nutty price for standard Fedex delivery. > > What gives? Is it really that long to get a couple of chips and a manual? > > I hate to wait 3 weeks for this, but I also hate to pay $30 for a Fedex Letter too! > > Any alternatives? > > Thanks, > > Paul From Loopers-Delight-request@loopers-delight.com Thu Feb 5 00:21:54 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i155HgO06384; Thu, 5 Feb 2004 00:17:42 -0500 Resent-Date: Thu, 5 Feb 2004 00:17:42 -0500 Old-Return-Path: X-Mailer: Openwave WebEngine, version 2.8.12 (webedge20-101-197-20030912) From: To: Subject: Re: Re: Loop IV for EDP: How long to get it? Date: Thu, 5 Feb 2004 0:17:36 -0500 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Message-Id: <20040205051735.YCKL27240.mta9.adelphia.net@mail.adelphia.net> Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40707 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > > From: "Jesse Ray Lucas" > Date: 2004/02/05 Thu AM 02:01:22 EST > To: > Subject: Re: Loop IV for EDP: How long to get it? > > This very small "company" doesn't have a ton of orders coming in for this > rather obscure product, so they can't take time out to run to the post > office every day is what I'm guessing. > > Be patient and read the manual in your lame-duck period (ooo -- hahahah, I > am so fucking funny). You'll be glad you had three weeks of prep. Sure, it will be good to read the manual, and I've downloaded the LoopIV manual already, which is how I figured out that exactly what I need is in LoopIV. I'm sycing the EDP to the MIDI clock on my Emu PX7, and I'm having a heck of a time getting the drum pattern and recording EDP loops to cooperate. I think it's the oddball quantize behavior of LoopIII. All the other features may or may not matter for my application. Paul > > -J > > > > ----- Original Message ----- > From: > To: > Sent: Wednesday, February 04, 2004 9:37 PM > Subject: Loop IV for EDP: How long to get it? > > > > Hi all, > > > > Looking at the Aurisis site it says standard delivery for the Loop IV > update is 2-3 weeks for standard USPS delivery. This seems like a nutty long > amount of time for this. It also says express delivery is within a week via > Fedex, but it's $30. That's a nutty price for standard Fedex delivery. > > > > What gives? Is it really that long to get a couple of chips and a manual? > > > > I hate to wait 3 weeks for this, but I also hate to pay $30 for a Fedex > Letter too! > > > > Any alternatives? > > > > Thanks, > > > > Paul > > From Loopers-Delight-request@loopers-delight.com Thu Feb 5 00:22:45 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i155KoU07111; Thu, 5 Feb 2004 00:20:50 -0500 Resent-Date: Thu, 5 Feb 2004 00:20:50 -0500 Old-Return-Path: X-Mailer: Openwave WebEngine, version 2.8.12 (webedge20-101-197-20030912) From: To: Subject: Re: Re: Loop IV for EDP: How long to get it? Date: Thu, 5 Feb 2004 0:20:44 -0500 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Message-Id: <20040205052044.QHZE8989.mta13.adelphia.net@mail.adelphia.net> Resent-Message-ID: <3yeJXB.A.8uB.yKdIAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40708 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > > From: Jeff Shirkey > Date: 2004/02/04 Wed PM 11:48:12 EST > To: Loopers-Delight@loopers-delight.com > Subject: Re: Loop IV for EDP: How long to get it? > > > It also says express delivery is within a week via Fedex, but it's > >$30. That's a nutty price for standard Fedex delivery. > > Our standard Fedex rate (for overnight) is $26 and change. Fedex > gives different rates to different companies based on how much > business they do. So that may explain the increased rate. I don't have a problem with paying that rate for overnight if the update ships within a day or two of my order meaning I receive the update in 1-3 days. Is this the case, or is it more like a week, which is what the order page suggests? Thanks, Paul > > Jeff > > From Loopers-Delight-request@loopers-delight.com Thu Feb 5 01:04:03 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15616q16481; Thu, 5 Feb 2004 01:01:06 -0500 Resent-Date: Thu, 5 Feb 2004 01:01:06 -0500 Old-Return-Path: Message-Id: <5.2.1.1.0.20040204215548.01623070@pop3.loomwebdesign.com> x-files: the truth is out there Date: Wed, 04 Feb 2004 22:01:02 -0800 To: Loopers-Delight@loopers-delight.com From: Sean Echevarria Subject: Re: Re: Loop IV for EDP: How long to get it? In-Reply-To: <20040205052044.QHZE8989.mta13.adelphia.net@mail.adelphia.n et> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Resent-Message-ID: <7xH8p.A.aBE.iwdIAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40709 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Well... it's not likely that LOOP IV is sitting in a warehouse ready to ship. Also not likely that they like printing mailing labels and packing slips etc every time an order comes in. Probably done in batches - on the weekend after day job drudgery (not that burning images and mailing orders is any less drudgerific). At 09:20 PM 04/02/04, paul_sanders@adelphia.net wrote: > > Our standard Fedex rate (for overnight) is $26 and change. Fedex > > gives different rates to different companies based on how much > > business they do. So that may explain the increased rate. > >I don't have a problem with paying that rate for overnight if the update >ships within a day or two of my order meaning I receive the update in 1-3 >days. Is this the case, or is it more like a week, which is what the order >page suggests? From Loopers-Delight-request@loopers-delight.com Thu Feb 5 02:00:09 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i156qld26768; Thu, 5 Feb 2004 01:52:47 -0500 Resent-Date: Thu, 5 Feb 2004 01:52:47 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: (Unverified) Message-Id: Date: Wed, 4 Feb 2004 22:52:35 -0800 To: Loopers-Delight@loopers-delight.com From: asterion@hell.com Subject: Re: Even More Slash.... Content-Type: text/plain; charset="us-ascii" ; format="flowed" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40710 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 5:00 PM -0600 2/4/04, Eric Williamson wrote: >On Feb 4, 2004, at 1:41 PM, asterion@hell.com wrote: >>At 4:42 PM -0500 2/3/04, Andre Cholmondeley wrote: >>>Check out some Raymond Scott >>Some pretty silly shit. > >ah, you must be thinking of his jazz ensemble music. > >have you heard his electronic stuff? If you refer to the two CDs in the Manhattan Research Inc. set and "Soothing Sounds for Baby" yes I have heard it. Some good sounds here and there, but mostly silly. -- /| |\ \ \ / / < * * > ( o o ) A From Loopers-Delight-request@loopers-delight.com Thu Feb 5 03:01:40 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i157x9n00623; Thu, 5 Feb 2004 02:59:09 -0500 Resent-Date: Thu, 5 Feb 2004 02:59:09 -0500 Old-Return-Path: Message-Id: <6.0.1.1.2.20040204235940.032c2310@loopers-delight.com> X-Sender: kflint@loopers-delight.com X-Mailer: QUALCOMM Windows Eudora Version 6.0.1.1 Date: Thu, 05 Feb 2004 00:00:47 -0800 To: Loopers-Delight@loopers-delight.com From: Kim Flint Subject: Re: Loop IV for EDP: How long to get it? In-Reply-To: <018a01c3ebb5$de409c10$0200a8c0@amd> References: <20040205043712.FXYR11898.mta11.adelphia.net@mail.adelphia.net> <018a01c3ebb5$de409c10$0200a8c0@amd> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40711 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 11:01 PM 2/4/2004, Jesse Ray Lucas wrote: >This very small "company" doesn't have a ton of orders coming in for this >rather obscure product, so they can't take time out to run to the post >office every day is what I'm guessing. that's pretty much correct. kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@loopers-delight.com | http://www.loopers-delight.com From Loopers-Delight-request@loopers-delight.com Thu Feb 5 03:06:29 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i1583xs01090; Thu, 5 Feb 2004 03:03:59 -0500 Resent-Date: Thu, 5 Feb 2004 03:03:59 -0500 Old-Return-Path: Message-Id: <6.0.1.1.2.20040205000123.032c2458@loopers-delight.com> X-Sender: kflint@loopers-delight.com X-Mailer: QUALCOMM Windows Eudora Version 6.0.1.1 Date: Thu, 05 Feb 2004 00:05:37 -0800 To: Loopers-Delight@loopers-delight.com From: Kim Flint Subject: Re: Loop IV for EDP: How long to get it? In-Reply-To: References: <20040205043712.FXYR11898.mta11.adelphia.net@mail.adelphia.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40712 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 08:48 PM 2/4/2004, you wrote: >> It also says express delivery is within a week via Fedex, but it's $30. >> That's a nutty price for standard Fedex delivery. > >Our standard Fedex rate (for overnight) is $26 and change. Fedex gives >different rates to different companies based on how much business they do. >So that may explain the increased rate. That's about right. Sometimes fedex actually costs us more than $30, depending on where it is going. If it costs less, well that's my fee for going to the extra effort to print manuals, burn roms, print receipts, wait in line at fedex, etc etc. It's not really worth it actually. I just do it because I'm such a nice guy. kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@loopers-delight.com | http://www.loopers-delight.com From Loopers-Delight-request@loopers-delight.com Thu Feb 5 06:07:29 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15AmYS15843; Thu, 5 Feb 2004 05:48:34 -0500 Resent-Date: Thu, 5 Feb 2004 05:48:34 -0500 Old-Return-Path: Date: Thu, 5 Feb 2004 10:48:30 +0000 Subject: Re: Tascam Pocketstudio and Repeater? Content-Type: multipart/alternative; boundary=Apple-Mail-2-1034146635 Mime-Version: 1.0 (Apple Message framework v553) From: Paul Greenstein To: Loopers-Delight@loopers-delight.com In-Reply-To: <000a01c3eb7d$4d2add40$5f23de40@htgds01> Message-Id: X-Mailer: Apple Mail (2.553) Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40713 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com --Apple-Mail-2-1034146635 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; format=flowed I don't own a pocketstudio, so I'm guessing here, but I think it's=20 highly unlikely. The Repeater directory structure and file formats seem=20= to be unique. The only way I've been able to export repeater tracks is=20= to 'flatten' the loops, then grab the wav files off the card using a=20 card reader. On Thursday, February 5, 2004, at 12:16 am, vze6n8vs wrote: > I was wondering if anybody knows if the CFC media used for storing=20 > audio loops on the Repeater could be directly used with the Tascam=20 > Pocketstudio, which also uses CFCs?=A0 It's a long shot, but I figure=20= > both of them have 4 primary tracks, both have some looping=20 > capabilities, etc.; does anyone know if it's possible to transfer=20 > loops from the Repeater to the Pocketstudio directly, via CFCs? > =A0 > Thanks, > Ryan --Apple-Mail-2-1034146635 Content-Transfer-Encoding: quoted-printable Content-Type: text/enriched; charset=ISO-8859-1 I don't own a pocketstudio, so I'm guessing here, but I think it's highly unlikely. The Repeater directory structure and file formats seem to be unique. The only way I've been able to export repeater tracks is to 'flatten' the loops, then grab the wav files off the card using a card reader. On Thursday, February 5, 2004, at 12:16 am, vze6n8vs wrote: I was wondering if anybody knows if the CFC media used for storing audio loops on the Repeater could be directly used with the Tascam Pocketstudio, which also uses CFCs?=A0 It's a long shot, but I figure both of them have 4 primary tracks, both have some looping capabilities, etc.; does anyone know if it's possible to transfer loops from the Repeater to the Pocketstudio directly, via CFCs? =A0 Thanks, Ryan = --Apple-Mail-2-1034146635-- From Loopers-Delight-request@loopers-delight.com Thu Feb 5 06:55:26 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15Bbww21937; Thu, 5 Feb 2004 06:37:58 -0500 Resent-Date: Thu, 5 Feb 2004 06:37:58 -0500 Old-Return-Path: X-Authenticated: #5829618 Message-ID: <000d01c3ebdb$e3decae0$d866fe91@synthhost> From: "wavecomputer360" To: References: <20040205043712.FXYR11898.mta11.adelphia.net@mail.adelphia.net> <6.0.1.1.2.20040205000123.032c2458@loopers-delight.com> Subject: Re: Loop IV for EDP: How long to get it? Date: Thu, 5 Feb 2004 11:28:45 +0100 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1106 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1106 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40714 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com How about ordering two Loop IV upgrades for my two EDPs. Would i have to pay twice the shipping rate when I order them at the same time? Silly question, I know, but it´s been bothering me for a while. Stephen ----- Original Message ----- From: "Kim Flint" To: Sent: Thursday, February 05, 2004 9:05 AM Subject: Re: Loop IV for EDP: How long to get it? > At 08:48 PM 2/4/2004, you wrote: > >> It also says express delivery is within a week via Fedex, but it's $30. > >> That's a nutty price for standard Fedex delivery. > > > >Our standard Fedex rate (for overnight) is $26 and change. Fedex gives > >different rates to different companies based on how much business they do. > >So that may explain the increased rate. > > That's about right. Sometimes fedex actually costs us more than $30, > depending on where it is going. If it costs less, well that's my fee for > going to the extra effort to print manuals, burn roms, print receipts, wait > in line at fedex, etc etc. It's not really worth it actually. I just do it > because I'm such a nice guy. > > kim > > > ______________________________________________________________________ > Kim Flint | Looper's Delight > kflint@loopers-delight.com | http://www.loopers-delight.com > From Loopers-Delight-request@loopers-delight.com Thu Feb 5 08:07:18 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15Cmgw28203; Thu, 5 Feb 2004 07:48:42 -0500 Resent-Date: Thu, 5 Feb 2004 07:48:42 -0500 Old-Return-Path: To: Loopers-Delight@loopers-delight.com From: kekemarcel@ig.com.br Subject: Re: Public music beta testing - preview of upcoming CD release Date: Thu, 5 Feb 2004 10:48:22 -0200 X-Priority: 3 (Normal) Message-ID: <20040205_124822_035508.kekemarcel@ig.com.br> X-Originating-IP: [200.245.23.175] X-Mailer: InMail Insite [www.insite.com.br] - iGMail [www.ig.com.br] X-user: kekemarcel@ig.com.br MIME-Version: 1.0 Content-type: multipart/mixed; boundary="Message-Boundary-by-Mail-Sender-1075985302" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40715 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. --Message-Boundary-by-Mail-Sender-1075985302 Content-type: text/plain; charset=ISO-8859-1 Content-description: Mail message body Content-transfer-encoding: 8bit Content-disposition: inline Hi, this is Marcel (a new looper from Brazil). Hey, Per, where can I hear your work (last year I remember I listened some of your stuff and reaaaaally liked it much!). Thanks! Marcel Em 04 Feb 2004, Loopers-Delight@loopers-delight.com escreveu: >Per Boysen wrote: > > I would like to invite anyone interested in ambient live electronica/looping >to listen to the upcoming CD with per2per. When we played at a festival this >summer they recorded us to DAT. We are quite happy with the recording and >plan to release it on CD. But we really don't know how to market the beast >since it is 55:56 long. If it's not "a single album" it might be "an album >single".... or what? And is there a relevant "musical style" to file it >under? We're open for suggestions. > >Hi Per, > >I have 56k dialup and no time for downloading so I can't comment on >your song. But in your first sentence, you called it ambient so why >are you looking for a style name? Marketing a CD is the hardest part >of being a musician if you're marketing it yourself. Or you could shop >it to record labels. Have you tried Groove, Hypnos, Space for Music, >or any of the others? > >Cheers, > >Bill Fox > >---------- _________________________________________________________ Voce quer um iGMail protegido contra vírus e spams? Clique aqui: http://www.igmailseguro.ig.com.br --Message-Boundary-by-Mail-Sender-1075985302-- From Loopers-Delight-request@loopers-delight.com Thu Feb 5 09:12:46 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15DoMM02907; Thu, 5 Feb 2004 08:50:22 -0500 Resent-Date: Thu, 5 Feb 2004 08:50:22 -0500 Old-Return-Path: X-Originating-IP: [68.225.111.163] X-Originating-Email: [j_sun23@hotmail.com] X-Sender: j_sun23@hotmail.com From: "Jason Spring" To: Loopers-Delight@loopers-delight.com Subject: What is good? was: Even more slash Date: Thu, 05 Feb 2004 13:50:12 +0000 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Message-ID: X-OriginalArrivalTime: 05 Feb 2004 13:50:13.0186 (UTC) FILETIME=[FA603A20:01C3EBEE] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40716 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com >all that is left is to discover what is _good_. > >--- >Eric Williamson Ah ha. I love this question. What IS good? Any takers? Eric, I'm guessing, judging by your statement, that you see "good" as being somehow objective. Care to elaborate? An to those that might swing the other way and say that what's good is all relative, well how do you explain Ricky Martin?....... ok, just kidding, but surely you get my point. If it's all subjective, then everything is permitted, everything is good to someone. That makes me uncomfortable as well. Come on, a little musical philosophy won't hurt. How about: what's good looping? _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail From Loopers-Delight-request@loopers-delight.com Thu Feb 5 09:40:02 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15EJsj05912; Thu, 5 Feb 2004 09:19:54 -0500 Resent-Date: Thu, 5 Feb 2004 09:19:54 -0500 Old-Return-Path: Message-ID: <00bc01c3ebf3$8aacb320$0207a8c0@Stephen> From: "Steve Goodman" To: References: Subject: Re: Even More Slash.... Date: Thu, 5 Feb 2004 14:22:51 -0000 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40717 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com ----- Original Message ----- From: To: Sent: Thursday, February 05, 2004 6:52 AM Subject: Re: Even More Slash.... > At 5:00 PM -0600 2/4/04, Eric Williamson wrote: > >On Feb 4, 2004, at 1:41 PM, asterion@hell.com wrote: > >>At 4:42 PM -0500 2/3/04, Andre Cholmondeley wrote: > >>>Check out some Raymond Scott > >>Some pretty silly shit. > > > >ah, you must be thinking of his jazz ensemble music. > > > >have you heard his electronic stuff? > > If you refer to the two CDs in the Manhattan Research Inc. set and > "Soothing Sounds for Baby" yes I have heard it. Some good sounds here > and there, but mostly silly. I wonder what Robert Moog, who apprenticed with Scott, would think. One might think it clever to call it "silly", but it's a major precursor to electronic music as we know it - and given the sequenced material some on this list rely upon it shouldn't be forgotten that Raymond Scott made the first sequencer process for electronic sound production. Steve Goodman * EarthLight Productions * http://www.earthlight.net From Loopers-Delight-request@loopers-delight.com Thu Feb 5 09:42:12 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15EKeT06004; Thu, 5 Feb 2004 09:20:40 -0500 Resent-Date: Thu, 5 Feb 2004 09:20:40 -0500 Old-Return-Path: Message-ID: <00c001c3ebf3$a63be7f0$0207a8c0@Stephen> From: "Steve Goodman" To: References: Subject: Re: What is good? was: Even more slash Date: Thu, 5 Feb 2004 14:23:38 -0000 MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40718 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com ----- Original Message ----- From: "Jason Spring" To: Sent: Thursday, February 05, 2004 13:50 PM Subject: What is good? was: Even more slash > > >all that is left is to discover what is _good_. > > > >--- > >Eric Williamson > > > Ah ha. I love this question. What IS good? Any takers? > > Eric, I'm guessing, judging by your statement, that you see "good" as being > somehow objective. Care to elaborate? > > An to those that might swing the other way and say that what's good is all > relative, well how do you explain Ricky Martin?....... One word: Menudo. That should be sufficient :(P > ok, just kidding, but surely you get my point. If it's all subjective, then > everything is permitted, everything is good to someone. That makes me > uncomfortable as well. > > Come on, a little musical philosophy won't hurt. How about: what's good > looping? Two words: No Pussyfooting. :) From Loopers-Delight-request@loopers-delight.com Thu Feb 5 09:46:33 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15ELLN06096; Thu, 5 Feb 2004 09:21:21 -0500 Resent-Date: Thu, 5 Feb 2004 09:21:21 -0500 Old-Return-Path: From: "AvgJoe" To: Subject: RE: Re: Loop IV for EDP: How long to get it? Date: Thu, 5 Feb 2004 09:21:04 -0500 Message-ID: <002301c3ebf3$4a0ecc90$2100a8c0@APPLEPIE> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit X-Priority: 3 (Normal) X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook, Build 10.0.4510 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Importance: Normal In-Reply-To: <5.2.1.1.0.20040204215548.01623070@pop3.loomwebdesign.com> Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40719 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > -----Original Message----- > From: Sean Echevarria [mailto:sean@loomwebdesign.com] > Sent: Thursday, February 05, 2004 1:01 AM > To: Loopers-Delight@loopers-delight.com > Subject: Re: Re: Loop IV for EDP: How long to get it? > > > Well... it's not likely that LOOP IV is sitting in a > warehouse ready to > ship. Also not likely that they like printing mailing labels > and packing > slips etc every time an order comes in. Probably done in > batches - on the > weekend after day job drudgery (not that burning images and > mailing orders > is any less drudgerific). Ok. I get the picture now. Being now to this list I wasn't aware that Aurisis is a side project for the people who do it. It all makes much more sense now. Thanks, Paul > > > At 09:20 PM 04/02/04, paul_sanders@adelphia.net wrote: > > > Our standard Fedex rate (for overnight) is $26 and change. Fedex > > > gives different rates to different companies based on how much > > > business they do. So that may explain the increased rate. > > > >I don't have a problem with paying that rate for overnight if the > >update > >ships within a day or two of my order meaning I receive the > update in 1-3 > >days. Is this the case, or is it more like a week, which is > what the order > >page suggests? > From Loopers-Delight-request@loopers-delight.com Thu Feb 5 12:15:25 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15Gv3n28381; Thu, 5 Feb 2004 11:57:03 -0500 Resent-Date: Thu, 5 Feb 2004 11:57:03 -0500 Old-Return-Path: Message-ID: <20040205165701.63603.qmail@web14204.mail.yahoo.com> Date: Thu, 5 Feb 2004 08:57:01 -0800 (PST) From: Brian Comnes Subject: Re: Alesis Blowout (was Even More Slash....) To: Loopers-Delight@loopers-delight.com In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40720 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com sweetwater's site has 'em http://www.sweetwater.com/feature/technotes/issue3-modfx/ --- Don Makoviney wrote: > Anyone have some good sound clips of the Bitrman > pedal? > > DM > > >>-----Original Message----- > >>From: Douglas Baldwin > [mailto:coyotelk@optonline.net] > >>Sent: Wednesday, February 04, 2004 12:58 PM > >>To: Andre Cholmondeley; > Loopers-Delight@loopers-delight.com > >>Subject: Re: Even More Slash.... > >> > >>The first time I heard G'nR, I thought they had > TWO > >>vocalists. I figured no one person could have that > range. And > >>I had to *practice* to play "Sweet Child o'Mine" > flawlessly > >>at the drop of a (top) hat. And I'm a > half-century-old > >>serious guitarist who does the deep theory thing > AND who > >>tries to steal from my foreartists. I dig Andre's > flow. And > >>thanx for the tip on the Alesis blowout! > >>Two cents from > >>Douglas Baldwin, coyote-at-large > >>coyotelk@optonline.net > >> > >> > __________________________________ Do you Yahoo!? Yahoo! Finance: Get your refund fast by filing online. http://taxes.yahoo.com/filing.html From Loopers-Delight-request@loopers-delight.com Thu Feb 5 12:29:50 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15H9U130357; Thu, 5 Feb 2004 12:09:30 -0500 Resent-Date: Thu, 5 Feb 2004 12:09:30 -0500 Old-Return-Path: From: "AvgJoe" To: Subject: EDP syncing LoopIII vs LoopIV Date: Thu, 5 Feb 2004 12:09:12 -0500 Message-ID: <003801c3ec0a$c73a9840$2100a8c0@APPLEPIE> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" X-Priority: 3 (Normal) X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook, Build 10.0.4510 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Importance: Normal Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i15H9Tc30334 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40721 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Hi all, I just want to make sure I'm understanding something as a limitation in LoopIII before I count on LoopIV to resolve my problem. My EDP has LoopIII. I'm syncing to midi clock from my Emu PX-7. I'll be playing a drum pattern for instance. I want to be able to hit record on the EDP, have it start right away, and hit record (or alt ending) again and have it stop and loop from that point. The behavior I'm getting as I understand it is quantize is working with this start of pattern pulse from the PX7, so if the pattern is 4 bars long and I only want to loop 1 or 2 bars, my loop is padded with silence ot fill in the pattern cycle from the PX7. I read the LoopIII based manual and tried to read between the lines ot figure out things that aren't clearly stated there. I futzed with this for quite some time last night. Is this in fact a limitation of LoopIII that is resolved in LoopIV? In reading through the LoopIV manual, "SyncRecord" appears to be what I'm after, but it's not clear from what I've read what happens if I'm playing a 4 bar drum pattern and only record 2 bars in the loop. It talks about keeping track of the loop cycle count, etc, but that to me implies I would be recording more than 4 bars in this example. Do I have ot record to some cycle boundry? What happens if I record 5 bars, which is 1 cycle + 1 bar of the 2nd cycle. Thanks in advance, Paul From Loopers-Delight-request@loopers-delight.com Thu Feb 5 12:46:50 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15HOmD32563; Thu, 5 Feb 2004 12:24:48 -0500 Resent-Date: Thu, 5 Feb 2004 12:24:48 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: (Unverified) Message-Id: In-Reply-To: <00bc01c3ebf3$8aacb320$0207a8c0@Stephen> References: <00bc01c3ebf3$8aacb320$0207a8c0@Stephen> Date: Thu, 5 Feb 2004 09:20:08 -0800 To: Loopers-Delight@loopers-delight.com From: asterion@hell.com Subject: Re: Even More Slash.... Content-Type: text/plain; charset="us-ascii" ; format="flowed" Resent-Message-ID: <3FFXWC.A.s8H.gxnIAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40722 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 2:22 PM +0000 2/5/04, Steve Goodman wrote: >I wonder what Robert Moog, who apprenticed with Scott, would think. Bob Moog is a pretty silly guy himself (I once saw him play theremin in a duet with Keith Emerson - it was definitely silly). >One might think it clever to call it "silly" Not "clever" at all. Most of Scott's electronic music is obviously silly. All one needs to do is to listen to it and the silliness is quite clear. Remember that most of this was done as commercial jingles (Auto-Lite spark plugs, Bendix, Sprite, Cheer, Hostess Twinkies, etc.). >it's a major precursor to electronic music as we know it In a musical-historical sense it's a "minor" precursor. Most of Scott's output dates from the 1960s, by which time "major" pioneering works of electronic music had already been created and disseminated by "major" composers such as Stockhausen, Henry, Berio >Raymond Scott made the first sequencer process for electronic sound >production. According to Moog's description, in 1955 Scott's sequencer consisted of "rack upon rack of these stepping relays that were used by the telephone company..." It was a clever adaptation of existing technology. In that same year the RCA Synthesizer Mark II was also in existence and being used much more publicly for "serious" music. The word "precursor" is important in discussing Scott's work, since it was certainly not much of a direct "influence" on anybody. While there is no doubt that Scott was an inventor of some talent and imagination, he was also inclined to "hide his light under a bushel" for fear of imitators. As a result very few people knew what he was really doing and therefore he had little impact on subsequent developments (both musical and technological). -- /| |\ \ \ / / < * * > ( o o ) A From Loopers-Delight-request@loopers-delight.com Thu Feb 5 13:07:03 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15HkEC02625; Thu, 5 Feb 2004 12:46:14 -0500 Resent-Date: Thu, 5 Feb 2004 12:46:14 -0500 Old-Return-Path: X-Originating-IP: [64.163.129.139] X-Originating-Email: [nic_roozeboom@msn.com] X-Sender: nic_roozeboom@msn.com From: "Nic Roozeboom" To: Loopers-Delight@loopers-delight.com Subject: Re: Tascam Pocketstudio and Repeater? Date: Thu, 05 Feb 2004 09:46:03 -0800 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Message-ID: X-OriginalArrivalTime: 05 Feb 2004 17:46:03.0236 (UTC) FILETIME=[EC768240:01C3EC0F] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40723 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Plus the Repeater doesn't hard-wrap the loop, it records pre-start and post-stop 'padding' and the wrap-around is essentially a crossfade of the pre- and post-ambles. A separate file manages the indexing of start and stop points. This looks very specific to the Repeater. Nic >From: Paul Greenstein >Reply-To: Loopers-Delight@loopers-delight.com >To: Loopers-Delight@loopers-delight.com >Subject: Re: Tascam Pocketstudio and Repeater? >Date: Thu, 5 Feb 2004 10:48:30 +0000 > >I don't own a pocketstudio, so I'm guessing here, but I think it's highly >unlikely. The Repeater directory structure and file formats seem to be >unique. The only way I've been able to export repeater tracks is to >'flatten' the loops, then grab the wav files off the card using a card >reader. > > >On Thursday, February 5, 2004, at 12:16 am, vze6n8vs wrote: > >>I was wondering if anybody knows if the CFC media used for storing audio >>loops on the Repeater could be directly used with the Tascam Pocketstudio, >>which also uses CFCs?  It's a long shot, but I figure both of them have 4 >>primary tracks, both have some looping capabilities, etc.; does anyone >>know if it's possible to transfer loops from the Repeater to the >>Pocketstudio directly, via CFCs? >>  >>Thanks, >>Ryan http://www.fractal-continuum.com http://www.cdbaby.com/fractal _________________________________________________________________ Check out the new MSN 9 Dial-up — fast & reliable Internet access with prime features! http://join.msn.com/?pgmarket=en-us&page=dialup/home&ST=1 From Loopers-Delight-request@loopers-delight.com Thu Feb 5 16:38:45 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15LWAn01968; Thu, 5 Feb 2004 16:32:10 -0500 Resent-Date: Thu, 5 Feb 2004 16:32:10 -0500 Old-Return-Path: Message-ID: <01C3EC37.FD3D1120@dyn-81-166-62-171.ppp.tiscali.fr> From: F Lebrun To: "'Loopers-Delight@loopers-delight.com'" Subject: what's good looping? Two words: No Pussyfooting. :) Date: Thu, 5 Feb 2004 22:32:49 +0100 MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="---- =_NextPart_000_01C3EC37.FD4638E0" Resent-Message-ID: <5U7JyB.A.le.aZrIAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40724 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com ------ =_NextPart_000_01C3EC37.FD4638E0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable thanks for that last line Steve. that's all there is to say. Francois Listen to some samples on http://1000.times.free.fr/ -----Message d'origine----- De: Steve Goodman [SMTP:spgoodman@earthlight.net] Date: jeudi 5 f=E9vrier 2004 15:24 =C0: Loopers-Delight@loopers-delight.com Objet: Re: What is good? was: Even more slash << Fichier: ATT00012.txt; charset =3D Windows-1252>> ------ =_NextPart_000_01C3EC37.FD4638E0 Content-Type: application/ms-tnef Content-Transfer-Encoding: base64 eJ8+IjMVAQaQCAAEAAAAAAABAAEAAQeQBgAIAAAA5AQAAAAAAADoAAEIgAcAGAAAAElQTS5NaWNy b3NvZnQgTWFpbC5Ob3RlADEIAQ2ABAACAAAAAgACAAEEkAYAIAIAAAEAAAAQAAAAAwAAMAIAAAAL AA8OAAAAAAIB/w8BAAAAZQAAAAAAAACBKx+kvqMQGZ1uAN0BD1QCAAAAAExvb3BlcnMtRGVsaWdo dEBsb29wZXJzLWRlbGlnaHQuY29tAFNNVFAATG9vcGVycy1EZWxpZ2h0QGxvb3BlcnMtZGVsaWdo dC5jb20AAAAAHgACMAEAAAAFAAAAU01UUAAAAAAeAAMwAQAAACQAAABMb29wZXJzLURlbGlnaHRA bG9vcGVycy1kZWxpZ2h0LmNvbQADABUMAQAAAAMA/g8GAAAAHgABMAEAAAAmAAAAJ0xvb3BlcnMt RGVsaWdodEBsb29wZXJzLWRlbGlnaHQuY29tJwAAAAIBCzABAAAAKQAAAFNNVFA6TE9PUEVSUy1E RUxJR0hUQExPT1BFUlMtREVMSUdIVC5DT00AAAAAAwAAOQAAAAALAEA6AQAAAB4A9l8BAAAAJAAA AExvb3BlcnMtRGVsaWdodEBsb29wZXJzLWRlbGlnaHQuY29tAAIB918BAAAAZQAAAAAAAACBKx+k vqMQGZ1uAN0BD1QCAAAAAExvb3BlcnMtRGVsaWdodEBsb29wZXJzLWRlbGlnaHQuY29tAFNNVFAA TG9vcGVycy1EZWxpZ2h0QGxvb3BlcnMtZGVsaWdodC5jb20AAAAAAwD9XwEAAAADAP9fAAAAAAIB 9g8BAAAABAAAAAAAAALBhQEEgAEANAAAAHdoYXQncyBnb29kIGxvb3Bpbmc/IFR3byB3b3Jkczog Tm8gUHVzc3lmb290aW5nLiA6KQAZEgEFgAMADgAAANQHAgAFABYAIAAxAAQATQEBIIADAA4AAADU BwIABQAWABwAJgAEAD4BAQmAAQAhAAAAN0YyN0I4MkQyRUVDQzMxMUIyRkYyMjdBQ0I3MTkwRjMA WAcBA5AGAJQFAAAhAAAACwACAAEAAAALACMAAAAAAAMAJgAAAAAACwApAAAAAAADAC4AAAAAAAMA NgAAAAAAQAA5AICdp5ov7MMBHgBwAAEAAAA0AAAAd2hhdCdzIGdvb2QgbG9vcGluZz8gVHdvIHdv cmRzOiBObyBQdXNzeWZvb3RpbmcuIDopAAIBcQABAAAAFgAAAAHD7C+ans0fF6FYKRHYnuNERVNU AAAAAB4AHgwBAAAABQAAAFNNVFAAAAAAHgAfDAEAAAASAAAAZnIubGVicnVuQGZyZWUuZnIAAAAD AAYQ0M8oRAMABxA0AQAAHgAIEAEAAABlAAAAVEhBTktTRk9SVEhBVExBU1RMSU5FU1RFVkVUSEFU U0FMTFRIRVJFSVNUT1NBWUZSQU5DT0lTTElTVEVOVE9TT01FU0FNUExFU09OSFRUUDovLzEwMDBU SU1FU0ZSRUVGUi8tLQAAAAACAQkQAQAAAGICAABeAgAArgMAAExaRnUHjUjNPwAKAQMB9wKkA+MC AGNowQrAc2V0MCAHEwKDYwBQDu9UYWgDcQKDMi8DRREaB3wCgzMQp3ByNHEyD+k0FPsPT319EwqA CMggOwlvMjU1SwKACoF2CJB3awuAZNkWcHVjAFALA2MAQQtgwG5nMTAzNgunCrHlCoB0D3BuawQg AhAFwLcdwQVAC2BzHqELgGUGAKB0ZXZlLh5jJwQgfwdAAyAdwASQH0AEAB5gb+Agc2F5Lh1kIYgL MPxzYhygAUAhQCLCHCAP0LxGcgBwBaAEABB0MRzQ+x8TJPJMArEg0R9wA6AhEncDcB9AIUBtC1AH kQIgIEJoAkBwOi8vIsEwdC50B3IuA1AJ4CgxL/8SUwvwFnAhlCQ6IeopVRTgvyH5HxAcwB1RA2Af cGMFQFotLVJNB5AhQGcfQGTyJwWwaWcfIS1TIYYs5A8dUwsxLOQCAGktMjLjAcAkoTI2MxJwDNAx A6BiIERlOgyDYg/QMR9jIEdvBHADgltTgE1UUDpzcGczdFxAZQrAHcAfEGcnIC75HzB0XSGFMjEe kDJnFlEAIGpldWRpIDVBHiBcJ2U5dgiCIMUB0DA3QDE1OikhK5fjDDAWYSdjMDJwFNEylcpMM3Bw BJBzLTJQNTO+QAkAOzQBADU0BaBtNddUT2I3YHQyd1IyYCCOVx6CIOE0Yj8gdx7QvT7QRR+QA6AE YCCxcx7BnmgvDzAaLHQc+zw8I5COaQ9gCJE+0EFUVCehhDEyJ9B4dDsgD2XMID0+4BtBb3c7cEUw sDUyPj4dZBhxAEfQAAADABAQAAAAAAMAERACAAAAAwCAEP////9AAAcwwJbwBC/swwFAAAgwwJbw BC/swwEDAACACCAGAAAAAADAAAAAAAAARgAAAAAQhQAAAAAAAAsAA4AIIAYAAAAAAMAAAAAAAABG AAAAAAOFAAAAAAAAAwAVgAggBgAAAAAAwAAAAAAAAEYAAAAAUoUAALcNAAADABeACCAGAAAAAADA AAAAAAAARgAAAAABhQAAAAAAAB4AHIAIIAYAAAAAAMAAAAAAAABGAAAAAFSFAAABAAAABAAAADgu MAALAB2ACCAGAAAAAADAAAAAAAAARgAAAAAOhQAAAAAAAAMAHoAIIAYAAAAAAMAAAAAAAABGAAAA ABGFAAAAAAAAAwAfgAggBgAAAAAAwAAAAAAAAEYAAAAAGIUAAAAAAAAeADaACCAGAAAAAADAAAAA AAAARgAAAAA2hQAAAQAAAAEAAAAAAAAAHgA3gAggBgAAAAAAwAAAAAAAAEYAAAAAN4UAAAEAAAAB AAAAAAAAAB4AOIAIIAYAAAAAAMAAAAAAAABGAAAAADiFAAABAAAAAQAAAAAAAAAeAD0AAQAAAAEA AAAAAAAAAwANNP03AABjMg== ------ =_NextPart_000_01C3EC37.FD4638E0-- From Loopers-Delight-request@loopers-delight.com Thu Feb 5 17:01:14 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15Lkvh04741; Thu, 5 Feb 2004 16:46:57 -0500 Resent-Date: Thu, 5 Feb 2004 16:46:57 -0500 Old-Return-Path: Message-ID: <01C3EC3A.0C6C7A80@dyn-81-166-62-171.ppp.tiscali.fr> From: F Lebrun To: "'Loopers-Delight@loopers-delight.com'" Subject: RE: Even More Slash.... Date: Thu, 5 Feb 2004 22:47:34 +0100 MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="---- =_NextPart_000_01C3EC3A.0C6C7A80" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40727 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com ------ =_NextPart_000_01C3EC3A.0C6C7A80 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Very interesting to learn that having seen Bob Moog play once was enough to determine that he "is a pretty silly guy himself " !! If this is the way "precursors" and others are rated, I doubt Stockhausen and Pierre Henry are proud there where quoted in this posting. Francois -----Message d'origine----- De: asterion@hell.com [SMTP:asterion@hell.com] Date: jeudi 5 f=E9vrier 2004 18:20 =C0: Loopers-Delight@loopers-delight.com Objet: Re: Even More Slash.... At 2:22 PM +0000 2/5/04, Steve Goodman wrote: >I wonder what Robert Moog, who apprenticed with Scott, would think. Bob Moog is a pretty silly guy himself (I once saw him play theremin=20 in a duet with Keith Emerson - it was definitely silly). >One might think it clever to call it "silly" Not "clever" at all. Most of Scott's electronic music is obviously=20 silly. All one needs to do is to listen to it and the silliness is=20 quite clear. Remember that most of this was done as commercial=20 jingles (Auto-Lite spark plugs, Bendix, Sprite, Cheer, Hostess=20 Twinkies, etc.). >it's a major precursor to electronic music as we know it In a musical-historical sense it's a "minor" precursor. Most of=20 Scott's output dates from the 1960s, by which time "major" pioneering=20 works of electronic music had already been created and disseminated=20 by "major" composers such as Stockhausen, Henry, Berio >Raymond Scott made the first sequencer process for electronic sound=20 >production. According to Moog's description, in 1955 Scott's sequencer consisted=20 of "rack upon rack of these stepping relays that were used by the=20 telephone company..." It was a clever adaptation of existing=20 technology. In that same year the RCA Synthesizer Mark II was also in=20 existence and being used much more publicly for "serious" music. The word "precursor" is important in discussing Scott's work, since=20 it was certainly not much of a direct "influence" on anybody. While=20 there is no doubt that Scott was an inventor of some talent and=20 imagination, he was also inclined to "hide his light under a bushel"=20 for fear of imitators. As a result very few people knew what he was=20 really doing and therefore he had little impact on subsequent=20 developments (both musical and technological). --=20 /| |\ \ \ / / < * * > ( o o ) A ------ =_NextPart_000_01C3EC3A.0C6C7A80 Content-Type: application/ms-tnef Content-Transfer-Encoding: base64 eJ8+IiMVAQaQCAAEAAAAAAABAAEAAQeQBgAIAAAA5AQAAAAAAADoAAEIgAcAGAAAAElQTS5NaWNy b3NvZnQgTWFpbC5Ob3RlADEIAQ2ABAACAAAAAgACAAEEkAYAIAIAAAEAAAAQAAAAAwAAMAIAAAAL AA8OAAAAAAIB/w8BAAAAZQAAAAAAAACBKx+kvqMQGZ1uAN0BD1QCAAAAAExvb3BlcnMtRGVsaWdo dEBsb29wZXJzLWRlbGlnaHQuY29tAFNNVFAATG9vcGVycy1EZWxpZ2h0QGxvb3BlcnMtZGVsaWdo dC5jb20AAAAAHgACMAEAAAAFAAAAU01UUAAAAAAeAAMwAQAAACQAAABMb29wZXJzLURlbGlnaHRA bG9vcGVycy1kZWxpZ2h0LmNvbQADABUMAQAAAAMA/g8GAAAAHgABMAEAAAAmAAAAJ0xvb3BlcnMt RGVsaWdodEBsb29wZXJzLWRlbGlnaHQuY29tJwAAAAIBCzABAAAAKQAAAFNNVFA6TE9PUEVSUy1E RUxJR0hUQExPT1BFUlMtREVMSUdIVC5DT00AAAAAAwAAOQAAAAALAEA6AQAAAB4A9l8BAAAAJAAA AExvb3BlcnMtRGVsaWdodEBsb29wZXJzLWRlbGlnaHQuY29tAAIB918BAAAAZQAAAAAAAACBKx+k vqMQGZ1uAN0BD1QCAAAAAExvb3BlcnMtRGVsaWdodEBsb29wZXJzLWRlbGlnaHQuY29tAFNNVFAA TG9vcGVycy1EZWxpZ2h0QGxvb3BlcnMtZGVsaWdodC5jb20AAAAAAwD9XwEAAAADAP9fAAAAAAIB 9g8BAAAABAAAAAAAAALBhQEEgAEAGAAAAFJFOiBFdmVuIE1vcmUgU2xhc2guLi4uAAUHAQWAAwAO AAAA1AcCAAUAFgAvACIABABNAQEggAMADgAAANQHAgAFABYAJAADAAQAIwEBCYABACEAAAA4NTI3 QjgyRDJFRUNDMzExQjJGRjIyN0FDQjcxOTBGMwBIBwEDkAYA6AoAACEAAAALAAIAAQAAAAsAIwAA AAAAAwAmAAAAAAALACkAAAAAAAMALgAAAAAAAwA2AAAAAABAADkA4HDvqTHswwEeAHAAAQAAABgA AABSRTogRXZlbiBNb3JlIFNsYXNoLi4uLgACAXEAAQAAABYAAAABw+wxqe/NHxeiWCkR2J7jREVT VAAAAAAeAB4MAQAAAAUAAABTTVRQAAAAAB4AHwwBAAAAEgAAAGZyLmxlYnJ1bkBmcmVlLmZyAAAA AwAGEN7Pku8DAAcQDAcAAB4ACBABAAAAZQAAAFZFUllJTlRFUkVTVElOR1RPTEVBUk5USEFUSEFW SU5HU0VFTkJPQk1PT0dQTEFZT05DRVdBU0VOT1VHSFRPREVURVJNSU5FVEhBVEhFIklTQVBSRVRU WVNJTExZR1VZSElNU0UAAAAAAgEJEAEAAADOBwAAygcAAPwLAABMWkZ1DlFuyT8ACgEDAfcCpAPj AgBjaMEKwHNldDAgBxMCg2MAUA7vVGFoA3ECgzIvA0URGgd8AoMzEKdwcjRxMg/pNBT7D099fRMK gAjIIDsJbzI1NUsCgAqBdgiQd2sLgGTZFnB1YwBQCwNjAEELYMBuZzEwMzYLpwqxpQqAVgSQeSAL gHQEkAUHkHQLgGcgdG8g7GxlCsADoHQPcAVAD3APGvAeoQ+gCfAgQm9ieQXQb28esAtRHfACIGNy ZR1kd2EEIAnwCGBnrmgewgEAHjFtC4BlH1WdI1AiHBEP0AQAIGEg8E8JcAJAHfAAkGxsHfBnmnUd 8GgHcA+gbGYj4LggISEcEx1zHWRJJhB/H2AkUSRRH2AjUCHwHfAi1SShYwhwcwWwcyYwAHA+ZCFA KCEPkCRwCXAgcrsfgAmALCcVIsAIYGIFQNJTHtBjaw9wdQ+gA6DtKXJQCJEqMUgJ8B3hKiJ/FYAI YAsxHYIpwihBLnNxnnUpsAmAHgEnlHBvHnNmLia6CvRzYhygAUBztmEx0iQSRipgIWBvBAD1EHQx HNBsIzESUwvwFnA/MQkzwBzAHVEDYB4wY3TTFMQzkCAtNqJNB5AyEJJnI1BkJwWwaWcjMT82oya2 NbQdUwsxNbZpLYwyMgHAM7EyNjMScEcM0DpTIJBEZToMg2LXD9AiAB4xaQIgQCPAJTACLgWgbSBb U01U9FA6PF9dJrU7gSpxO8YRFlEgamUt4GkgNYAgZlwnZTl2CIKKIAHQMEBgMTg6DAHHFNE/BRZS J2MwO8AU0dU75UwgwHAp4S07oDPA+SJwdEAJAERUAQBE0z0iqT73T2JAgHQ7x1I7sLggRXYgQSCw KjFTC2D4c2guSQE4XzlqNUQc+xpBBUAyQiAVsFBNII4rMeAx4EGgLzUvQdBKLCuRZUggIEcgwGRd A4J3NbI7wCbJPisgd98CIASBLrEfgQgAYgSQBUDPILJNsC7AHuBhcCShAjD+aSFwKZAD8B9gBgAF oAJAm1FxCGBsKZAnoW5rMIt3IHckXyVrKCsgIVIgEGH/B+AlsSD0LmMjIQrjCoAvkZ1VkGQKUAVA UpNLZVKi7kUHgCkBA6AtHgBaASIBXwEBC4BSoCXwVgUpMIs+vk8jQSMgRPFTpFtiYx8Ad0ggBcAe 0WMHQAMgW3Ei91YjI/AmyU4psCPgXwQpUfsFQF+xLiChHnAhQCYQUuO+JyIRHwA18ANgAwBjXgC/ LBBkIVVhIIAa8AhgcyVB9x1kViNigEFfwQIgI1AjQP8JgCgBIrEe4CfyHuEEAB4w/x9BZ3FiMSmB KCJWIiMxBBH/VWEdZC8gXDFe8grAYoBH0P8HgAbQX0IfcgRgYsQno1ujb2aSIgE9MVrhYwcxWRVq Rx6RHwAEIChBdR7QLXpMapJzCrFesAtQImBz7U2wQgnwQLB4TbEVgFwxuU2wIEMjwASQTbBIMCH7 aaIdZFQD8FPgCJBwkQ+wfGMuXO1SoGNxVZAAwGpfBbEotx7CY68iAXcjUGt/IkAH4FKgJrtZkmRT B0At/yexHtAFEF+hIBEAgCNQdPX+IiMhBbAmMCi3YogdZGMm+QhgdHBvYCLAKnEEIANS2SgTMTk1 cHCRYh3wLsD/UkAigQdxe3F1cnvhPKFx8fcekiGVBbBrZMEmEHafD3D/KZAHQAlwhAAd8FDgIEEF AP8fEC9SKXJAsAQQWNKFMx1k33/hgMY9MTARKeJzG5AigH8iASupciEtInCiPJFPG1L/ISAEYCmB UuN1UQEAKBM6IP8PkAVAD6AvIAnwIXB1oivA32miAhAFwILpKRB1KYFPdZ8tsVnQNfA8oTCLQWMF of9AsB6kILJjcQEABPQ8oU2w/y+Rf3AagGMXjPgFoACBPGGbhnZi8SIqYCvQIHUwEP8DoJYzbHMH kFehHjBR4B6S/wlwIREoAh+Bd9AqMSwRKZDvf+EoIi4FguFwEeAjQYei7wBwZiBJACYwSVuEVZBf Bd+EAFHQAZCQMoKjeGgBgbjtNdFoIkAJAGdmIXkxH2MbMhCAkXkfESgTUkNBTQYAeQIwl2FpekGB Te1wEklP4ZwSbCkQL4IdZP+ds40yKWNQ4B6SmVNkUIBB/wRgLYIrYDPAXwAd8I4DYCDfPIIsECYw ZFMwi1QoMpFx/yiZJjAnwofBACAAcAVAL5H/hcEo4AQQHpJjJoJSTbCq4f9XkVklW4SNUQGQC4Al QSJA/2wBiFJi8VmxjKA14SPgC4D+ZgpBIWEmMFshm1EG4ISA/WKAVyWwHwCaBi5zVWEiQP8rNR9j i6ScAwOgC4BIIXox/2LiKRCAkQGQHwCqISlyWSX/AMA3wZ0jTbAoM6JnXwAjMftTkR7gIiWwjCEn skTTlnD7UCNVkGIsEDzhJjAdZI4S/magQmLxB3BSoB+AKSFmMf9Vch5RU3AFQF8xHfC6wAfg/0Rg RFCw4XgAB9FQc7alHWT/hFElMitAHpJoxQlwjhG4Yf+4YYQBM8ACQLDhqbEA0GLR+wOgiEBijPQF QR1zAQBIIP0JAHAHgAIwbyEG4FKxeYU/aLSetnmyXOw2oFkVL3yxcbAgfFzH8CbEXAMwjciAL8jA HWQ8ICrJcdo+HWQoIUDKQSkdZMexLw/gMJ4KgBhxAMywAAADABAQAAAAAAMAERAAAAAAAwCAEP// //9AAAcwwOxYDjDswwFAAAgwwOxYDjDswwEDAACACCAGAAAAAADAAAAAAAAARgAAAAAQhQAAAAAA AAsAA4AIIAYAAAAAAMAAAAAAAABGAAAAAAOFAAAAAAAAAwAVgAggBgAAAAAAwAAAAAAAAEYAAAAA UoUAALcNAAADABeACCAGAAAAAADAAAAAAAAARgAAAAABhQAAAAAAAB4AHIAIIAYAAAAAAMAAAAAA AABGAAAAAFSFAAABAAAABAAAADguMAALAB2ACCAGAAAAAADAAAAAAAAARgAAAAAOhQAAAAAAAAMA HoAIIAYAAAAAAMAAAAAAAABGAAAAABGFAAAAAAAAAwAfgAggBgAAAAAAwAAAAAAAAEYAAAAAGIUA AAAAAAAeADaACCAGAAAAAADAAAAAAAAARgAAAAA2hQAAAQAAAAEAAAAAAAAAHgA3gAggBgAAAAAA wAAAAAAAAEYAAAAAN4UAAAEAAAABAAAAAAAAAB4AOIAIIAYAAAAAAMAAAAAAAABGAAAAADiFAAAB AAAAAQAAAAAAAAAeAD0AAQAAAAUAAABSRTogAAAAAAMADTT9NwAApjI= ------ =_NextPart_000_01C3EC3A.0C6C7A80-- From Loopers-Delight-request@loopers-delight.com Thu Feb 5 17:02:29 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15LfI203792; Thu, 5 Feb 2004 16:41:18 -0500 Resent-Date: Thu, 5 Feb 2004 16:41:18 -0500 Old-Return-Path: From: "Neil Goldstein" To: Subject: RE: How to match parameters on two EDPs Date: Thu, 5 Feb 2004 13:41:39 -0800 Message-ID: <000b01c3ec30$d6c0a2c0$6401a8c0@neil> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit X-Priority: 3 (Normal) X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook, Build 10.0.2627 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 In-Reply-To: <001601c3eb2f$014f9990$0100a8c0@mini> Importance: Normal Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40726 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Claude I put these commands in my PMC10 after setting up the EDPs with the appropriate IDs, but am not getting any results. Is it possible to put a single sysex command to do this midi channel changing on the EDP? I understand you're wariness in helping a non-programmer, but I just want to do this ONE THING! Dedicated EDP "power-user" without programming chops... Thanks Neil > F0 00 01 30 0B 01 01 11 02 01 7F ch F7 this should change the channel > where > ch 1=$00, Ch2=$01, et > > BUT this changes channels to both edps > > if you want to change ch on only the slave you must set it to a different > device id manually (check the manual) so that the message only go to one > of > the pair > > > F0 00 01 30 0B xx 01 11 02 01 7F ch F7 > > xx is device id, id 01=$01, id 02=$02 etc.... > > but frankly you're looking for trouble when asking for complicated stuff > without really studying midi and the manual for a while > IMHO advanced stuff is for advanced users that can debug it themselves.... > > Good luck > > > Claude > > > > > > > I think if someone would walk us through putting sysex strings into the > > PMC that would be the way to do it. I looked at the sysex documentation > > in the Loop IV manual, but can't figure out how to change the channels > > via sysex. Could one of you programmers spell out the appropriate > > strings with the correct syntax so we could input this into our midi > > controllers? > > > > Thanks > > > > > > Neil > > > > > -----Original Message----- > > > From: Gary Lehmann [mailto:hqr@cox.net] > > > Sent: Tuesday, February 03, 2004 3:16 PM > > > To: Loopers-Delight@loopers-delight.com > > > Subject: How to match parameters on two EDPs > > > > > > How about sysx? That should work--'course, I haven't done it--but I > > think > > > Claude Voit wrote an editor > > > http://www.loopers-delight.com/LDarchive/200307/msg00081.html > > > That should let you do it that way. > > > Best, > > > Relay > > > > From Loopers-Delight-request@loopers-delight.com Thu Feb 5 17:03:48 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15Leoe03612; Thu, 5 Feb 2004 16:40:50 -0500 Resent-Date: Thu, 5 Feb 2004 16:40:50 -0500 Old-Return-Path: Message-ID: <001601c3ec30$b4cdaff0$0100a8c0@mini> From: "Claude Voit" To: References: <003801c3ec0a$c73a9840$2100a8c0@APPLEPIE> Subject: Re: EDP syncing LoopIII vs LoopIV Date: Thu, 5 Feb 2004 22:40:42 +0100 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Resent-Message-ID: <37h5oD.A.U4.ihrIAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40725 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com how I understand your problem ??? 2 things 1- the quantized behaviour of the strt rec point is the only way in loop3 when sync IN. loop 4 allows you to strt rec at any point and end rec will be rounded to the next cycle point 2-the cycle (initial loop time) is determined by the 8th params changing it will allow you to have different lenght cycle 8 8th= 1 meas in 4/4 4 8th = Half note etc... Trust us all you wont regret your loop 4 upgrade Claude ----- Original Message ----- From: "AvgJoe" To: Sent: Thursday, February 05, 2004 6:09 PM Subject: EDP syncing LoopIII vs LoopIV > Hi all, > > I just want to make sure I'm understanding something as a limitation in > LoopIII before I count on LoopIV to resolve my problem. > > My EDP has LoopIII. I'm syncing to midi clock from my Emu PX-7. I'll be > playing a drum pattern for instance. I want to be able to hit record on the > EDP, have it start right away, and hit record (or alt ending) again and have > it stop and loop from that point. > > The behavior I'm getting as I understand it is quantize is working with this > start of pattern pulse from the PX7, so if the pattern is 4 bars long and I > only want to loop 1 or 2 bars, my loop is padded with silence ot fill in the > pattern cycle from the PX7. > > I read the LoopIII based manual and tried to read between the lines ot > figure out things that aren't clearly stated there. I futzed with this for > quite some time last night. Is this in fact a limitation of LoopIII that is > resolved in LoopIV? > > In reading through the LoopIV manual, "SyncRecord" appears to be what I'm > after, but it's not clear from what I've read what happens if I'm playing a > 4 bar drum pattern and only record 2 bars in the loop. It talks about > keeping track of the loop cycle count, etc, but that to me implies I would > be recording more than 4 bars in this example. Do I have ot record to some > cycle boundry? What happens if I record 5 bars, which is 1 cycle + 1 bar of > the 2nd cycle. > > Thanks in advance, > > Paul > From Loopers-Delight-request@loopers-delight.com Thu Feb 5 18:01:58 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i15MoSO16562; Thu, 5 Feb 2004 17:50:28 -0500 Resent-Date: Thu, 5 Feb 2004 17:50:28 -0500 Old-Return-Path: Date: Thu, 5 Feb 2004 22:50:26 +0000 Subject: Re: Tascam Pocketstudio and Repeater? Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v553) From: Paul Greenstein To: Loopers-Delight@loopers-delight.com In-Reply-To: Message-Id: X-Mailer: Apple Mail (2.553) Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i15MoRc16536 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40728 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com True. I also discovered during various experiments that there is no way to fool the Repeater into accepting audio that's been recorded elsewhere - i.e. importing wav files by copying them onto a card, which is of course the reverse of what Ryan is trying to do. I tried reproducing the directory structure that the Repeater uses, but the data files themselves are seemingly unhackable. Paul On Thursday, February 5, 2004, at 05:46 pm, Nic Roozeboom wrote: > Plus the Repeater doesn't hard-wrap the loop, it records pre-start and > post-stop 'padding' and the wrap-around is essentially a crossfade of > the pre- and post-ambles. A separate file manages the indexing of > start and stop points. This looks very specific to the Repeater. > Nic > > >> From: Paul Greenstein >> Reply-To: Loopers-Delight@loopers-delight.com >> To: Loopers-Delight@loopers-delight.com >> Subject: Re: Tascam Pocketstudio and Repeater? >> Date: Thu, 5 Feb 2004 10:48:30 +0000 >> >> I don't own a pocketstudio, so I'm guessing here, but I think it's >> highly unlikely. The Repeater directory structure and file formats >> seem to be unique. The only way I've been able to export repeater >> tracks is to 'flatten' the loops, then grab the wav files off the >> card using a card reader. >> >> >> On Thursday, February 5, 2004, at 12:16 am, vze6n8vs wrote: >> >>> I was wondering if anybody knows if the CFC media used for storing >>> audio loops on the Repeater could be directly used with the Tascam >>> Pocketstudio, which also uses CFCs?  It's a long shot, but I figure >>> both of them have 4 primary tracks, both have some looping >>> capabilities, etc.; does anyone know if it's possible to transfer >>> loops from the Repeater to the Pocketstudio directly, via CFCs? >>>   >>> Thanks, >>> Ryan > > > > http://www.fractal-continuum.com > http://www.cdbaby.com/fractal > > _________________________________________________________________ > Check out the new MSN 9 Dial-up — fast & reliable Internet access with > prime features! > http://join.msn.com/?pgmarket=en-us&page=dialup/home&ST=1 > > From Loopers-Delight-request@loopers-delight.com Thu Feb 5 23:41:30 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i164Yqe15551; Thu, 5 Feb 2004 23:34:52 -0500 Resent-Date: Thu, 5 Feb 2004 23:34:52 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: (Unverified) Message-Id: In-Reply-To: <01C3EC3A.0C6C7A80@dyn-81-166-62-171.ppp.tiscali.fr> References: <01C3EC3A.0C6C7A80@dyn-81-166-62-171.ppp.tiscali.fr> Date: Thu, 5 Feb 2004 20:33:19 -0800 To: Loopers-Delight@loopers-delight.com From: asterion@hell.com Subject: RE: Even More Slash.... Content-Type: text/plain; charset="us-ascii" ; format="flowed" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40729 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 10:47 PM +0100 2/5/04, F Lebrun wrote: >Very interesting to learn that having seen Bob Moog play once >was enough to determine that he "is a pretty silly guy himself " !! I've also spent an evening socially with Bob Moog (and with Wendy Carlos and others on the same occasion) and have seen him speak publicly several times (both as a single presenter and as a panelist). He jokes around. He acts silly. He mugs and does impressions. This in no way invalidates his significant contributions to music technology. >If this is the way "precursors" and others are rated, >I doubt Stockhausen and Pierre Henry are proud >there where quoted in this posting. This is your opinion, just as my rating of Raymond Scott's music as commercial fluff is my opinion. -- /| |\ \ \ / / < * * > ( o o ) A From Loopers-Delight-request@loopers-delight.com Fri Feb 6 00:09:27 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i164p5R18419; Thu, 5 Feb 2004 23:51:05 -0500 Resent-Date: Thu, 5 Feb 2004 23:51:05 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: doctort@mail.speakeasy.net Message-Id: Date: Thu, 5 Feb 2004 23:31:24 -0500 To: DrTVideo@egroups.com From: "Emile Tobenfeld (a.k.a Dr. T)" Subject: Video performance w BASSIS - SATURDAY, FEBRUARY 7, 2004 -Providence, RI. Cc: eyecandy@egroups.com, boss-improv@topica.com, iotacenter@egroups.com, Loopers-Delight@loopers-delight.com, atari-midi@yahoogroups.com, collision-collusion@ai.mit.edu Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i164p5c18395 Resent-Message-ID: <53qofD.A.qfE.50xIAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40730 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Hi folks, here's the show for Saturday Night! BASSIS - SATURDAY, FEBRUARY 7, 2004 @ AS220.org 115 Empire Street Providence, RI 02903 B A S S I S An evening of audiovisual electronic stimulation. Live, innovative performances of electronic music. DJs spinning the best in Drum-n-Bass, 2-Step, Hip-Hop, Breaks n Beats. VJs projecting Immersivideo® on three walls. Each monthly event begins with an installment of the kat-fu Educational Series: movie screenings on turntablism, electronica, video and contemporary culture. BASSIS happens the +++ FIRST SATURDAY +++ of every month at AS220, 115 Empire Street, Providence, Rhode Island. $5, cheap drinks, cafe specials, all ages, 9pm music 7pm movie. SATURDAY, FEBRUARY 7, 2004 E L E C T R O N I C A [Cozy Music] - beautiful happy music with all those blip-bleep buttons. Dustmite ( w/ special guests, ALGORITHM, 80HRZ AND DJ DISTORTION ) live PA - dusted-beats/dubbed bass and sonic atmospheres. Loggerhead - [Providence] - live CPU overheating madness T U R N T A B L E S DJ Thumpmatic [www.btownsound.com] blasts you with some booty shakin' dnb. V I S U A L S Dr. T. [www.foryourhead.com] ambient, improvised feedback and synthesis. VJ D'Compressor [Sign System] symbolica electronica projected. Free Movie @ 7pm: Better Living Through Circuitry, directed by Jon Reiss. MORE INFORMATION AVAILABLE AT: http://kat-fu.com/ & http://as220.org -- " Practice makes perfect, imperfect is better." -- Paul Bley Emile Tobenfeld, Ph. D. Video Producer Image Processing Specialist Video for your HEAD! Boris FX http://www.foryourhead.com http://www.borisfx.com From Loopers-Delight-request@loopers-delight.com Fri Feb 6 05:49:40 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16AkJY32692; Fri, 6 Feb 2004 05:46:19 -0500 Resent-Date: Fri, 6 Feb 2004 05:46:19 -0500 Old-Return-Path: Mime-Version: 1.0 (Apple Message framework v612) In-Reply-To: References: <00bc01c3ebf3$8aacb320$0207a8c0@Stephen> Content-Type: text/plain; charset=US-ASCII; format=flowed Message-Id: Content-Transfer-Encoding: 7bit From: Eric Williamson Subject: Re: Even More Slash.... Date: Fri, 6 Feb 2004 04:45:58 -0600 To: Loopers-Delight@loopers-delight.com X-Mailer: Apple Mail (2.612) Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40731 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com On Feb 5, 2004, at 11:20 AM, asterion@hell.com wrote: > Most of Scott's electronic music is obviously silly. All one needs to > do is to listen to it and the silliness is quite clear. Remember that > most of this was done as commercial jingles (Auto-Lite spark plugs, > Bendix, Sprite, Cheer, Hostess Twinkies, etc.). i just got a BBC4 documentary about the BBC Radiophonic Workshop a couple months ago, and have watched it several times over. the music is interesting, because most of it is either fun, silly, or downright scary. i would strongly recommend that anyone who has a chance to see The Alchemists Of Sound do so, if only to further one's appreciation for how easy we have it now in sound manipulation technology. --- Eric Williamson www.suitandtieguy.com From Loopers-Delight-request@loopers-delight.com Fri Feb 6 05:58:13 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16Aq3001664; Fri, 6 Feb 2004 05:52:03 -0500 Resent-Date: Fri, 6 Feb 2004 05:52:03 -0500 Old-Return-Path: Mime-Version: 1.0 (Apple Message framework v612) In-Reply-To: <40218E23.5000309@biink.com> References: <40218E23.5000309@biink.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Message-Id: <73CF8CE6-5892-11D8-AE57-000A959D2634@suitandtieguy.com> Content-Transfer-Encoding: 7bit From: Eric Williamson Subject: Re: Even More Slash.... Date: Fri, 6 Feb 2004 04:51:43 -0600 To: Loopers-Delight@loopers-delight.com X-Mailer: Apple Mail (2.612) Resent-Message-ID: <8R2qtC.A.1Z.TH3IAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40732 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com On Feb 4, 2004, at 6:28 PM, David Beardsley wrote: > Eric Williamson wrote: >> but yes, one of my favourite realities of music in the year 2004 is >> that there is truly nothing new, as our musical opportunities are >> limited by the overtone series of western instruments. > Care to elaborate on that statement? Why limited? ah i forgot about the microtonal aspect, reminded by your sig. i really should have clarified that with the word "diatonic" in between "our" and "musical". i feel that diatonic music is limited by the integer-multiple overtone series. there are only so many ways to string 7 (or 12, if you're into tone rows and that sort of thing) notes together, and every time i try to write a melody, i'm reminded of that. i personally am not interested in using non-diatonic-based tunings in my music, because i don't feel that an appropriate enough combination of interface, instrument, and price point exists yet to make me interested in it. i'm not a guitarist, i'm a keyboardist. when i think about Wendy's Alpha scale it makes my head spin. an instrument i would really like to see that would get me into microtuning would be a digital Hammond organ clone where the digital tonewheels could be tuned to different scales. _That_ would get me excited. especially if it had a "stretch" knob so i could finally play an Hammond in proper tune with a piano! --- Eric Williamson www.suitandtieguy.com From Loopers-Delight-request@loopers-delight.com Fri Feb 6 06:58:56 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16BqEW13865; Fri, 6 Feb 2004 06:52:14 -0500 Resent-Date: Fri, 6 Feb 2004 06:52:14 -0500 Old-Return-Path: Message-ID: <20040206115208.3519.qmail@web25203.mail.ukl.yahoo.com> Date: Fri, 6 Feb 2004 12:52:08 +0100 (CET) From: =?iso-8859-1?q?DIEGO=20CASADAMON?= Subject: REAKTOR 2.3 LOOPER PATCH To: Loopers-Delight@loopers-delight.com MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-553061943-1076068328=:3176" Content-Transfer-Encoding: 8bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40733 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com --0-553061943-1076068328=:3176 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit HELLO I AM A GUITARRIST/COMPOSER AND PERFORMER OF LOOP BASED MUSIC.- I READ VERY OFTEN LOOPERS DELAIGHT WEB PAGE . NOW I WORK WITH REAKTOR, AND I PROGRAMED A PATCH FOR THIS PROGRAM WICH IS CAPABLE TO MADE 6 LOOPS OF 20 SECONDS, THE PATCH IS FOR THE VERSION 2.3 OF REKTOR BUT I WANT TO POST THIS FOR FREE IN THE PAGE FOR ANOTHER LOOPERS MUSICIANS, IF YOU WAT THIS INSTRUMENT PLEASE LET ME KNOW.- THANKS DIEGO CASADAMON --------------------------------- Antivirus #8226; Filtros antispam #8226; 6 MB gratis ¿Todavía no tienes un correo inteligente? --0-553061943-1076068328=:3176 Content-Type: text/html; charset=iso-8859-1 Content-Transfer-Encoding: 8bit
HELLO I AM A GUITARRIST/COMPOSER AND PERFORMER OF LOOP BASED MUSIC.-
I READ VERY OFTEN LOOPERS DELAIGHT  WEB PAGE .
 NOW I WORK WITH REAKTOR, AND I PROGRAMED A PATCH FOR THIS PROGRAM WICH IS CAPABLE TO MADE 6 LOOPS OF 20 SECONDS, THE PATCH IS FOR THE VERSION 2.3 OF REKTOR BUT I WANT TO POST THIS FOR FREE IN THE PAGE FOR ANOTHER LOOPERS MUSICIANS, IF YOU WAT THIS INSTRUMENT PLEASE LET ME KNOW.-
 
 THANKS 
DIEGO CASADAMON
 


    Antivirus • Filtros antispam • 6 MB gratis
    ¿Todavía no tienes un correo inteligente?
--0-553061943-1076068328=:3176-- From Loopers-Delight-request@loopers-delight.com Fri Feb 6 07:37:43 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16CWLZ22793; Fri, 6 Feb 2004 07:32:21 -0500 Resent-Date: Fri, 6 Feb 2004 07:32:21 -0500 Old-Return-Path: Message-ID: <20040206123215.23715.qmail@web25203.mail.ukl.yahoo.com> Date: Fri, 6 Feb 2004 13:32:15 +0100 (CET) From: =?iso-8859-1?q?DIEGO=20CASADAMON?= Subject: REAKTOR 2.3 LOOPER PATCH To: Loopers-Delight@loopers-delight.com MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-1619679543-1076070735=:22987" Content-Transfer-Encoding: 8bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40734 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com --0-1619679543-1076070735=:22987 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit HELLO I AM A GUITARRIST/COMPOSER AND PERFORMER OF LOOP BASED MUSIC.- I READ VERY OFTEN LOOPERS DELAIGHT WEB PAGE . NOW I WORK WITH REAKTOR, AND I PROGRAMED A PATCH FOR THIS PROGRAM WICH IS CAPABLE TO MADE 6 LOOPS OF 20 SECONDS, THE PATCH IS FOR THE VERSION 2.3 OF REKTOR BUT I WANT TO POST THIS FOR FREE IN THE PAGE FOR ANOTHER LOOPERS MUSICIANS, IF YOU WAT THIS INSTRUMENT PLEASE LET ME KNOW.- THANKS DIEGO CASADAMON --------------------------------- Antivirus #8226; Filtros antispam #8226; 6 MB gratis ¿Todavía no tienes un correo inteligente? --0-1619679543-1076070735=:22987 Content-Type: text/html; charset=iso-8859-1 Content-Transfer-Encoding: 8bit
HELLO I AM A GUITARRIST/COMPOSER AND PERFORMER OF LOOP BASED MUSIC.-
I READ VERY OFTEN LOOPERS DELAIGHT  WEB PAGE .
 NOW I WORK WITH REAKTOR, AND I PROGRAMED A PATCH FOR THIS PROGRAM WICH IS CAPABLE TO MADE 6 LOOPS OF 20 SECONDS, THE PATCH IS FOR THE VERSION 2.3 OF REKTOR BUT I WANT TO POST THIS FOR FREE IN THE PAGE FOR ANOTHER LOOPERS MUSICIANS, IF YOU WAT THIS INSTRUMENT PLEASE LET ME KNOW.-
 
 THANKS 
DIEGO CASADAMON


    Antivirus • Filtros antispam • 6 MB gratis
    ¿Todavía no tienes un correo inteligente?
--0-1619679543-1076070735=:22987-- From Loopers-Delight-request@loopers-delight.com Fri Feb 6 08:31:26 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16DKa203455; Fri, 6 Feb 2004 08:20:36 -0500 Resent-Date: Fri, 6 Feb 2004 08:20:36 -0500 Old-Return-Path: From: "Gary Lehmann" To: "'Looper's Delight'" Subject: PMC 10 on eBay; also Loop.pool coming to San Diego California Date: Fri, 6 Feb 2004 05:20:24 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit X-Mailer: Microsoft Office Outlook, Build 11.0.5510 Thread-Index: AcPss/o6qg2bg6j7S2yTkIe5C9jYxw== X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Message-Id: <20040206132030.TKLM23539.fed1mtao02.cox.net@Desktop2002> Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40735 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Hey gang-- http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3701507458&category=41419 as used by Kim Flint 8^) Also preliminary gig spam; an evening of looping, Thursday February 19th at The Space, 916 West Washington in San Diego, CA 92103 at 8pm / $5 sliding scale. Featuring Rick Walker and former homeboy Louie Angulo--and me if I don't get another gig 8(o)--more announcements to come. Loop onnnnnnmmmmmmm . . . Relay From Loopers-Delight-request@loopers-delight.com Fri Feb 6 08:37:56 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16DX5506236; Fri, 6 Feb 2004 08:33:05 -0500 Resent-Date: Fri, 6 Feb 2004 08:33:05 -0500 Old-Return-Path: X-VirusChecked: Checked X-Env-Sender: goddard.duncan@mtvne.com X-Msg-Ref: server-9.tower-1.messagelabs.com!1076074375!7919251 X-StarScan-Version: 5.1.15; banners=-,-,- Message-ID: <45E3A7CF573DD411B7C20008C70D394708533FA1@LON-MAIL07> From: goddard.duncan@mtvne.com To: Loopers-Delight@loopers-delight.com Subject: RE: Even More out of tune Date: Fri, 6 Feb 2004 13:12:18 -0000 MIME-Version: 1.0 X-Mailer: Internet Mail Service (5.5.2650.21) Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C3ECB2.D8F5FF40" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40736 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ------_=_NextPart_001_01C3ECB2.D8F5FF40 Content-Type: text/plain; charset="iso-8859-1" >>i feel that diatonic music is limited by the integer-multiple overtone series. there are only so many ways to string 7 (or 12, if you're into tone rows and that sort of thing) notes together, and every time i try to write a melody, i'm reminded of that. i personally am not interested in using non-diatonic-based tunings in my music, because i don't feel that an appropriate enough combination of interface, instrument, and price point exists yet to make me interested in it. i'm not a guitarist, i'm a keyboardist. when i think about Wendy's Alpha scale it makes my head spin.<< I've tried experimenting with different scales- the emu modules are particularly well-equipped for this kind of adventure- but I can't get past the fact that, to me anyway, it just sounds horrible. I don't play music because I like the maths, I play music because I like the noise. for me, there are twelve notes and you can only use certain combinations of them together at one time. usually about seven of the twelve. somethimes the same notes sound a bit different, e.g. if you have a guitar and a trumpet playing together. even single notes that are in tune have all these clashing harmonics that make it sound out of tune. I know the physics, but I'm trying to keep this simple. anyway, that's about as much dissonance as I can tolerate unless it's actually one's intention to make an awful noise, like with a ring modulator or a dx7, say..... I'll get me coat again. duncan. *************************************************************************** CONFIDENTIALITY NOTICE The contents of this e-mail are confidential to the ordinary user of the e-mail address to which it was addressed, and may also be privileged. If you are not the addressee of this e-mail you may not copy, forward, disclose or otherwise use it or any part of it in any form whatsoever.If you have received this e-mail in error, please e-mail the sender by replying to this message. It is your responsibility to carry out appropriate virus and other checks to ensure that this message and any attachments do not affect your systems / data. Any views or opinions expressed in this e-mail are solely those of the author and do not necessarily represent those of MTV Networks Europe unless specifically stated, nor does this message form any part of any contract unless so stated. MTV reserves the right to monitor e-mail communications from external/internal sources for the purposes of ensuring correct and appropriate use of MTV communication equipment. MTV Networks Europe *************************************************************************** ------_=_NextPart_001_01C3ECB2.D8F5FF40 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable RE: Even More out of tune

>>i feel that diatonic music is limited by the inte= ger-multiple overtone
series. there are only so many ways to string 7 (or 12, = if you're into
tone rows and that sort of thing) notes together, and ev= ery time i try
to write a melody, i'm reminded of that.

i personally am not interested in using non-diatonic-base= d tunings in
my music, because i don't feel that an appropriate enoug= h combination
of interface, instrument, and price point exists yet to = make me
interested in it. i'm not a guitarist, i'm a keyboardist= . when i think
about Wendy's Alpha scale it makes my head spin.<<=

I've tried experimenting with different scales- the emu m= odules are particularly well-equipped for this kind of adventure- but I can= 't get past the fact that, to me anyway, it just sounds horrible.

I don't play music because I like the maths, I play music= because I like the noise. for me, there are twelve notes and you can only = use certain combinations of them together at one time. usually about seven = of the twelve.

somethimes the same notes sound a bit different, e.g. if = you have a guitar and a trumpet playing together. even single notes that ar= e in tune have all these clashing harmonics that make it sound out of tune.= I know the physics, but I'm trying to keep this simple.

anyway, that's about as much dissonance as I can tolerate= unless it's actually one's intention to make an awful noise, like with a r= ing modulator or a dx7, say.....

I'll get me coat again.

duncan.



***************************************************************************=
CONFIDENTIALITY NOTICE

The contents of this e-mail are confidential to the ordinary user
of the e-mail address to which it was addressed, and may also
be privileged. If you are not the addressee of this e-mail you may
not copy, forward, disclose or otherwise use it or any part of it
in any form whatsoever.If you have received this e-mail in error,
please e-mail the sender by replying to this message.

It is your responsibility to carry out appropriate virus and other
checks to ensure that this message and any attachments do not
affect your systems / data. Any views or opinions expressed in this
e-mail are solely those of the author and do not necessarily
represent those of MTV Networks Europe unless specifically stated,
nor does this message form any part of any contract unless so stated.

MTV reserves the right to monitor e-mail communications from
external/internal sources for the purposes of ensuring correct
and appropriate use of MTV communication equipment.

MTV Networks Europe
***************************************************************************=
------_=_NextPart_001_01C3ECB2.D8F5FF40-- From Loopers-Delight-request@loopers-delight.com Fri Feb 6 09:03:39 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16DovI10388; Fri, 6 Feb 2004 08:50:57 -0500 Resent-Date: Fri, 6 Feb 2004 08:50:57 -0500 Old-Return-Path: X-Originating-IP: [68.225.111.163] X-Originating-Email: [j_sun23@hotmail.com] X-Sender: j_sun23@hotmail.com From: "Jason Spring" To: Loopers-Delight@loopers-delight.com Subject: RE: REAKTOR 2.3 LOOPER PATCH Date: Fri, 06 Feb 2004 13:50:50 +0000 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Message-ID: X-OriginalArrivalTime: 06 Feb 2004 13:50:51.0172 (UTC) FILETIME=[3B6E2E40:01C3ECB8] Resent-Message-ID: <-v1HI.A.KiC.Bv5IAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40737 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Post away Diego. I'm sure many of us are interested. Do you mean to post it on the Looper's Delight website? Let us know. JS >From: DIEGO CASADAMON >Reply-To: Loopers-Delight@loopers-delight.com >To: Loopers-Delight@loopers-delight.com >Subject: REAKTOR 2.3 LOOPER PATCH Date: Fri, 6 Feb 2004 12:52:08 +0100 >(CET) > >HELLO I AM A GUITARRIST/COMPOSER AND PERFORMER OF LOOP BASED MUSIC.- >I READ VERY OFTEN LOOPERS DELAIGHT WEB PAGE . > NOW I WORK WITH REAKTOR, AND I PROGRAMED A PATCH FOR THIS PROGRAM WICH IS >CAPABLE TO MADE 6 LOOPS OF 20 SECONDS, THE PATCH IS FOR THE VERSION 2.3 OF >REKTOR BUT I WANT TO POST THIS FOR FREE IN THE PAGE FOR ANOTHER LOOPERS >MUSICIANS, IF YOU WAT THIS INSTRUMENT PLEASE LET ME KNOW.- > > THANKS >DIEGO CASADAMON > > > > > >--------------------------------- > > Antivirus #8226; Filtros antispam #8226; 6 MB gratis > ¿Todavía no tienes un correo inteligente? _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 From Loopers-Delight-request@loopers-delight.com Fri Feb 6 09:14:01 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16E3e114985; Fri, 6 Feb 2004 09:03:40 -0500 Resent-Date: Fri, 6 Feb 2004 09:03:40 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/10.0.0.1428 Date: Fri, 06 Feb 2004 15:03:27 +0100 Subject: Re: Public music beta testing - preview of upcoming CD release From: Per Boysen To: Loopers Message-ID: In-Reply-To: <40216060.3070408@soundscapes.us> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40738 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com On 04-02-04 22.13, "Bill Fox" wrote: > Hi Per, > > I have 56k dialup and no time for downloading so I can't comment on your song. > But in your first sentence, you called it ambient so why are you looking for a > style name? Marketing a CD is the hardest part of being a musician if you're > marketing it yourself. Or you could shop it to record labels. Have you tried > Groove, Hypnos, Space for Music, or any of the others? > > Cheers, > > Bill Fox Hi Bill, Thanks for the input! It's just that the style name "ambient" seems very broad today. As for myself "ambient" can go for as apart stuff as eighty year old piano pieces by Eric Satie, the Britches Brew album by Miles, most Orb stuff as well as simple field recordings, and at yet all these examples might go by different descriptions with other people - like "classic", "jazz", "techno" etc. "Ambient", as I understand it, stands for music that might serve as well for concentrated listening as for providing an ambience/background for other activities. A description based based on how the music is being used. Other descriptions might be based on a certain vibe, or emotion, communicated within the music. Like "Space Music" has adopted its definite criteria, even though I have never seen an explicit listing of them, after Stephen Hill's well known radio shows. I once read somewhere that "a good Science Fiction novel has to leave the reader in a certain Sense-Of-Wonder", and I think that's a good example of a "vibe based style description". So what's that applied on music? ;-) All the best Per Boysen From Loopers-Delight-request@loopers-delight.com Fri Feb 6 09:36:53 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16EQMr20488; Fri, 6 Feb 2004 09:26:22 -0500 Resent-Date: Fri, 6 Feb 2004 09:26:22 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/10.0.0.1428 Date: Fri, 06 Feb 2004 15:26:15 +0100 Subject: Re: oberheim matrix1000 - opinions From: Per Boysen To: Loopers Message-ID: In-Reply-To: <20040202162049.48408.qmail@web80211.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40739 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com On 04-02-02 17.20, "JAMES FOWLER, III" wrote: > > i'm on the fence regarding which synth to buy...either the emu vintage pro or > the ANALOG!!! oberheim matrix 1000. anybody wanna try and convince me one way > or the other? > > -jim Hi Jim, I'm not quite sure about exactly what type of advice you are after here, but as for sound I have to say that I'm still very happy with my Matrix-1000 after using it for 12 years. I have run it from a midi guitar with each voice (it has 6 voices) playing over its dedicated midi channel and the guitar sending each string assigned to a midi channel of its own. The idea about such an unusual mode is to allow each string to send different pitch bend data and it's working pretty well. But I finally skipped over the entire "midi guitar chapter" since I never learned to play it as well as a normally sounding guitar. Today I use the Oberheim as a quick sound source when crating music with Logic and I keep it patched into my soundcard, together with a Really Nice Compressor, to record it as sound files on the fly. I find it a very good complement to the digital virtual instruments available today. It has a nice character and is easily recognizable in a mix, be it tweaked by Alex Patterson or William Orbit. Very inspiring sounds I would say and I don't miss the ability to program new sounds on the unit. Although I can do that from Logic with a certain environment I tend to find it more creative as a "Oberheim Synth Sound Library". The EMU vintage I do not own, but I have had the EMU 1 for 13 (?) years. Never use it today. If you want some of those vintage sounds you might as well download some soundfonts from the Internet, I would say ;-) Best regards Per Boysen -- http://www.boysen.se Public Music Beta Testing http://www.looproom.com/p2p/ From Loopers-Delight-request@loopers-delight.com Fri Feb 6 11:52:48 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16Ghni28660; Fri, 6 Feb 2004 11:43:49 -0500 Resent-Date: Fri, 6 Feb 2004 11:43:49 -0500 Old-Return-Path: Message-ID: From: Don Makoviney To: Loopers-Delight@loopers-delight.com Subject: Portable waist-high table??? Date: Fri, 6 Feb 2004 11:43:46 -0500 MIME-Version: 1.0 X-Mailer: Internet Mail Service (5.5.2653.19) Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C3ECD0.6387E930" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40740 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ------_=_NextPart_001_01C3ECD0.6387E930 Content-Type: text/plain I need a table, maybe 2'x2' square (a little larger or smaller is acceptable also) for putting a couple of hand controlled effects while I stand playing live onstage. I need to be able to control stuff like a Behringer V-Amp2, Alesis INEKO, and my soon-to-arrive Alesis Metavox. I want to have a waist (or mid-stomach) high table that is also collapsible and lightweight to take to gigs. I was thinking about using my heavy-duty AXMAN collapsible music stand and just put it up. Any ideas? Thanks, DM ------_=_NextPart_001_01C3ECD0.6387E930 Content-Type: text/html
I need a table, maybe 2'x2' square (a little larger or smaller is acceptable also) for putting a couple of hand controlled effects while I stand playing live onstage. I need to be able to control stuff like a Behringer V-Amp2, Alesis INEKO, and my soon-to-arrive Alesis Metavox.
 
I want to have a waist (or mid-stomach) high table that is also collapsible and lightweight to take to gigs. I was thinking about using my heavy-duty AXMAN collapsible music stand and just put it up.
 
Any ideas?
 
Thanks,
 
DM
 
 
------_=_NextPart_001_01C3ECD0.6387E930-- From Loopers-Delight-request@loopers-delight.com Fri Feb 6 12:12:56 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16H8Ae04254; Fri, 6 Feb 2004 12:08:10 -0500 Resent-Date: Fri, 6 Feb 2004 12:08:10 -0500 Old-Return-Path: From: "AvgJoe" To: Subject: RE: Portable waist-high table??? Date: Fri, 6 Feb 2004 12:07:53 -0500 Message-ID: <008e01c3ecd3$c23120c0$2100a8c0@APPLEPIE> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_008F_01C3ECA9.D95B18C0" X-Priority: 3 (Normal) X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook, Build 10.0.4510 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 Importance: Normal In-Reply-To: Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40742 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This is a multi-part message in MIME format. ------=_NextPart_000_008F_01C3ECA9.D95B18C0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable I got this Rubbermaid table from BJ's wholesale club. It's 4x2 and has = folld up legs with adjustable height. 4' may be too long for you though, but = it's very handy and versatile. I used it for my DJ gigs when I used to do = that. =20 Paul =20 -----Original Message----- From: Don Makoviney [mailto:don.makoviney@asg.com]=20 Sent: Friday, February 06, 2004 11:44 AM To: Loopers-Delight@loopers-delight.com Subject: Portable waist-high table??? I need a table, maybe 2'x2' square (a little larger or smaller is = acceptable also) for putting a couple of hand controlled effects while I stand = playing live onstage. I need to be able to control stuff like a Behringer = V-Amp2, Alesis INEKO, and my soon-to-arrive Alesis Metavox. =20 I want to have a waist (or mid-stomach) high table that is also = collapsible and lightweight to take to gigs. I was thinking about using my = heavy-duty AXMAN collapsible music stand and just put it up. =20 Any ideas? =20 Thanks, =20 DM =20 =20 ------=_NextPart_000_008F_01C3ECA9.D95B18C0 Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Message
I got=20 this Rubbermaid table from BJ's wholesale club. It's 4x2 and has folld = up legs=20 with adjustable height. 4' may be too long for you though, but it's very = handy=20 and versatile. I used it for my DJ gigs when I used to do=20 that.
 
Paul
 
-----Original Message-----
From: Don = Makoviney=20 [mailto:don.makoviney@asg.com]
Sent: Friday, February 06, = 2004=20 11:44 AM
To: = Loopers-Delight@loopers-delight.com
Subject:=20 Portable waist-high table???

I = need a table,=20 maybe 2'x2' square (a little larger or smaller is acceptable also) for = putting=20 a couple of hand controlled effects while I stand playing live = onstage. I need=20 to be able to control stuff like a Behringer V-Amp2, Alesis INEKO, and = my=20 soon-to-arrive Alesis Metavox.
 
I = want to have a=20 waist (or mid-stomach) high table that is also collapsible and = lightweight to=20 take to gigs. I was thinking about using my heavy-duty AXMAN = collapsible music=20 stand and just put it up.
 
Any=20 ideas?
 
Thanks,
 
DM
 
 
------=_NextPart_000_008F_01C3ECA9.D95B18C0-- From Loopers-Delight-request@loopers-delight.com Fri Feb 6 12:17:06 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16H7G503927; Fri, 6 Feb 2004 12:07:16 -0500 Resent-Date: Fri, 6 Feb 2004 12:07:16 -0500 Old-Return-Path: Message-ID: <4023CD0B.7FC1E8B7@erols.com> Date: Fri, 06 Feb 2004 12:21:16 -0500 From: John Mazzarella X-Mailer: Mozilla 4.5 [en] (Win98; I) X-Accept-Language: en MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Re: Portable waist-high table??? References: Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40741 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com It may not be to your liking, but I use a wood snack/TV tray to place effects like that at a gig. They are light and portable and you can pick them up at a Target or Wall Mart. John www.johnmazzarella.com Don Makoviney wrote: > Part 1.1Type: Plain Text (text/plain) From Loopers-Delight-request@loopers-delight.com Fri Feb 6 13:38:10 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16IUts27930; Fri, 6 Feb 2004 13:30:55 -0500 Resent-Date: Fri, 6 Feb 2004 13:30:55 -0500 Old-Return-Path: X-Sender: ipbr15448@pop3.blueyonder.co.uk X-Mailer: QUALCOMM Windows Eudora Pro Version 4.0 Date: Fri, 06 Feb 2004 18:29:41 +0000 To: Loopers-Delight@loopers-delight.com From: Ian Popperwell Subject: Re: Portable waist-high table??? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Message-ID: X-OriginalArrivalTime: 06 Feb 2004 18:30:49.0411 (UTC) FILETIME=[57F60930:01C3ECDF] Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i16IUoc27896 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40743 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Hi, A couple of ideas: 1. an "X"-keyboard stand with some kind of shelf on top. 2. I'm sure that I've seen small tables/stands as you describe (with removable legs) in Quiklok catalogues a while ago. Good luck. Ian At 11:43 06/02/2004 -0500, you wrote: > > I need a table, maybe 2'x2' square (a little larger or smaller is acceptable > also) for putting a couple of hand controlled effects while I stand playing > live onstage. I need to be able to control stuff like a Behringer V-Amp2, > Alesis INEKO, and my soon-to-arrive Alesis Metavox. >   > I want to have a waist (or mid-stomach) high table that is also collapsible > and lightweight to take to gigs. I was thinking about using my heavy-duty > AXMAN collapsible music stand and just put it up. >   > Any ideas? >   > Thanks, >   > DM >   >   From Loopers-Delight-request@loopers-delight.com Fri Feb 6 14:23:35 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16JJR109073; Fri, 6 Feb 2004 14:19:27 -0500 Resent-Date: Fri, 6 Feb 2004 14:19:27 -0500 Old-Return-Path: Message-ID: <4023E7E1.F6B92F1@pixar.com> Date: Fri, 06 Feb 2004 11:15:45 -0800 From: Alex Stahl Organization: Pixar Animation Studios X-Mailer: Mozilla 4.78 [en] (Windows NT 5.0; U) X-Accept-Language: en MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Re: Portable waist-high table??? References: Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Resent-Message-ID: <_tBOqB.A.mNC.-i-IAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40744 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com It might also be worth a look in the mobile computing universe. I saw a nice laptop tripod stand yesterday in a Mobile Planet catalog but couldn't find it on their site. But a quick search on "laptop table" brought up www.pctabletote.com, which looks kinda cool and is fairly inexpensive. I used to use a genuine Dictaphone roll around cart. It looked really cool but only collapsed once, on its own terms, during a performance ;-) Ian Popperwell wrote: > > Hi, > A couple of ideas: > 1. an "X"-keyboard stand with some kind of shelf on top. > 2. I'm sure that I've seen small tables/stands as you describe (with removable > legs) in Quiklok catalogues a while ago. > > Good luck. > Ian > > At 11:43 06/02/2004 -0500, you wrote: > > > > I need a table, maybe 2'x2' square (a little larger or smaller is acceptable > > also) for putting a couple of hand controlled effects while I stand playing > > live onstage. I need to be able to control stuff like a Behringer V-Amp2, > > Alesis INEKO, and my soon-to-arrive Alesis Metavox. > > > > I want to have a waist (or mid-stomach) high table that is also collapsible > > and lightweight to take to gigs. I was thinking about using my heavy-duty > > AXMAN collapsible music stand and just put it up. > > > > Any ideas? > > > > Thanks, > > > > DM > > > > From Loopers-Delight-request@loopers-delight.com Fri Feb 6 15:13:59 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16K8mT24688; Fri, 6 Feb 2004 15:08:48 -0500 Resent-Date: Fri, 6 Feb 2004 15:08:48 -0500 Old-Return-Path: Message-ID: <4023F461.8000101@soundscapes.us> Date: Fri, 06 Feb 2004 15:09:05 -0500 From: Bill Fox User-Agent: Mozilla/5.0 (Windows; U; Win98; en-US; rv:1.5) Gecko/20031007 X-Accept-Language: en-us, en MIME-Version: 1.0 To: emusic-wdiy Mailing List , Ambient Mailing List Subject: EMUSIC Playlist #359 for February 5, 2004 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40745 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com http://wdiy.org/programs/emusic/playlists/2004/040205.html EMUSIC is an electronic, ambient, and space music show, that airs each Thursday at 11:00 pm on WDIY 88.1 FM, Allentown and Bethlehem, PA 93.9 FM in Easton, PA and Phillipsburg, NJ, 92.9 FM on Service Electric Cable, and webcasting on the internet. Show #359 February 5, 2004 RECAP: On this show, I started a month-long focus on the Ambient Music Mailing List, part of Hyperreal's music resource archives. The Featured CD at Midnight was "ambient.01@hyperreal" disc one by members of the mailing list. The Vinyl Starter was from the LP "Telemusik Mixtur" by Karlheinz Stockhausen on Deutsche Grammophon. Ambient Mailing List - http://wdiy.org/programs/emusic/playlists/2004/focus04.html#feb PLAYLIST: ARTIST TRACK ALBUM (label) ======================= ======================== ============================== 11:00 pm Karlheinz Stockhausen Telemusik * Telemusik Mixtur (Deutsche Grammophon) Palancar A Passage to Dreamland Vast (mp3.com) Frank Gingeleit Planets' Spring Dance Selections (Living Tunes) Klangwelt Self Similar The Age of Numbers (Spheric) Don Slepian Glimpses of Light CDR from the artist ['ramp] Kaelteinduktion doombient.one (none) VA [EPD] Under the Red Line ambient.01@hyperreal (none) VA [Ambient Temple of Under the Red Line ambient.01@hyperreal (none) Imagination] 12:00 am VA [Avalon] Ladybug ambient.01@hyperreal (none) VA [Universal Selector] Marisol ambient.01@hyperreal (none) VA [Excelsior] Plug ambient.01@hyperreal (none) VA [Metasonica] Oceanic ambient.01@hyperreal (none) VA [Tonelab] Sun Silent ambient.01@hyperreal (none) VA [Spirit Oscillator] Boom ambient.01@hyperreal (none) VA [Dub Jay] Amber Translucence ambient.01@hyperreal (none) VA [XstaR] Alzir * ambient.01@hyperreal (none) 1:00 am * = exerpt VA = Various Artists (compilation) ++ = Advance CDR from Artist NEXT SHOW: On the next EMUSIC, I'll continue the month-long focus on the Ambient Music Mailing List. The Featured CD at Midnight will be "ambient.01@hyperreal" disc two by members of the mailing list. The Vinyl Starter will be from the LP "In Search of the Gods" by Absolute Elsewhere on Warner Brothers. Bill =============================================================================== Host of EMUSIC, an electronic, ambient, and space music show, Thursdays at 11 pm (GMT-5:00) on WDIY 88.1 FM in Allentown and Bethlehem and 93.9 FM in Easton and Phillipsburg. Listen on-line to WDIY at http://wdiy.org and click LISTEN EMUSIC web site - http://wdiy.org/programs/emusic To subscribe to the EMUSIC-on-WDIY mailing list, click on [Join This Group!] at http://groups.yahoo.com/group/emusic-wdiy From Loopers-Delight-request@loopers-delight.com Fri Feb 6 15:24:40 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16KEx225880; Fri, 6 Feb 2004 15:14:59 -0500 Resent-Date: Fri, 6 Feb 2004 15:14:59 -0500 Old-Return-Path: Message-ID: <4023F5D6.8020204@soundscapes.us> Date: Fri, 06 Feb 2004 15:15:18 -0500 From: Bill Fox User-Agent: Mozilla/5.0 (Windows; U; Win98; en-US; rv:1.5) Gecko/20031007 X-Accept-Language: en-us, en MIME-Version: 1.0 To: emusic-wdiy Mailing List , Ambient Mailing List Subject: EMUSIC Monthly Top 20 Report for January, 2004 Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: 7bit Resent-Message-ID: <5kicBD.A.PUG.CX_IAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40746 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com http://wdiy.org/programs/emusic/playlists/2004/top20jan.html

WDIY 88.1 FM "EMUSIC" Top 20 for January, 2004.
Shows #354 to #358; 1-January-2004 to 29-January-2004
Reported in non-ranked order.
Compiled by Bill Fox
http://wdiyfm.org/programs/emusic


ARTIST - ALBUM TITLE - LABEL
===========================================================
Ian Boddy and Chris Carter - Caged - DiN
Ian Boddy, Markus Reuter, Nigel Mullaney - Triptych - DiN
Ian Boddy - Aurora - DiN
Ian Boddy - The Deep - Something Else
Ian Boddy and Markus Reuter - Jodrell Bank Concerts - SFM
David Borden - Cayuga Night Music - Lame Duck
E=motion - A dream Within A Dream - Underwater Music
Philippe Emmanuel Gueble - Fire & Remembrance - Underwater Music
Hemisphere - Beast in the Heat - Groove
The Ministry of Inside Things - Everlasting Moment - Synkronos
Dave Peck - Endo-Spectra - none
Richard Pinhas - Tranzition - Cuneiform
['ramp] - doombient.one - none
Remy - Connected - AKH
Robert Rich - Calling Down the Sky - Soundscape
Steve Roach and vidnaObmana - Spirit Dome - Projekt
Sayer - 1st Encounter - Invisible Shadows
Kent Sparling with Jeffrey Foster - Leaf Spring - Purling
Under the Dome - Bellerophon - Neu Harmony
Zero Ohms - True Degrees of Freedom - Space for Music

Bill
===============================================================================
Host of EMUSIC, an electronic, ambient,  and space music show,  Thursdays at 11
pm (GMT-5:00) on WDIY 88.1 FM in Allentown and Bethlehem and 93.9 FM in Easton
and Phillipsburg.  Listen on-line to WDIY at http://wdiy.org  and click  LISTEN
EMUSIC web site - http://wdiy.org/programs/emusic
To subscribe to the EMUSIC-on-WDIY mailing list, click on [Join This Group!] at
http://groups.yahoo.com/group/emusic-wdiy
 From Loopers-Delight-request@loopers-delight.com Fri Feb 6 15:29:04 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16KOL627934; Fri, 6 Feb 2004 15:24:21 -0500 Resent-Date: Fri, 6 Feb 2004 15:24:21 -0500 Old-Return-Path: Date: Fri, 06 Feb 2004 15:24:41 -0500 From: Douglas Baldwin Subject: Re: Portable waist-high table??? To: Don Makoviney , Loopers-Delight@loopers-delight.com Message-id: <002f01c3ecef$613c8180$9715be18@oemcomputer> MIME-version: 1.0 X-MIMEOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 X-Mailer: Microsoft Outlook Express 6.00.2800.1158 Content-type: multipart/alternative; boundary="Boundary_(ID_nKB2zBva6Kx7rG3PSat11w)" X-Priority: 3 X-MSMail-priority: Normal References: Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40747 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This is a multi-part message in MIME format. --Boundary_(ID_nKB2zBva6Kx7rG3PSat11w) Content-type: text/plain; charset=Windows-1252 Content-transfer-encoding: 7BIT Don wrote: >I need a table, maybe 2'x2' square (a little larger or smaller is acceptable also) for putting a couple of hand controlled effects while I stand playing live onstage. Try a waiter/waitresses's bussing table. Back in the day, I nicked one from the back of a catering hall, and used it for our PA head. Also a collapsable tall stool works well. Douglas Baldwin, coyote-at-large coyotelk@optonline.net --Boundary_(ID_nKB2zBva6Kx7rG3PSat11w) Content-type: text/html; charset=Windows-1252 Content-transfer-encoding: 7BIT
Don wrote:
>I need a table, maybe 2'x2' square (a little larger or smaller is acceptable also) for putting a couple of hand controlled effects while I stand playing live onstage.
 
Try a waiter/waitresses's bussing table. Back in the day, I nicked one from the back of a catering hall, and used it for our PA head. Also a collapsable tall stool works well.
Douglas Baldwin, coyote-at-large
coyotelk@optonline.net
 
--Boundary_(ID_nKB2zBva6Kx7rG3PSat11w)-- From Loopers-Delight-request@loopers-delight.com Fri Feb 6 18:17:18 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16NBmg02010; Fri, 6 Feb 2004 18:11:48 -0500 Resent-Date: Fri, 6 Feb 2004 18:11:48 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: (Unverified) Message-Id: In-Reply-To: <45E3A7CF573DD411B7C20008C70D394708533FA1@LON-MAIL07> References: <45E3A7CF573DD411B7C20008C70D394708533FA1@LON-MAIL07> Date: Fri, 6 Feb 2004 12:26:44 -0800 To: Loopers-Delight@loopers-delight.com From: asterion@hell.com Subject: RE: Even More out of tune Content-Type: multipart/alternative; boundary="============_-1136022792==_ma============" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40748 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com --============_-1136022792==_ma============ Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 1:12 PM +0000 2/6/04, goddard.duncan@mtvne.com wrote: >i personally am not interested in using non-diatonic-based tunings Please be aware that "diatonic" has no particular relationship to "tuning." A diatonic scale is simply a set of seven pitches spanning an octave and corresponding to the white keys on a piano (i.e. a pattern of semitones 2-2-1-2-2-2-1). You can start the scale pattern on any of its notes and you can transpose the scale to any of the 12 chronatic tones. The tuning of the pitches themselves is arbitrary. Therefore you can have diatonic scales in a variety of tunings, though most of the time when people say "diatonic" they imply "twelve-tone equal-tempered" tuning. -- /| |\ \ \ / / < * * > ( o o ) A --============_-1136022792==_ma============ Content-Type: text/html; charset="us-ascii" RE: Even More out of tune
At 1:12 PM +0000 2/6/04, goddard.duncan@mtvne.com wrote:

i personally am not interested in using non-diatonic-based tunings

Please be aware that "diatonic" has no particular relationship to "tuning."

A diatonic scale is simply a set of seven pitches spanning an octave and corresponding to the white keys on a piano (i.e. a pattern of semitones 2-2-1-2-2-2-1). You can start the scale pattern on any of its notes and you can transpose the scale to any of the 12 chronatic tones. The tuning of the pitches themselves is arbitrary. Therefore you can have diatonic scales in a variety of tunings, though most of the time when people say "diatonic" they imply "twelve-tone equal-tempered" tuning.

--
/|   |\
\ \ / /
< * * >
( o o )
   A
--============_-1136022792==_ma============-- From Loopers-Delight-request@loopers-delight.com Fri Feb 6 19:04:07 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i16NxuB12934; Fri, 6 Feb 2004 18:59:56 -0500 Resent-Date: Fri, 6 Feb 2004 18:59:56 -0500 Old-Return-Path: Message-ID: <20040206235944.28175.qmail@web14208.mail.yahoo.com> Date: Fri, 6 Feb 2004 15:59:44 -0800 (PST) From: Brian Comnes Subject: Re: Loopers-Delight-d Digest V04 #58 To: Loopers-Delight@loopers-delight.com In-Reply-To: <200402062014.i16KE0A25701@hemlock.violacea.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40749 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com regarding portable stands...get down to a camera store and ask to see the slide projector tables, they have removable legs that telescope down and clip on , a carry handle and very adjustable height and enough space to put a bunh of stuff on...the music stand idea is an accident waiting to happen __________________________________ Do you Yahoo!? Yahoo! Finance: Get your refund fast by filing online. http://taxes.yahoo.com/filing.html From Loopers-Delight-request@loopers-delight.com Fri Feb 6 20:10:16 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i1714rE28600; Fri, 6 Feb 2004 20:04:53 -0500 Resent-Date: Fri, 6 Feb 2004 20:04:53 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: (Unverified) Message-Id: In-Reply-To: <002f01c3ecef$613c8180$9715be18@oemcomputer> References: <002f01c3ecef$613c8180$9715be18@oemcomputer> Date: Fri, 6 Feb 2004 16:58:40 -0800 To: Loopers-Delight@loopers-delight.com, Don Makoviney From: asterion@hell.com Subject: Re: Portable waist-high table??? Content-Type: multipart/alternative; boundary="============_-1136006606==_ma============" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40750 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com --============_-1136006606==_ma============ Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Don wrote: > >I need a table, maybe 2'x2' square (a little larger or smaller is >acceptable also) for putting a couple of hand controlled effects >while I stand playing live onstage. > At 3:24 PM -0500 2/6/04, Douglas Baldwin wrote: >Try a waiter/waitresses's bussing table. Hospital utility carts are good. http://directory.google.com/Top/Business/Healthcare/Products_and_Services/Medical_Equipment/Furniture/ If it doesn't need to be collapsible you can get work carts from Rubbermaid: http://www.usplastic.com/catalog/category.asp?catalog%5Fname=USPlastic&category%5Fname=Work+Carts&Page=1 -- /| |\ \ \ / / < * * > ( o o ) A --============_-1136006606==_ma============ Content-Type: text/html; charset="us-ascii" Re: Portable waist-high table???

Don wrote:
>I need a table, maybe 2'x2' square (a little larger or smaller is acceptable also) for putting a couple of hand controlled effects while I stand playing live onstage.
 
At 3:24 PM -0500 2/6/04, Douglas Baldwin wrote:
Try a waiter/waitresses's bussing table.

Hospital utility carts are good.

http://directory.google.com/Top/Business/Healthcare/Products_and_Services/Medical_Equipment/Furniture/

If it doesn't need to be collapsible you can get work carts from Rubbermaid:

http://www.usplastic.com/catalog/category.asp?catalog%5Fname=USPlastic&category%5Fname=Work+Carts&Page=1
--
/|   |\
\ \ / /
< * * >
( o o )
   A
--============_-1136006606==_ma============-- From Loopers-Delight-request@loopers-delight.com Fri Feb 6 20:52:58 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i171nbQ02558; Fri, 6 Feb 2004 20:49:37 -0500 Resent-Date: Fri, 6 Feb 2004 20:49:37 -0500 Old-Return-Path: From: ArsOcarina@aol.com Message-ID: <5f.44b1d016.2d559e24@aol.com> Date: Fri, 6 Feb 2004 20:49:24 EST Subject: OT: FS Lakewood M-32 Acoustic Guitar To: Loopers-Delight@loopers-delight.com MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" X-Mailer: AOL 5.0 for Mac sub 7 Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by hemlock.violacea.com id i171nbc02534 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40751 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Hi there folks, Please pardon the spam. I ordinarily don't do this. However, I just though I'd let the list know that I had my favorite acoustic guitar for sale up on eBay. It pains me greatly to have to sell it but I need to pay some medical bills. It's tough getting old, let me tell you! I almost feel like I'm selling one of my kids. See all of the gory details at: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3702807747&category=2385 I now return control of the information superhighway to you. Best, tEd ® kiLLiAn http://www.pfmentum.com/flux.html http://www.CDbaby.com/cd/tedkillian http://www.guitar9.com/fluxaeterna.html http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=193 From Loopers-Delight-request@loopers-delight.com Fri Feb 6 21:13:40 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i1729JO06995; Fri, 6 Feb 2004 21:09:19 -0500 Resent-Date: Fri, 6 Feb 2004 21:09:19 -0500 Old-Return-Path: Message-ID: <002901c3ed1f$a0c770a0$0affff0a@hppav> From: "David Kirkdorffer" To: References: <002f01c3ecef$613c8180$9715be18@oemcomputer> Subject: Re: Portable waist-high table??? Date: Fri, 6 Feb 2004 21:10:58 -0500 MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0026_01C3ECF5.B77BEA80" X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1158 X-MIMEOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 X-Authentication-Info: Submitted using SMTP AUTH at out001.verizon.net from [68.163.138.101] at Fri, 6 Feb 2004 20:09:17 -0600 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40752 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com This is a multi-part message in MIME format. ------=_NextPart_000_0026_01C3ECF5.B77BEA80 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Keyboard stand, a 2' by 4', and a saw. ----- Original Message -----=20 From: Douglas Baldwin=20 To: Don Makoviney ; Loopers-Delight@loopers-delight.com=20 Sent: Friday, February 06, 2004 3:24 PM Subject: Re: Portable waist-high table??? Don wrote: >I need a table, maybe 2'x2' square (a little larger or smaller is = acceptable also) for putting a couple of hand controlled effects while I = stand playing live onstage.=20 Try a waiter/waitresses's bussing table. Back in the day, I nicked one = from the back of a catering hall, and used it for our PA head. Also a = collapsable tall stool works well. Douglas Baldwin, coyote-at-large coyotelk@optonline.net ------=_NextPart_000_0026_01C3ECF5.B77BEA80 Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable
Keyboard stand, a 2' by 4', and a = saw.
 
----- Original Message -----
From:=20 Douglas=20 Baldwin
To: Don Makoviney ; Loopers-Delight@loope= rs-delight.com=20
Sent: Friday, February 06, 2004 = 3:24=20 PM
Subject: Re: Portable = waist-high=20 table???

Don=20 wrote:
>I need a=20 table, maybe 2'x2' square (a little larger or smaller is acceptable = also) for=20 putting a couple of hand controlled effects while I stand playing live = onstage.
 
Try = a=20 waiter/waitresses's bussing table. Back in the day, I nicked one from = the back=20 of a catering hall, and used it for our PA head. Also a collapsable = tall stool=20 works well.
Douglas = Baldwin,=20 coyote-at-large
coyotelk@optonline.net<= /SPAN>
 
------=_NextPart_000_0026_01C3ECF5.B77BEA80-- From Loopers-Delight-request@loopers-delight.com Fri Feb 6 21:22:37 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i172Ftv08072; Fri, 6 Feb 2004 21:15:55 -0500 Resent-Date: Fri, 6 Feb 2004 21:15:55 -0500 Old-Return-Path: Mime-Version: 1.0 (Apple Message framework v612) In-Reply-To: References: <45E3A7CF573DD411B7C20008C70D394708533FA1@LON-MAIL07> Content-Type: text/plain; charset=US-ASCII; format=flowed Message-Id: <80C003C0-5911-11D8-98DA-000A959D2634@suitandtieguy.com> Content-Transfer-Encoding: 7bit From: James Eric Williamson Subject: Re: Even More out of tune Date: Fri, 6 Feb 2004 20:01:11 -0600 To: Loopers-Delight@loopers-delight.com X-Mailer: Apple Mail (2.612) X-Virus-Scanned: by amavisd-new at grics.net Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40753 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com On Feb 6, 2004, at 2:26 PM, asterion@hell.com wrote: > At 1:12 PM +0000 2/6/04, goddard.duncan@mtvne.com wrote: > > i personally am not interested in using non-diatonic-based tunings > > Please be aware that "diatonic" has no particular relationship to > "tuning." > > A diatonic scale is simply a set of seven pitches spanning an octave > and corresponding to the white keys on a piano (i.e. a pattern of > semitones 2-2-1-2-2-2-1). You can start the scale pattern on any of > its notes and you can transpose the scale to any of the 12 chronatic > tones. The tuning of the pitches themselves is arbitrary. Therefore > you can have diatonic scales in a variety of tunings, though most of > the time when people say "diatonic" they imply "twelve-tone > equal-tempered" tuning. i guess in my original response to someone's response to my response to someone's post, i should have further clarified by qualified "diatonic" with "western diatonic", or "plucked string overtone derived diatonic tuning/harmony systems". both of which imply a equal-tempered, well-tempered, just, pothagoryan, or other (say, Werckmeister) classic European tuning system. i do believe there is a significant amount of _consonant_ musical exploration to be had in non-equal tuning systems. next time i host/play a Robert Rich show i should talk his ear off about _that_. --- Eric Williamson www.suitandtieguy.com From Loopers-Delight-request@loopers-delight.com Sat Feb 7 01:45:01 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i176bC324484; Sat, 7 Feb 2004 01:37:12 -0500 Resent-Date: Sat, 7 Feb 2004 01:37:12 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: (Unverified) Message-Id: Date: Fri, 6 Feb 2004 22:27:45 -0800 To: Loopers-Delight@loopers-delight.com From: asterion@hell.com Subject: Re: Even More out of tune Content-Type: text/plain; charset="us-ascii" ; format="flowed" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40754 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 8:01 PM -0600 2/6/04, James Eric Williamson wrote: >i guess in my original response to someone's response to my response >to someone's post, i should have further clarified... It's hard to infer context when subject lines change and when people quote prior messages without citing the original author. Therefore I responded to duncan's quoting of your message without reading the original (which was in the Slash thread). -- /| |\ \ \ / / < * * > ( o o ) A From Loopers-Delight-request@loopers-delight.com Sat Feb 7 10:16:20 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i17F7v011735; Sat, 7 Feb 2004 10:07:57 -0500 Resent-Date: Sat, 7 Feb 2004 10:07:57 -0500 Old-Return-Path: Message-ID: <20040207150750.21365.qmail@web80208.mail.yahoo.com> Date: Sat, 7 Feb 2004 07:07:50 -0800 (PST) From: "JAMES FOWLER, III" Subject: FS: oberheim efc7 To: loopers-delight@loopers-delight.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40755 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com just bought another edp and i don't need the pedal as i use midi for control. 35 bucks plus shipping and it's yours. -jim From Loopers-Delight-request@loopers-delight.com Sat Feb 7 10:25:42 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i17FDim12649; Sat, 7 Feb 2004 10:13:44 -0500 Resent-Date: Sat, 7 Feb 2004 10:13:44 -0500 Old-Return-Path: Message-ID: <20040207151338.34798.qmail@web80207.mail.yahoo.com> Date: Sat, 7 Feb 2004 07:13:38 -0800 (PST) From: "JAMES FOWLER, III" Subject: Re: oberheim matrix1000 - opinions To: Loopers-Delight@loopers-delight.com In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Resent-Message-ID: <2uqMVC.A.gFD.oCQJAB@hemlock.violacea.com> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40756 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com thanks for the input...you and one other fellow have been pretty enthusiastic about the obi and very not enthusiastic about the emu (or their product line in general)...i really think the obi will serve my moderate synth needs. i think virtual analog is a great idea, but you get what you pay for. a $300 emu will sound decent at best and a $1300 access virus xl will sound stellar. do you know of any differences between the black and white models, aside from year of manufacture? i've read that there are no electrical differences. both have internal transformers, correct? no wall wart? thanks again. -jim From Loopers-Delight-request@loopers-delight.com Sat Feb 7 14:50:45 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i17JhIf25990; Sat, 7 Feb 2004 14:43:18 -0500 Resent-Date: Sat, 7 Feb 2004 14:43:18 -0500 Old-Return-Path: Message-ID: <20040207194311.26515.qmail@web41011.mail.yahoo.com> Date: Sat, 7 Feb 2004 11:43:11 -0800 (PST) From: S V G Subject: RE: Even More out of tune To: Loopers-Delight@loopers-delight.com In-Reply-To: <200402062014.i16KE0A25701@hemlock.violacea.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40757 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com When approaching something as complex and variable as microtonal music, it helps to have a simple place to start from. The EMU line of sound modules does provide good user definable tuning tables IF you know what you're looking for. Kurzweil provides a different kind of tuning table, a bit easier to get around on, though octaves are automatically set to be in tune with each other. Problem with most microtonal ramblings is that it either requires a lot of background knowledge, or a curiosity coupled with naivite. There are thousands of texts available for the former, including a couple of highly disfunctional Yahoo tuning groups. For the latter, I find that a ribbon controller on a Kurzweil keyboard set to "absolute" (meaning that when you set the ribbon to change pitch +/- octave and you touch the far right side, the pitch will immediately jump up an octave) provides a very intuitive "way in" for anyone interested in exploring this world. Subtle microtonal shadings similar to a pitch wheel or more radical searches for meaningful intervals become available. Setting up a drone on one channel while playing with the ribbon on another channel is a very educational and useful place to start. I've mapped out my ribbon controller by marking up a piece of tape to show the various ratios (up to the 11 limit). I get pretty precise control of pitches this way and all I have to do is use some care when touching the ribbon. Kurzweil also makes (or used to make) the same ribbon controller that plugs into a brain that sends MIDI information to anything. Different PC and CC changes can be sent as well as initial entrance and exit values. Additionally, it sends as one long zone or splits into three smaller zones, each zone sending different information. Hooked up with the Repeater, this MIDI info can be applied to pitch, tempo, slip, volume, pan, or any of the MIDI programmable functions. I think it was called the "RibbonMate" or something. I used to have one but got rid of it when I bought a keyboard that had its own ribbon controller. Sounds like it would be great for doing what many people on this list are wanting to do... Stephen Duncan wrote: <<< Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i17KqHH05293; Sat, 7 Feb 2004 15:52:17 -0500 Resent-Date: Sat, 7 Feb 2004 15:52:17 -0500 Old-Return-Path: Mime-Version: 1.0 X-Sender: (Unverified) Message-Id: In-Reply-To: <20040207194311.26515.qmail@web41011.mail.yahoo.com> References: <20040207194311.26515.qmail@web41011.mail.yahoo.com> Date: Sat, 7 Feb 2004 12:50:31 -0800 To: Loopers-Delight@loopers-delight.com From: asterion@hell.com Subject: RE: Even More out of tune Content-Type: text/plain; charset="us-ascii" ; format="flowed" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40758 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 11:43 AM -0800 2/7/04, S V G wrote: >The EMU line of sound modules does provide good user definable >tuning tables IF you know what you're looking for. Kurzweil >provides a different kind of tuning table, a bit easier to get >around on, though octaves are automatically set to be in tune with >each other. Different manufacturers approach tuning in different ways, most of which are limited. Aside from resolution issues are matters of whether an instrument offers full keyboard tuning (each key separately tuneable, not just repeating octave patterns) and whether a full keyboard tuning permits a full range of tuning per key (some instruments restrict the tuning to a small range above and below the nominal pitch of the key). Some Korg instruments seem better than most. Virtual instruments can offer a solution, but often offer their own limitations and frustrations. Absynth 2 seems good. >I find that a ribbon controller on a Kurzweil keyboard set to >"absolute" (meaning that when you set the ribbon to change pitch +/- >octave and you touch the far right side, the pitch will immediately >jump up an octave) provides a very intuitive "way in" Lippold Haken's Continuum Fingerboard is designed for this. Very expensive, though. > Kurzweil (... used to make) the same ribbon controller that >plugs into a brain that sends MIDI information...I think it was >called the "RibbonMate" or something. ExpressionMate. It was discontinued about a year ago. Not easy to find now. -- /| |\ \ \ / / < * * > ( o o ) A From Loopers-Delight-request@loopers-delight.com Sat Feb 7 16:12:50 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i17L6xA08744; Sat, 7 Feb 2004 16:06:59 -0500 Resent-Date: Sat, 7 Feb 2004 16:06:59 -0500 Old-Return-Path: User-Agent: Microsoft-Entourage/10.0.0.1309 Date: Sat, 07 Feb 2004 16:06:57 -0500 Subject: Re: Portable waist-high table??? From: Dan Soltzberg To: Loopers Delight Message-ID: In-Reply-To: <002901c3ed1f$a0c770a0$0affff0a@hppav> Mime-version: 1.0 Content-type: multipart/alternative; boundary="B_3159014817_48035" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40759 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com > This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. --B_3159014817_48035 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Exactly, plus a couple of big alligator-clip type clamps from a hardware store to keep the board and stand together. - dan -- ghost 7 | Orange http://www.envelopeproductions.com on 2/6/04 9:10 PM, David Kirkdorffer at vze2ncsr@verizon.net wrote: > Keyboard stand, a 2' by 4', and a saw. > >> ----- Original Message ----- >> From: Douglas Baldwin >> To: Don Makoviney ; >> Loopers-Delight@loopers-delight.com >> Sent: Friday, February 06, 2004 3:24 PM >> Subject: Re: Portable waist-high table??? >> >> Don wrote: >>> >I need a table, maybe 2'x2' square (a little larger or smaller is >>> acceptable also) for putting a couple of hand controlled effects while I >>> stand playing live onstage. >> >> Try a waiter/waitresses's bussing table. Back in the day, I nicked one from >> the back of a catering hall, and used it for our PA head. Also a collapsable >> tall stool works well. >> Douglas Baldwin, coyote-at-large >> coyotelk@optonline.net >> > --B_3159014817_48035 Content-type: text/html; charset="US-ASCII" Content-transfer-encoding: quoted-printable Re: Portable waist-high table??? Exactly, plus a couple of big alligator-clip type clam= ps from a hardware store to keep the board and stand together.


- dan


--
ghost 7 | Orange
http://www.envelopeproductions.com




on 2/6/04 9:10 PM, David Kirkdorffer at vze2ncsr@verizon.net wrote:

Keyboard stand, a 2' b= y 4', and a saw.
----- Original Message -----
From: Douglas Baldwin <mailto:coyotelk@optonline.net>   To: Don Makoviney <mailto:don.makoviney@asg.com>  ; Loope= rs-Delight@loopers-delight.com
Sent: Friday, February 06, 2004 3:24 PM
Subject: Re: Portable waist-high table???

Don wrote:
>I need a table, maybe 2'x2' square (a little larger or smaller is accep= table also) for putting a couple of hand controlled effects while I stand pl= aying live onstage.

Try a waiter/waitresses's bussing = table. Back in the day, I nicked one from the back of a catering hall, and u= sed it for our PA head. Also a collapsable tall stool works well.
Douglas Baldwin, coyote-at-large
coyotelk@optonline.net


--B_3159014817_48035-- From Loopers-Delight-request@loopers-delight.com Sat Feb 7 16:36:36 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i17LRnO11888; Sat, 7 Feb 2004 16:27:49 -0500 Resent-Date: Sat, 7 Feb 2004 16:27:49 -0500 Old-Return-Path: Message-ID: <4025585D.5090200@biink.com> Date: Sat, 07 Feb 2004 16:27:57 -0500 From: David Beardsley Reply-To: db@biink.com Organization: Biink & SSI User-Agent: Mozilla/5.0 (Windows; U; Windows NT 5.1; en-US; rv:1.5) Gecko/20031007 X-Accept-Language: en-us, en MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: OT: tuning issues (was Re: Even More Slash....) References: <40218E23.5000309@biink.com> <73CF8CE6-5892-11D8-AE57-000A959D2634@suitandtieguy.com> In-Reply-To: <73CF8CE6-5892-11D8-AE57-000A959D2634@suitandtieguy.com> Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40761 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Eric Williamson wrote: > On Feb 4, 2004, at 6:28 PM, David Beardsley wrote: > >> Eric Williamson wrote: >> >>> but yes, one of my favourite realities of music in the year 2004 is >>> that there is truly nothing new, as our musical opportunities are >>> limited by the overtone series of western instruments. >> >> Care to elaborate on that statement? Why limited? > > > ah i forgot about the microtonal aspect, reminded by your sig. > > i really should have clarified that with the word "diatonic" in > between "our" and "musical". > > i feel that diatonic music is limited by the integer-multiple overtone > series. there are only so many ways to string 7 (or 12, if you're into > tone rows and that sort of thing) notes together, and every time i try > to write a melody, i'm reminded of that. > > i personally am not interested in using non-diatonic-based tunings in > my music, because i don't feel that an appropriate enough combination > of interface, instrument, and price point exists yet to make me > interested in it. i'm not a guitarist, i'm a keyboardist. when i think > about Wendy's Alpha scale it makes my head spin. If I understand your comments, I get the impression that you think a microtonal scale has to have more than 12 notes. This is not the case. > an instrument i would really like to see that would get me into > microtuning would be a digital Hammond organ clone where the digital > tonewheels could be tuned to different scales. _That_ would get me > excited. especially if it had a "stretch" knob so i could finally play > an Hammond in proper tune with a piano! > --- > Eric Williamson > www.suitandtieguy.com That would take all the grease out of the organ! -- * David Beardsley * microtonal guitar * http://biink.com/db From Loopers-Delight-request@loopers-delight.com Sat Feb 7 16:40:57 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i17LOJJ11413; Sat, 7 Feb 2004 16:24:19 -0500 Resent-Date: Sat, 7 Feb 2004 16:24:19 -0500 Old-Return-Path: Message-Id: <6.0.1.1.2.20040207132325.051a7008@loopers-delight.com> X-Sender: kflint@loopers-delight.com X-Mailer: QUALCOMM Windows Eudora Version 6.0.1.1 Date: Sat, 07 Feb 2004 13:26:03 -0800 To: Loopers-Delight@loopers-delight.com From: Kim Flint Subject: Re: REAKTOR 2.3 LOOPER PATCH In-Reply-To: <20040206115208.3519.qmail@web25203.mail.ukl.yahoo.com> References: <20040206115208.3519.qmail@web25203.mail.ukl.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40760 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com At 11:42 PM 2/5/2004, DIEGO CASADAMON wrote: >HELLO I AM A GUITARRIST/COMPOSER AND PERFORMER OF LOOP BASED MUSIC.- >I READ VERY OFTEN LOOPERS DELAIGHT WEB PAGE . > NOW I WORK WITH REAKTOR, AND I PROGRAMED A PATCH FOR THIS PROGRAM WICH > IS CAPABLE TO MADE 6 LOOPS OF 20 SECONDS, THE PATCH IS FOR THE VERSION > 2.3 OF REKTOR BUT I WANT TO POST THIS FOR FREE IN THE PAGE FOR ANOTHER > LOOPERS MUSICIANS, IF YOU WAT THIS INSTRUMENT PLEASE LET ME KNOW.- Diego- you can post your reaktor patch in the file library section at Looper's Delight: http://www.loopers-delight.com/files/ Can you tell us what Looping functions your patch has? kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@loopers-delight.com | http://www.loopers-delight.com From Loopers-Delight-request@loopers-delight.com Sat Feb 7 17:18:00 2004 Return-Path: Received: (from looper@localhost) by hemlock.violacea.com (8.11.6/8.11.6) id i17MBVQ19645; Sat, 7 Feb 2004 17:11:31 -0500 Resent-Date: Sat, 7 Feb 2004 17:11:31 -0500 Old-Return-Path: Message-ID: <4025629F.9050106@biink.com> Date: Sat, 07 Feb 2004 17:11:43 -0500 From: David Beardsley Reply-To: db@biink.com Organization: Biink & SSI User-Agent: Mozilla/5.0 (Windows; U; Windows NT 5.1; en-US; rv:1.5) Gecko/20031007 X-Accept-Language: en-us, en MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Re: Even More out of tune References: <20040207194311.26515.qmail@web41011.mail.yahoo.com> In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/40762 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com I'm not getting all of my email messages (isp/virus problem), so I didn't see the other responses. Some comments: asterion@hell.com wrote: > At 11:43 AM -0800 2/7/04, S V G wrote: > >> The EMU line of sound modules does provide good user definable tuning >> tables IF you know what you're looking for. Kurzweil provides a >> different kind of tuning table, a bit easier to get around on, though >> octaves are automatically set to be in tune with each other. > > > Different manufacturers approach tuning in different ways, most of > which are limited. Aside from resolution issues are matters of whether > an instrument offers full keyboard tuning (each key separately > tuneable, not just repeating octave patterns) and whether a full > keyboard tuning permits a full range of tuning per key (some >