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Date: Sat, 30 Jun 2007 21:39:55 -0500
From: "Doug Cox" <uncledig@gmail.com>
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do you like my new car?

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do you like my new car?<br>

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From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 03:00:49 2007
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Date: Sat, 30 Jun 2007 23:00:47 -0400
From: "todd reynolds" <toddreyn@gmail.com>
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Subject: Re: New Pre-Loop/Post-Loop Effect Feature of my MAX Looper
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and it DID... together with the universal access screen zoom, it is totally
seeable.  thanks, Kris.

nice work you've done here.

t.


On 6/30/07, Krispen Hartung <khartung@cableone.net> wrote:
>
>  Here is a bigger version of my system screen capture, in edit mode. This
> should help.
>
> http://www.krispenhartung.com/gear/max-inside-large.gif
>
> Kris
>
>
> ----- Original Message -----
>
>
> I know, I just can't seem to get a decent screen capture of my system,
> without the graphics program on my other computer. I have to rely on the
> windows screen capture function (alt prt screen, saved to tiff, and then
> exported to jpg. It's damn frustrating. I have an idea, though. I'll save
> bigger files behind the web versions, that open up in your entire screen.
>
> Anyway, yes, I keep my gain structure consistent from patch to patch by
> inserting level control in each one, ensuring that each patch activated is
> consistent with the initial input level of the signal chain (right after
> adc~).  It took me a while to fine tune it. Also, the beauty of the system
> is all those patches at the top level are really patches containing the
> poly~ object, and they in turn reference the actual effect patches. Hence,
> when I deactivate the a poly patch, it removes the effect patch it from my
> signal chain and has no drain on CPU. Very slick trick, thanks to Jeff
> Kaiser.
>
> I may eventually revamp my system using matrix and adding the ability to
> put patches in serial or parallel, but it's not a high priority right now. I
> actually like my patches in serial, because I can do some outrageous
> stacking of effects to produce totally monstrous sounds. :)
>
> Kris
>
>
> ----- Original Message -----
> *Sent:* Friday, June 29, 2007 11:02 PM
> *Subject:* Re: New Pre-Loop/Post-Loop Effect Feature of my MAX Looper
>
> totally cool, krispen, but BOY is it hard to see at that resolution.  even
> after downloading and magnifying!
>
> i am particularly interested in seeing how you work your gain
> structure...  all of those effects must mount up. after chaining... but
> probably that's the part i can't see well.
>
> all best,
> todd
>
>
> On 6/29/07, Krispen Hartung <khartung@cableone.net> wrote:
> >
> >  FYI, if you want to see under the hood of my max system, here is the
> > image, with all the objects shown, the wiring, etc.
> > http://www.krispenhartung.com/gear/max-inside.jpg
> >
> > Kris
> >
> >
> >
> >  ------------------------------
> >
> >
> >  I added a really useful and fun component to my MAX/MSP looping rig,
> > and wanted to see if anyone else was doing the same with your systems.
> >
> > Basically, I added some signal re-routing code so that with a click of a
> > button, the sound in my looper's buffer is re-routed back into my effect
> > signal chain, so that I can do post-loop signal processing and
> > manipulation.  For example, let's say I lay down a few loops with some basic
> > effects. I hit the re-route button, set my instrument down, and then I can
> > just sit back and use my effects as instruments to manipulate the loop
> > output, playing with parameters with my MIDI controller pedals, etc.  I can
> > also continue adding loops (effected loops of the original loops), or loop
> > my live voice or instrument at the same time. I also added a section in my
> > rig so that I can add any recorded wav file to my mix with a click of a
> > button.
> >
> > Anyway, I'm having loads of fun with the changes to my system,
> > especially with be able to play wav files. I can record a catalogue of wav
> > files with my uneffected voice or instrument, and then use it a raw content
> > for looping fun on the airplane, hotel room, etc.
> >
> > Here's how the system looks now.
> > http://www.krispenhartung.com/gear/max-map.jpg
> >
> > Kris
> >
> >
> > **************************************************************************
> > Krispen Hartung
> > www.krispenhartung.com / www.myspace.com/krispenhartung
> > info@krispenhartung.com / 1.208.724.5603
> > Discography - http://www.krispenhartung.com/catalogue.htm
> > CD Baby Discography: http://cdbaby.com/all/khartung
> >
> >
>
>
> --
> http://www.toddreynolds.com                    |:
> http://myspace.com/toddreynoldsmusic   |:
> ------------------------------------------------------|:
> 917.576.6166
> todd@toddreynolds.com
> toddreyn@gmail.com
>
>


-- 
http://www.toddreynolds.com                    |:
http://myspace.com/toddreynoldsmusic  |:
------------------------------------------------------|:
917.576.6166
todd@toddreynolds.com
toddreyn@gmail.com

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and it DID... together with the universal access screen zoom, it is totally seeable.&nbsp; thanks, Kris.<br><br>nice work you&#39;ve done here.<br><br>t.<br><br><br><div><span class="gmail_quote">On 6/30/07, <b class="gmail_sendername">
Krispen Hartung</b> &lt;<a href="mailto:khartung@cableone.net">khartung@cableone.net</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">






<div bgcolor="#ffffff">
<div><font face="Arial" size="2">Here is a bigger version of my system screen 
capture, in edit mode. This should help.</font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<div><font face="Arial" size="2"><a href="http://www.krispenhartung.com/gear/max-inside-large.gif" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://www.krispenhartung.com/gear/max-inside-large.gif
</a></font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<div><font face="Arial" size="2">Kris</font></div><div><span class="e" id="q_1137b22974edf961_1">
<div><font face="Arial" size="2"></font>&nbsp;</div>
<blockquote dir="ltr" style="border-left: 2px solid rgb(0, 0, 0); padding-right: 0px; padding-left: 5px; margin-left: 5px; margin-right: 0px;">
  <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none;">----- Original Message ----- </div>
  <div style="background: rgb(228, 228, 228) none repeat scroll 0% 50%; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial; font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none;">
&nbsp;</div>
  <div><br></div>
  <div><font face="Arial" size="2">I know, I just can&#39;t seem to get a decent screen 
  capture of my system, without the graphics program on my other computer. I 
  have to rely on the windows screen capture function (alt prt screen, saved to 
  tiff, and then exported to jpg. It&#39;s damn frustrating. I have an idea, though. 
  I&#39;ll save bigger files behind the web versions, that open up in your entire 
  screen.</font></div>
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  <div><font face="Arial" size="2">Anyway, yes, I keep my gain structure consistent 
  from patch to patch by inserting level control in each one, ensuring that each 
  patch activated is consistent with the initial input level of the signal chain 
  (right after adc~).&nbsp; It took me a while to fine tune it. Also, the beauty 
  of the system is all those patches at the top level are really patches 
  containing the poly~ object, and they in turn reference the actual effect 
  patches. Hence, when I deactivate the a poly patch, it removes the effect 
  patch it from my signal chain and has no drain on CPU. Very slick trick, 
  thanks to Jeff Kaiser. </font></div>
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  <div><font face="Arial" size="2">I may eventually revamp my system using matrix 
  and adding the ability to put patches in serial or parallel, but it&#39;s not a 
  high priority right now. I actually like my patches in serial, because I can 
  do some outrageous stacking of effects to produce totally monstrous sounds. 
  :)</font></div>
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  <div><font face="Arial" size="2">Kris</font></div>
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  <blockquote style="border-left: 2px solid rgb(0, 0, 0); padding-right: 0px; padding-left: 5px; margin-left: 5px; margin-right: 0px;">
    <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none;">----- Original Message ----- </div>
    <div style="background: rgb(228, 228, 228) none repeat scroll 0% 50%; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial; font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none;">
<b>Sent:</b> 
    Friday, June 29, 2007 11:02 PM</div>
    <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none;"><b>Subject:</b> Re: New Pre-Loop/Post-Loop 
    Effect Feature of my MAX Looper</div>
    <div><br></div>totally cool, krispen, but BOY is it hard to see at that 
    resolution.&nbsp; even after downloading and magnifying!<br><br>i am 
    particularly interested in seeing how you work your gain structure...&nbsp; 
    all of those effects must mount up. after chaining... but probably that&#39;s 
    the part i can&#39;t see well. <br><br>all best,<br>todd<br><br><br>
    <div><span class="gmail_quote">On 6/29/07, <b class="gmail_sendername">Krispen 
    Hartung</b> &lt;<a href="mailto:khartung@cableone.net" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">khartung@cableone.net</a>&gt; 
    wrote:</span> 
    <blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
      <div bgcolor="#ffffff">
      <div><font face="Arial" size="2">FYI, if you want to see under the hood of my 
      max system, here is the image, with all the objects shown, the wiring, 
      etc.</font></div>
      <div><font face="Arial" size="2"><a href="http://www.krispenhartung.com/gear/max-inside.jpg" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://www.krispenhartung.com/gear/max-inside.jpg</a>
</font> 
      </div><font face="Arial" size="2">
      <div><br>Kris</div>
      <div></div></font><br>&nbsp;</div>
      <blockquote dir="ltr" style="border-left: 2px solid rgb(0, 0, 0); padding-right: 0px; padding-left: 5px; margin-left: 5px; margin-right: 0px;">
        <div dir="ltr" align="left" lang="en-us">
        <hr>
        <font face="Tahoma" size="2"><br></font><br></div>
        <div><span>
        <div></div>
        <div><font face="Arial" size="2">I added a really useful and fun component 
        to my MAX/MSP looping rig, and wanted to see if anyone else was doing 
        the same with your systems.</font></div><font face="Arial" size="2">
        <div><br>Basically, I added some signal re-routing code so that with a 
        click of a button, the sound in my looper&#39;s buffer is re-routed back 
        into my effect signal chain, so that I can do post-loop signal 
        processing and manipulation.&nbsp; For example, let&#39;s say I lay down a 
        few loops with some basic effects. I hit the re-route button, set my 
        instrument down, and then I can just sit back and use my effects as 
        instruments to manipulate the loop output, playing with parameters with 
        my MIDI controller pedals, etc.&nbsp;&nbsp;I can also continue adding 
        loops (effected loops of the original loops), or loop my live voice or 
        instrument at the same time. I also added a section in my rig so that I 
        can add any recorded wav file to my mix with a click of a button. </div>
        <div>&nbsp;</div>
        <div>Anyway, I&#39;m having loads of fun with the changes to my system, 
        especially with be able to play wav files. I can record a catalogue of 
        wav files with my uneffected voice or instrument, and then use it a raw 
        content for looping fun on the airplane, hotel room, etc. </div>
        <div>&nbsp;</div>
        <div>Here&#39;s how the system looks now.</div>
        <div><a href="http://www.krispenhartung.com/gear/max-map.jpg" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://www.krispenhartung.com/gear/max-map.jpg</a></div></font>
        <div><font face="Arial" size="2"></font><font face="Arial" size="2"></font>&nbsp;</div>
        <div><font face="Arial" size="2">Kris</font></div>
        <div><font face="Arial" size="2"></font>&nbsp;</div>
        <div><font face="Arial" size="2">**************************************************************************<br>Krispen 
        Hartung <br><a href="http://www.krispenhartung.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">www.krispenhartung.com</a> / <a href="http://www.myspace.com/krispenhartung" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">
www.myspace.com/krispenhartung</a><br><a href="mailto:info@krispenhartung.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">info@krispenhartung.com</a> / 1.208.724.5603 
        <br>Discography - <a href="http://www.krispenhartung.com/catalogue.htm" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://www.krispenhartung.com/catalogue.htm</a><br>CD Baby 
        Discography: <a href="http://cdbaby.com/all/khartung" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://cdbaby.com/all/khartung</a> 
        </font></div></span></div></blockquote></blockquote></div><br><br clear="all"><br>-- <br><a href="http://www.toddreynolds.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://www.toddreynolds.com
</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;|:<br><a href="http://myspace.com/toddreynoldsmusic" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://myspace.com/toddreynoldsmusic 
    </a>&nbsp;&nbsp;|:<br>------------------------------------------------------|:<br>917.576.6166&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br><a href="mailto:todd@toddreynolds.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">
todd@toddreynolds.com</a><br><a href="mailto:toddreyn@gmail.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">toddreyn@gmail.com</a> 
</blockquote></blockquote></span></div></div>
</blockquote></div><br><br clear="all"><br>-- <br><a href="http://www.toddreynolds.com">http://www.toddreynolds.com</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;|:<br><a href="http://myspace.com/toddreynoldsmusic">http://myspace.com/toddreynoldsmusic
</a>&nbsp;&nbsp;|:<br>------------------------------------------------------|:<br>917.576.6166&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br><a href="mailto:todd@toddreynolds.com">todd@toddreynolds.com</a><br><a href="mailto:toddreyn@gmail.com">
toddreyn@gmail.com</a>

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From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 05:41:29 2007
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Trust yourself.
Develop a theme.
Focus on execution.
Hang in there.

Regards,

Jim Richmond


On Jun 30, 2007, at 2:55 AM, David Kirkdorffer wrote:

> Hi -
>
> I'm going into studio next weekend to record.  Over the years I've  
> fallen
> into patterns.  I'd like to try something different.
>
> Past efforts can be heard here: http://www.myspace.com/undomusic
>
> And this is a great community for sharing ideas.  What are some  
> concepts or
> strategies you've used to break out of your patterns?
>
> Thanks in advance for your thoughts.
>
> David


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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">Trust yourself.<DIV>Develop a =
theme.</DIV><DIV>Focus on execution.</DIV><DIV>Hang in =
there.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Regards,=A0</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Jim Richmond</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR><DIV><DIV>On Jun 30, =
2007, at 2:55 AM, David Kirkdorffer wrote:</DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite"><P =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><FONT face=3D"Helvetica" =
size=3D"3" style=3D"font: 12.0px Helvetica">Hi -</FONT></P> <P =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica; =
min-height: 14.0px"><BR></P> <P style=3D"margin: 0.0px 0.0px 0.0px =
0.0px"><FONT face=3D"Helvetica" size=3D"3" style=3D"font: 12.0px =
Helvetica">I'm going into studio next weekend to record.<SPAN =
class=3D"Apple-converted-space">=A0 </SPAN>Over the years I've =
fallen</FONT></P> <P style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><FONT =
face=3D"Helvetica" size=3D"3" style=3D"font: 12.0px Helvetica">into =
patterns.<SPAN class=3D"Apple-converted-space">=A0 </SPAN>I'd like to =
try something different.</FONT></P> <P style=3D"margin: 0.0px 0.0px =
0.0px 0.0px; font: 12.0px Helvetica; min-height: 14.0px"><BR></P> <P =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><FONT face=3D"Helvetica" =
size=3D"3" style=3D"font: 12.0px Helvetica">Past efforts can be heard =
here: <A =
href=3D"http://www.myspace.com/undomusic">http://www.myspace.com/undomusic=
</A></FONT></P> <P style=3D"margin: 0.0px 0.0px 0.0px 0.0px; font: =
12.0px Helvetica; min-height: 14.0px"><BR></P> <P style=3D"margin: 0.0px =
0.0px 0.0px 0.0px"><FONT face=3D"Helvetica" size=3D"3" style=3D"font: =
12.0px Helvetica">And this is a great community for sharing ideas.<SPAN =
class=3D"Apple-converted-space">=A0 </SPAN>What are some concepts =
or</FONT></P> <P style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><FONT =
face=3D"Helvetica" size=3D"3" style=3D"font: 12.0px =
Helvetica">strategies you've used to break out of your =
patterns?</FONT></P> <P style=3D"margin: 0.0px 0.0px 0.0px 0.0px; font: =
12.0px Helvetica; min-height: 14.0px"><BR></P> <P style=3D"margin: 0.0px =
0.0px 0.0px 0.0px"><FONT face=3D"Helvetica" size=3D"3" style=3D"font: =
12.0px Helvetica">Thanks in advance for your thoughts.</FONT></P> <P =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica; =
min-height: 14.0px"><BR></P> <P style=3D"margin: 0.0px 0.0px 0.0px =
0.0px"><FONT face=3D"Helvetica" size=3D"3" style=3D"font: 12.0px =
Helvetica">David</FONT></P> </BLOCKQUOTE></DIV><BR></DIV></BODY></HTML>=

--Apple-Mail-1-950338524--

From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 08:07:27 2007
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From: nico spahni <nicosp@gmx.net>
Subject: Re: Studio recording - breaking patterns - ideas?
Date: Sun, 1 Jul 2007 10:07:44 +0200
To: Loopers-Delight@loopers-delight.com
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Hi David

I suggest you use a different tuning, e.g. new standard tuning (see=20
http://en.wikipedia.org/wiki/New_Standard_Tuning). Keep us posted about=20=

the results.

Best regards from Switzerland

Nico

www.recpro.ch
www.myspace.com/nicospahni



Am 01.07.2007 um 07:41 schrieb James Richmond:

> Trust yourself.
> Develop a theme.
> Focus on execution.
> Hang in there.
>
> Regards,=A0
>
> Jim Richmond
>
>
> On Jun 30, 2007, at 2:55 AM, David Kirkdorffer wrote:
>
>> Hi -
>>
>> I'm going into studio next weekend to record. Over the years I've=20
>> fallen
>> into patterns. I'd like to try something different.
>>
>> Past efforts can be heard here: http://www.myspace.com/undomusic
>>
>> And this is a great community for sharing ideas. What are some=20
>> concepts or
>> strategies you've used to break out of your patterns?
>>
>> Thanks in advance for your thoughts.
>>
>> David

From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 10:39:05 2007
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Date: Sun, 01 Jul 2007 11:36:22 +0100
From: Bart Lyons <blyons@belfast.oilfield.slb.com>
Subject: Re: POST YOUR SETUP
In-reply-to: <46601518.5060807@tiscali.co.uk>
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Link to my studio set-up. I know rather untidy. The heart of the 
set-up two Gibson EDP's linked for stereo operation. Until yesterday 
running out sequence (out of time) Thanks to the excellent knowledge 
base on Loopers Delight now working perfectly in time. The EDP's are 
connected to the Mackie LM-32 line mixer on the stereo AUX channel. 
Fender Acoustic Guitar through Yamaha acoustic stomp pedal 
(excellent) - Line DL4 - Line DM4 - Lexicon Vortex - Mackie LM-32 - 
BBE-362 Sonic Maximizer (very best buy ever) - Yamaha Power Amp - HZ 
Speaker Set-up. Also use a Fender Strat currently being fitted with 
Ghost Hex PIck-up system for Midi control through the AXON-100 - Various

This is the live set-up my luck (at my age) I'm only gigging two 
times a month as the studio is in the attic!!!!!

http://www.soundclick.com/pro/view/01/default.cfm?bandID=553007&conten 
t=pictures 

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<html>
<body>
<font size=3>Link to my studio set-up. I know rather untidy. The heart of
the set-up two Gibson EDP's linked for stereo operation. Until yesterday
running out sequence (out of time) Thanks to the excellent knowledge base
on Loopers Delight now working perfectly in time. The EDP's are connected
to the Mackie LM-32 line mixer on the stereo AUX channel. Fender Acoustic
Guitar through Yamaha acoustic stomp pedal (excellent) - Line DL4 - Line
DM4 - Lexicon Vortex - Mackie LM-32 - BBE-362 Sonic Maximizer (very best
buy ever) - Yamaha Power Amp - HZ Speaker Set-up. Also use a Fender Strat
currently being fitted with Ghost Hex PIck-up system for Midi control
through the AXON-100 - Various <br><br>
This is the live set-up my luck (at my age) I'm only gigging two times a
month as the studio is in the attic!!!!! <br><br>
<a href="http://www.soundclick.com/pro/view/01/default.cfm?bandID=553007&amp;content=pictures" eudora="autourl">
http://www.soundclick.com/pro/view/01/default.cfm?bandID=553007&amp;content=pictures</a>
</font></body>
</html>

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From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 11:32:51 2007
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Date: Sun, 1 Jul 2007 12:32:49 +0100 (BST)
From: martin wilson <martinmusic_y2k@yahoo.co.uk>
Subject: Re: POST YOUR SETUP
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Epiphone Les Paul with bare knuckle cold sweat bridge and Wolftone custom wound neck p/up or Mexistrat with bare knuckle apache pick ups or hand built electric 5 string violin, or Tanglewood electro acoustic guitar-Big dots tuner-Dynacomp-crybaby-Metal muff nano-Boss Ds1-Bk Butler tube driver-Russian Big Muff- EH small stone reissue-vintage EH electric mistress-belcat analog delay-behringer digital delay- vintage black label Japan Boss cs2-Behringer EQ-Boss rc2 looper-ISP decimator noise killer- Customised Harley Bentone valve amp(similar to epi valve junior)-spirit fx16 mixer-novation ReMote 25 synth/ interface-Cubase.
  Plus Korg m1, Korg pa 60, emu proteus vintage keys, emu proteus 2000, zoom fx unit, ticket power supply,Tannoy reveal monitors, Samson power amp.

J and C

       
---------------------------------
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<div>Epiphone Les Paul with bare knuckle cold sweat bridge and Wolftone custom wound neck p/up or Mexistrat with bare knuckle apache pick ups or hand built electric 5 string violin, or Tanglewood electro acoustic guitar-Big dots tuner-Dynacomp-crybaby-Metal muff nano-Boss Ds1-Bk Butler tube driver-Russian Big Muff- EH small stone reissue-vintage EH electric mistress-belcat analog delay-behringer digital delay- vintage black label Japan Boss cs2-Behringer EQ-Boss rc2 looper-ISP decimator noise killer- Customised Harley Bentone valve amp(similar to epi valve junior)-spirit fx16 mixer-novation ReMote 25 synth/ interface-Cubase.</div>  <div>Plus Korg m1, Korg pa 60, emu proteus vintage keys, emu proteus 2000, zoom fx unit, ticket power supply,Tannoy reveal monitors, Samson power amp.<BR><BR>J and C</div><p>&#32;
      <hr size=1> 
Yahoo! Answers - Get better answers from someone who knows. <a
href="http://uk.answers.yahoo.com/;_ylc=X3oDMTEydmViNG02BF9TAzIxMTQ3MTcxOTAEc2VjA21haWwEc2xrA3RhZ2xpbmU">Try
it now</a>.
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From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 13:36:28 2007
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Date: Sat, 30 Jun 2007 21:37:06 -0400
From: "David Kirkdorffer" <vze2ncsr@verizon.net>
Subject: Re: Studio recording - breaking patterns - ideas?
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Interesting idea.  I've been using a non-standard tuning since July 1992.
>From low strings: D-A-D-F-B-E.
Returning to E-A-D-G-B-E is looking exciting and new to me.  :-)

----- Original Message ----- 
From: "nico spahni" <nicosp@gmx.net>
To: <Loopers-Delight@loopers-delight.com>
Sent: Sunday, July 01, 2007 4:07 AM
Subject: Re: Studio recording - breaking patterns - ideas?


Hi David

I suggest you use a different tuning, e.g. new standard tuning (see
http://en.wikipedia.org/wiki/New_Standard_Tuning). Keep us posted about
the results.

Best regards from Switzerland

Nico

www.recpro.ch
www.myspace.com/nicospahni



Am 01.07.2007 um 07:41 schrieb James Richmond:

> Trust yourself.
> Develop a theme.
> Focus on execution.
> Hang in there.
>
> Regards,
>
> Jim Richmond
>
>
> On Jun 30, 2007, at 2:55 AM, David Kirkdorffer wrote:
>
>> Hi -
>>
>> I'm going into studio next weekend to record. Over the years I've
>> fallen
>> into patterns. I'd like to try something different.
>>
>> Past efforts can be heard here: http://www.myspace.com/undomusic
>>
>> And this is a great community for sharing ideas. What are some
>> concepts or
>> strategies you've used to break out of your patterns?
>>
>> Thanks in advance for your thoughts.
>>
>> David

From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 13:38:30 2007
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This is wise advice.  Especially as during recording I tend to harbor =
doubts about the validity of my work.=20
  ----- Original Message -----=20
  From: James Richmond=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Sunday, July 01, 2007 1:41 AM
  Subject: Re: Studio recording - breaking patterns - ideas?


  Trust yourself.
  Develop a theme.
  Focus on execution.
  Hang in there.


  Regards,=20


  Jim Richmond




  On Jun 30, 2007, at 2:55 AM, David Kirkdorffer wrote:


    Hi -




    I'm going into studio next weekend to record.  Over the years I've =
fallen

    into patterns.  I'd like to try something different.




    Past efforts can be heard here: http://www.myspace.com/undomusic




    And this is a great community for sharing ideas.  What are some =
concepts or

    strategies you've used to break out of your patterns?




    Thanks in advance for your thoughts.




    David



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<DIV><FONT face=3DArial size=3D2>This is wise advice.&nbsp; Especially =
as during=20
recording I tend to harbor doubts about the validity of my work. =
</FONT></DIV>
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style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dyahoogroups@jamesrichmond.com=20
  href=3D"mailto:yahoogroups@jamesrichmond.com">James Richmond</A> =
</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Sunday, July 01, 2007 =
1:41 AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Studio recording - =
breaking=20
  patterns - ideas?</DIV>
  <DIV><BR></DIV>Trust yourself.
  <DIV>Develop a theme.</DIV>
  <DIV>Focus on execution.</DIV>
  <DIV>Hang in there.</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>Regards,&nbsp;</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>Jim Richmond</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV><BR>
  <DIV>
  <DIV>On Jun 30, 2007, at 2:55 AM, David Kirkdorffer wrote:</DIV><BR=20
  class=3DApple-interchange-newline>
  <BLOCKQUOTE type=3D"cite">
    <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
    size=3D3>Hi -</FONT></P>
    <P style=3D"MIN-HEIGHT: 14px; MARGIN: 0px; FONT: 12px =
Helvetica"><BR></P>
    <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
    size=3D3>I'm going into studio next weekend to record.<SPAN=20
    class=3DApple-converted-space>&nbsp; </SPAN>Over the years I've=20
    fallen</FONT></P>
    <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
    size=3D3>into patterns.<SPAN class=3DApple-converted-space>&nbsp; =
</SPAN>I'd=20
    like to try something different.</FONT></P>
    <P style=3D"MIN-HEIGHT: 14px; MARGIN: 0px; FONT: 12px =
Helvetica"><BR></P>
    <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
    size=3D3>Past efforts can be heard here: <A=20
    =
href=3D"http://www.myspace.com/undomusic">http://www.myspace.com/undomusi=
c</A></FONT></P>
    <P style=3D"MIN-HEIGHT: 14px; MARGIN: 0px; FONT: 12px =
Helvetica"><BR></P>
    <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
    size=3D3>And this is a great community for sharing ideas.<SPAN=20
    class=3DApple-converted-space>&nbsp; </SPAN>What are some concepts=20
    or</FONT></P>
    <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
    size=3D3>strategies you've used to break out of your =
patterns?</FONT></P>
    <P style=3D"MIN-HEIGHT: 14px; MARGIN: 0px; FONT: 12px =
Helvetica"><BR></P>
    <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
    size=3D3>Thanks in advance for your thoughts.</FONT></P>
    <P style=3D"MIN-HEIGHT: 14px; MARGIN: 0px; FONT: 12px =
Helvetica"><BR></P>
    <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
    =
size=3D3>David</FONT></P></BLOCKQUOTE></DIV><BR></DIV></BLOCKQUOTE></BODY=
></HTML>

------=_NextPart_000_000C_01C7BB5F.14CE4C60--

From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 13:38:33 2007
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	id 7E7FF3BF62; Sun,  1 Jul 2007 13:38:33 +0000 (UTC)
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Date: Sun, 01 Jul 2007 15:43:42 +0200
From: Luca Formentini <luca@unguitar.com>
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To: Loopers-Delight@loopers-delight.com
Subject: rocktron all access - silent switching
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Hi dears,
in the never ending hunt for the right pedalboard, it seems I have the 
chance to get a Rocktron All Access for a reasonable price.

I have never touched it pesonally and I need to find someone who owns or 
knows it to have a few informations:
-how are the switches ? I need to know if they are "silent" like the old 
Tc Electronic switches ( which don't "click") or are the typical noisy 
ones. This is a very important thing for me as I am playing more and 
more frequently in acoustic/classic environments, when you can't produce 
any other noise ( or sound ;-)) than what you are actually playing.
-does exist a pc editor for the all access ?
-any issue or anything I should be aware about.

thank you and sorry for the non artistical topic.

my best,
luca
www.unguitar.com


From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 13:43:49 2007
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Date: Sat, 30 Jun 2007 21:44:28 -0400
From: "David Kirkdorffer" <vze2ncsr@verizon.net>
Subject: Re: Studio recording - breaking patterns - ideas?
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------=_NextPart_000_001D_01C7BB5F.D56FA720
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This is wise advice.  Especially as during recording I tend to harbor =
doubts about the validity of my work.=20
    ----- Original Message -----=20
    From: James Richmond=20
    To: Loopers-Delight@loopers-delight.com=20
    Sent: Sunday, July 01, 2007 1:41 AM
    Subject: Re: Studio recording - breaking patterns - ideas?


    Trust yourself.=20
    Develop a theme.
    Focus on execution.
    Hang in there.


    Regards,=20


    Jim Richmond




    On Jun 30, 2007, at 2:55 AM, David Kirkdorffer wrote:


      Hi -




      I'm going into studio next weekend to record.  Over the years I've =
fallen

      into patterns.  I'd like to try something different.




      Past efforts can be heard here: http://www.myspace.com/undomusic




      And this is a great community for sharing ideas.  What are some =
concepts or

      strategies you've used to break out of your patterns?




      Thanks in advance for your thoughts.




      David



------=_NextPart_000_001D_01C7BB5F.D56FA720
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	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1555" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY=20
style=3D"WORD-WRAP: break-word; khtml-nbsp-mode: space; =
khtml-line-break: after-white-space"=20
bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>This is wise advice.&nbsp; Especially =
as during=20
recording I tend to harbor doubts about the validity of my work. =
</FONT></DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <BLOCKQUOTE dir=3Dltr=20
  style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
    <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
    <DIV=20
    style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
    <A title=3Dyahoogroups@jamesrichmond.com=20
    href=3D"mailto:yahoogroups@jamesrichmond.com">James Richmond</A> =
</DIV>
    <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
    title=3DLoopers-Delight@loopers-delight.com=20
    =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
    </DIV>
    <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Sunday, July 01, 2007 =
1:41=20
    AM</DIV>
    <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Studio recording =
-=20
    breaking patterns - ideas?</DIV>
    <DIV><BR></DIV>Trust yourself.=20
    <DIV>Develop a theme.</DIV>
    <DIV>Focus on execution.</DIV>
    <DIV>Hang in there.</DIV>
    <DIV><BR class=3Dkhtml-block-placeholder></DIV>
    <DIV>Regards,&nbsp;</DIV>
    <DIV><BR class=3Dkhtml-block-placeholder></DIV>
    <DIV>Jim Richmond</DIV>
    <DIV><BR class=3Dkhtml-block-placeholder></DIV>
    <DIV><BR>
    <DIV>
    <DIV>On Jun 30, 2007, at 2:55 AM, David Kirkdorffer wrote:</DIV><BR=20
    class=3DApple-interchange-newline>
    <BLOCKQUOTE type=3D"cite">
      <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
      size=3D3>Hi -</FONT></P>
      <P style=3D"MIN-HEIGHT: 14px; MARGIN: 0px; FONT: 12px =
Helvetica"><BR></P>
      <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
      size=3D3>I'm going into studio next weekend to record.<SPAN=20
      class=3DApple-converted-space>&nbsp; </SPAN>Over the years I've=20
      fallen</FONT></P>
      <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
      size=3D3>into patterns.<SPAN class=3DApple-converted-space>&nbsp; =
</SPAN>I'd=20
      like to try something different.</FONT></P>
      <P style=3D"MIN-HEIGHT: 14px; MARGIN: 0px; FONT: 12px =
Helvetica"><BR></P>
      <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
      size=3D3>Past efforts can be heard here: <A=20
      =
href=3D"http://www.myspace.com/undomusic">http://www.myspace.com/undomusi=
c</A></FONT></P>
      <P style=3D"MIN-HEIGHT: 14px; MARGIN: 0px; FONT: 12px =
Helvetica"><BR></P>
      <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
      size=3D3>And this is a great community for sharing ideas.<SPAN=20
      class=3DApple-converted-space>&nbsp; </SPAN>What are some concepts =

      or</FONT></P>
      <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
      size=3D3>strategies you've used to break out of your =
patterns?</FONT></P>
      <P style=3D"MIN-HEIGHT: 14px; MARGIN: 0px; FONT: 12px =
Helvetica"><BR></P>
      <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
      size=3D3>Thanks in advance for your thoughts.</FONT></P>
      <P style=3D"MIN-HEIGHT: 14px; MARGIN: 0px; FONT: 12px =
Helvetica"><BR></P>
      <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
      =
size=3D3>David</FONT></P></BLOCKQUOTE></DIV><BR></DIV></BLOCKQUOTE></BLOC=
KQUOTE></BODY></HTML>

------=_NextPart_000_001D_01C7BB5F.D56FA720--

From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 13:52:22 2007
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Date: Sun, 01 Jul 2007 09:42:32 -0500
From: John McIntyre <mcintyre@pa.msu.edu>
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To: Loopers-Delight@loopers-delight.com
Subject: Re: POST YOUR SETUP
References: <ACE4DC52-4D85-4C19-82C9-ABF97B9D5D70@gmail.com> <46601518.5060807@tiscali.co.uk> <7.0.1.0.2.20070701110410.03c453a0@belfast.oilfield.slb.com>
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How many of us have just one setup?

At one point in my history, the live rig consisted of packing up the 
studio and carting it to the performance site.  That was painful as it 
usually cost a few days on either end to dismantle and then restore the 
studio.

So we tried to separate the live rig from the studio rig.  Yeah, that 
did lead to some duplication, but my yard sale mentality helped there: 
don't pay more than you did for the first instance, but if another shows 
up cheaper, grab it.  I paid $450 for my first Arp Odyessy and $175 for 
my fourth.  (Anyone want to sell me my fifth? (-8)

But now I find myself in three different bands, each of which calls for 
a different setup.  In fact, one band called for three different setups 
for our last three gigs as we played a basement punk rock gig, an art 
gallery opening, and a silent film soundtrack.

So, I guess my question is: how many of us have the luxury of only one 
setup?

John McIntyre
mcintyre@pa.msu.edu

From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 15:02:14 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: POST YOUR SETUP
Date: Sun, 1 Jul 2007 17:02:10 +0200
To: Loopers-Delight@loopers-delight.com
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(Sorry for long post. I left out the details to keep it down)

I have no fancy studio pix, since I'm trying to keep a small portable  
set-up. The recording gear is normally set up in the room were I live  
and work. It's based around an Apple G5 computer with an RME  
Multiface audio interface. I have four Genelec 8030A and a sub  
woofer. Only using all speakers when doing surround mixes. I  
sometimes pack two of the Genlecs in a trunk to use in the field for  
recording, performing, teaching or working as a producer coach.

I recently sold some of my hardware, now getting more into combining  
both studio production and playing out as a live looping artist in  
portable laptop set-ups (five years ago I was using EDP, Repeater +  
mixer etc etc in a gigantic rack but thank god we're moving on...).  
Anyway, although I'm always experimenting with different set-ups I  
mainly use three laptop systems for live-looping.

One is a Windows XP PC running Mobius VST under Bidule. This machine  
uses a RME FireFace400. Three physical inputs are used, each one  
trimmed to match the signal level for the instruments I play: Tenor  
sax, Alto Traverse Flute, Akai EWI 4000s, Stratocaster with floating  
whammy bar and Fretless Telecaster with Sustainiac Model C mechanic/ 
acoustic feedback system. The Bidule setup has 16 alternative effect  
chains that I play through PRE looper. This is my primary acoustic  
input looping setup. A schematic can be studied here:
http://www.looproom.com/bilder/bidule2007ff400.JPG
When playing live concerts I bring out one stereo output through a  
NiceNoice compressor box and into the PA. For studio recording I pipe  
four ADAT stereo channels into Logic Pro, carrying my live instrument  
input and the separated Mobius tracks (I rarely use more than three  
tracks when looping in Mobius, so it's quite sufficient).

Another acoustic input looping system I use is based on the AU plug- 
in Augustus Loop and runs on a Apple Powerbook with either the RME  
FF400 or a Echo AudioFire2 interface. It has two loopers and can do  
most trick I also manage with the EDP and Mobius. But since Augustus  
Looper is a tape delay simulator by heart it doesn't have the same  
tightness as the other two loopes. But that's not all bad if you ask  
me :-) I do more wobbly music with this looping setup and it also  
sounds differently because I only use Live's built-in effects for  
sound shaping. This rig can be studied on two screenshots:
http://www.looproom.com/bilder/AugustusLoop_Live1.png
http://www.looproom.com/bilder/AugustusLoop_Live2.png
If you read the headlines on the Master Track to the right you get a  
fair picture of the functions I have implemented so far. The clips in  
the chart are MIDI files or MIDI loops that control the loopers and I  
trig each horizontal row ("scene") from pedals while playing.

My third setup is for MIDI input (i.e. playing the EWI only) and runs  
on two laptops. The Mobius PC as looper and a MIDI Clock synced  
Powerbook with Logic Pro as the softsynth/sampler and effect rig. 100  
different patches to call up from the EWI by MIDI Program Change,  
each patch utilizing one software instrument and loads of effects. A  
reverb and filtered delay system globally applied as Aux effect  
sends. My live audio from the Mac is piped digitally by SPDIF into  
the looper PC. In Logic I have set up all kind of dynamic "MIDI plug- 
ins" that I can play trhough (or not):  chord harmonizer for any key,  
arpeggiators etc. Also using different global micro tonal tunings for  
the software instruments. Screenshot of the Logic screen here:
http://www.looproom.com/bilder/LogicPro_MIDI_slave.png

Some live recorded sounding examples of the different looping setups:
---> Real-time, live:
Two laptop MIDI EWI looping: http://www.looproom.com/audio/mistwood.mp3
Mobius PC Bidule fretless guitar looping: http://www.looproom.com/ 
audio/b.mp3
---> Studio, ADAT multi channel pipe:
Mobius PC Bidule analog EWI looping: http://www.looproom.com/audio/ 
wip/glitch01wip2k7.mp3

Oh, I almost forgot that I have a fourth looping setup on the Mac  
based on Augustus Loop in AU host Numerology. This is drawing on the  
same technique as the Ableton setup - triggering sequences of MIDI  
control data for the loopers - but since Numerology is such a open  
system of inter modulating step sequence modular system the music  
that comes out of this looping tends to be somewhat more bizarre.  
Audio except:
http://www.looproom.com/audio/Numerology_Augustus_Looping2.mp3
Not using this setup at the moment while waiting for Numerology 2.0  
to be released. With ReWire support it will then be a funny looping  
system to run in sync with other applications.

Eh... just an old clip from playing Echoplex, Stratocater and drumloop:
http://www.looproom.com/audio/edp_strat_01.mp3
This crazy Substitute technique is something I still have not found a  
working software platform for doing. Mobius is closest by now. Maybe  
it would work on Mobius, but I just have not felt motivated to dig  
that deep into old directions...

I also think MetaSynth is a good tool for creating funny post prod  
stuff, but I have not used it for a while because I'm getting drawn  
more into real-time processing as part of the improvisational playing.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 15:14:45 2007
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Date: Sun, 1 Jul 2007 11:14:42 -0400
From: "Todd Pafford" <calenlas@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Studio recording - breaking patterns - ideas?
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David,

An idea along the same veins is to write music without a guitar in
your hands.  If' you've got a little training in reading/writing music
on paper, great, do that.  If not, write a tune or two vocally.  Sing,
whistle, or hum something and build it up that way.  Once you've got
something that sounds appealing, figure out how to play what you were
just singing and go from there.

Another idea is to pick a time signature or rhythm you wouldn't
normally use and see what happens when you try to build a song around
it.

May Apollo (Greek god of music, inspiration, and such) smile upon you.
Todd


On 7/1/07, nico spahni <nicosp@gmx.net> wrote:
> Hi David
>
> I suggest you use a different tuning, e.g. new standard tuning (see
> http://en.wikipedia.org/wiki/New_Standard_Tuning). Keep us posted about
> the results.
>
> Best regards from Switzerland
>
> Nico
>
> www.recpro.ch
> www.myspace.com/nicospahni
>
>
>
> Am 01.07.2007 um 07:41 schrieb James Richmond:
>
> > Trust yourself.
> > Develop a theme.
> > Focus on execution.
> > Hang in there.
> >
> > Regards,
> >
> > Jim Richmond
> >
> >
> > On Jun 30, 2007, at 2:55 AM, David Kirkdorffer wrote:
> >
> >> Hi -
> >>
> >> I'm going into studio next weekend to record. Over the years I've
> >> fallen
> >> into patterns. I'd like to try something different.
> >>
> >> Past efforts can be heard here: http://www.myspace.com/undomusic
> >>
> >> And this is a great community for sharing ideas. What are some
> >> concepts or
> >> strategies you've used to break out of your patterns?
> >>
> >> Thanks in advance for your thoughts.
> >>
> >> David
>
>

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Date: Sun, 1 Jul 2007 08:58:02 -0700
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: rocktron all access - silent switching
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Typical noisy is my recollection.

TH

On 7/1/07, Luca Formentini <luca@unguitar.com> wrote:

> -how are the switches ? I need to know if they are "silent" like the old
> Tc Electronic switches ( which don't "click") or are the typical noisy
> ones. This is a very important thing for me as I am playing more and
> more frequently in acoustic/classic environments, when you can't produce
> any other noise ( or sound ;-)) than what you are actually playing.
>

From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 16:27:01 2007
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Subject: Re: POST YOUR SETUP
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--Apple-Mail-8-989067135
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Nice Marley poster.   :-)

-Rev. Fever

On Jul 1, 2007, at 3:36 AM, Bart Lyons wrote:

> Link to my studio set-up. I know rather untidy.

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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">Nice Marley poster.=A0 =
=A0:-)<DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>-Rev. =
Fever<DIV><BR><DIV><DIV>On Jul 1, 2007, at 3:36 AM, Bart Lyons =
wrote:</DIV><BR class=3D"Apple-interchange-newline"><BLOCKQUOTE =
type=3D"cite"> <FONT size=3D"3">Link to my studio set-up. I know rather =
untidy.=A0</FONT></BLOCKQUOTE></DIV></DIV></DIV></BODY></HTML>=

--Apple-Mail-8-989067135--

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Sigh, I cannot remember who it was, but someone in an interview I once 
read said he would take an existing tune, write new lyrics to it, and 
then write a new tune that would fit the new lyrics.

John McIntyre
mcintyre@pa.msu.edu

From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 18:00:38 2007
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One of the best ways to create new inspiration whether studio or just a
rut, I learned from Mick Goodrick's Advancing Guitarist book several years
ago.

The idea was to record yourself for 2 minutes playing anything that comes
into your head.  Don't listen back to it, then and from his example he
suggested doing this daily but I've applied to say a 30 minute setting,
record another 2 minute passage, again don't listen to it then.  He
suggested over the daily lifespan of a 60 min cassette tape filling both
sides with 2 minute sequences.  Then when it's filled up go back and listen
to it through.  In the current day of digital capturing as mentioned I do
this for 30-minute periods of time.

That gesturing of momentary thoughts once rescued me from a depressed low
confidence place I fell into several years ago following a misunderstanding
(my ego) with a teacher.

I'm doing this now with a violin I received for Father's Day which is a new
instrument to me and at the learning the technique stage.

Think of the 2-minute gesture recording kind of like something Robin
Williamson (INcredible String Band) once said, 'it's like knaive painting'.

Now go hit Record David and don't think about it.

Best

Jim Goodin
www.jimgoodinmusic.com
www.chinapaintingmusic.com
www.myspace.com/jimgoodinmusic
www.myspace.com/chinapaintingmusic



On 6/30/07, David Kirkdorffer <vze2ncsr@verizon.net> wrote:
>
> Hi -
>
> I'm going into studio next weekend to record.  Over the years I've fallen
> into patterns.  I'd like to try something different.
>
> Past efforts can be heard here: http://www.myspace.com/undomusic
>
> And this is a great community for sharing ideas.  What are some concepts
> or
> strategies you've used to break out of your patterns?
>
> Thanks in advance for your thoughts.
>
> David
>
>


-- 
The Acoustic World Guitar of Jim Goodin  - http://www.jimgoodinmusic.com
MySpace (solo) - http://www.myspace.com/jimgoodinmusic
Chinapainting -
http://www.chinapaintingmusic.com
Chinapainting on My Space -
http://www.myspace.com/chinapaintingmusic.com
The Jim Goodin label and home for 7 other creative souls -
http://www.woodandwiremusic.com
Jim Goodin uses GHS Strings - http://www.ghsstrings.com and Seagull Guitars
- http://www.seagullguitars.com, Jim Goodin is published by Mel Bay
Publications, Inc. - http://www.melbay.com

Associates and friends on the web -
Daryl Shawn -
http://www.swanwelder.com
Adam Werner - http://www.adamwerner.com
John Stowell - http://www.johnstowell.com
Matt Richards - http://www.mattrichardsmusic.net
Michael Manring - http://www.manthing.com
Will Ackerman - http://www.williamackerman.com
New Land Music - http://www.newlandmusic.com

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<div>One of the best ways to create new inspiration whether studio or just a rut,&nbsp;I learned from Mick Goodrick&#39;s Advancing Guitarist book several years ago.</div>
<div>&nbsp;</div>
<div>The idea was to record yourself for 2 minutes playing anything that comes into your head.&nbsp; Don&#39;t listen back to it, then and from his example he suggested doing this daily but I&#39;ve applied to say a 30 minute setting, record another 2 minute passage, again don&#39;t listen to it then.&nbsp;&nbsp;He suggested over the daily lifespan of a 60 min cassette tape filling both sides with 2 minute sequences.&nbsp; Then when it&#39;s filled up go back and listen to it through.&nbsp; In the current day of digital capturing as mentioned I do this for 30-minute periods of time.
</div>
<div>&nbsp;</div>
<div>That gesturing of momentary thoughts once rescued me from a depressed low confidence place I fell into several years ago following a misunderstanding (my ego) with a teacher.</div>
<div>&nbsp;</div>
<div>I&#39;m doing this now with a violin I received for Father&#39;s Day which is a new instrument to me and at the learning the technique stage.</div>
<div>&nbsp;</div>
<div>Think of the 2-minute gesture recording kind of like something Robin Williamson (INcredible String Band) once said, &#39;it&#39;s like knaive painting&#39;.</div>
<div>&nbsp;</div>
<div>Now go hit Record David and don&#39;t think about it.</div>
<div>&nbsp;</div>
<div>Best</div>
<div>&nbsp;</div>
<div>Jim Goodin</div>
<div><a href="http://www.jimgoodinmusic.com">www.jimgoodinmusic.com</a></div>
<div><a href="http://www.chinapaintingmusic.com">www.chinapaintingmusic.com</a></div>
<div><a href="http://www.myspace.com/jimgoodinmusic">www.myspace.com/jimgoodinmusic</a></div>
<div><a href="http://www.myspace.com/chinapaintingmusic">www.myspace.com/chinapaintingmusic</a></div>
<div><br><br>&nbsp;</div>
<div><span class="gmail_quote">On 6/30/07, <b class="gmail_sendername">David Kirkdorffer</b> &lt;<a href="mailto:vze2ncsr@verizon.net">vze2ncsr@verizon.net</a>&gt; wrote:</span>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">Hi -<br><br>I&#39;m going into studio next weekend to record.&nbsp;&nbsp;Over the years I&#39;ve fallen<br>into patterns.&nbsp;&nbsp;I&#39;d like to try something different.
<br><br>Past efforts can be heard here: <a href="http://www.myspace.com/undomusic">http://www.myspace.com/undomusic</a><br><br>And this is a great community for sharing ideas.&nbsp;&nbsp;What are some concepts or<br>strategies you&#39;ve used to break out of your patterns?
<br><br>Thanks in advance for your thoughts.<br><br>David<br><br></blockquote></div><br><br clear="all"><br>-- <br>The Acoustic World Guitar of Jim Goodin&nbsp;&nbsp;- <a href="http://www.jimgoodinmusic.com">http://www.jimgoodinmusic.com
</a><br>MySpace (solo) - <a href="http://www.myspace.com/jimgoodinmusic">http://www.myspace.com/jimgoodinmusic</a><br>Chinapainting -<br><a href="http://www.chinapaintingmusic.com">http://www.chinapaintingmusic.com</a><br>
Chinapainting on My Space -<br><a href="http://www.myspace.com/chinapaintingmusic.com">http://www.myspace.com/chinapaintingmusic.com</a><br>The Jim Goodin label and home for 7 other creative souls - <a href="http://www.woodandwiremusic.com">
http://www.woodandwiremusic.com</a> <br>Jim Goodin uses GHS Strings - <a href="http://www.ghsstrings.com">http://www.ghsstrings.com</a> and Seagull Guitars - <a href="http://www.seagullguitars.com">http://www.seagullguitars.com
</a>, Jim Goodin is published by Mel Bay Publications, Inc. - <a href="http://www.melbay.com">http://www.melbay.com</a><br><br>Associates and friends on the web -<br>Daryl Shawn -<br><a href="http://www.swanwelder.com">http://www.swanwelder.com
</a><br>Adam Werner - <a href="http://www.adamwerner.com">http://www.adamwerner.com</a><br>John Stowell - <a href="http://www.johnstowell.com">http://www.johnstowell.com</a><br>Matt Richards - <a href="http://www.mattrichardsmusic.net">
http://www.mattrichardsmusic.net</a><br>Michael Manring - <a href="http://www.manthing.com">http://www.manthing.com</a><br>Will Ackerman - <a href="http://www.williamackerman.com">http://www.williamackerman.com</a><br>New Land Music - 
<a href="http://www.newlandmusic.com">http://www.newlandmusic.com</a> 

------=_Part_76418_8646989.1183312835262--

From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 18:20:39 2007
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  Make up story, tell it with sound.

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From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 18:47:03 2007
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I think it's a really great idea to write a melody by singing instead of 
one's primary instrument. A related approach is to write parts  on 
instruments other than the ones they'll be played on,good way to get out of 
what I call motor habits, ie familiar fingerings ,box patterns etc. I got a 
great bassline by playing an african bell pattern on a pennywhistle ,taking 
that line down a few octaves,and making some big holes in it.

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From Loopers-Delight-request@loopers-delight.com  Sun Jul  1 20:25:29 2007
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Date: Sun, 1 Jul 2007 13:25:26 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: Re: Studio recording - breaking patterns - ideas?
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howdy,

 What I'll do is turn every thing i usually use off,
and turn everything I don't use on. I'm talking about
echo, reverb, compression, distortion, etc. You get
the picture. it forces you out fo your comfort zone
and send you off in a different direction.
Rig


--- Jim Goodin <jimgoodinmusic@gmail.com> wrote:

> One of the best ways to create new inspiration
> whether studio or just a
> rut, I learned from Mick Goodrick's Advancing
> Guitarist book several years
> ago.
> 
> The idea was to record yourself for 2 minutes
> playing anything that comes
> into your head.  Don't listen back to it, then and
> from his example he
> suggested doing this daily but I've applied to say a
> 30 minute setting,
> record another 2 minute passage, again don't listen
> to it then.  He
> suggested over the daily lifespan of a 60 min
> cassette tape filling both
> sides with 2 minute sequences.  Then when it's
> filled up go back and listen
> to it through.  In the current day of digital
> capturing as mentioned I do
> this for 30-minute periods of time.
> 
> That gesturing of momentary thoughts once rescued me
> from a depressed low
> confidence place I fell into several years ago
> following a misunderstanding
> (my ego) with a teacher.
> 
> I'm doing this now with a violin I received for
> Father's Day which is a new
> instrument to me and at the learning the technique
> stage.
> 
> Think of the 2-minute gesture recording kind of like
> something Robin
> Williamson (INcredible String Band) once said, 'it's
> like knaive painting'.
> 
> Now go hit Record David and don't think about it.
> 
> Best
> 
> Jim Goodin
> www.jimgoodinmusic.com
> www.chinapaintingmusic.com
> www.myspace.com/jimgoodinmusic
> www.myspace.com/chinapaintingmusic
> 
> 
> 
> On 6/30/07, David Kirkdorffer <vze2ncsr@verizon.net>
> wrote:
> >
> > Hi -
> >
> > I'm going into studio next weekend to record. 
> Over the years I've fallen
> > into patterns.  I'd like to try something
> different.
> >
> > Past efforts can be heard here:
> http://www.myspace.com/undomusic
> >
> > And this is a great community for sharing ideas. 
> What are some concepts
> > or
> > strategies you've used to break out of your
> patterns?
> >
> > Thanks in advance for your thoughts.
> >
> > David
> >
> >
> 
> 
> -- 
> The Acoustic World Guitar of Jim Goodin  -
> http://www.jimgoodinmusic.com
> MySpace (solo) -
> http://www.myspace.com/jimgoodinmusic
> Chinapainting -
> http://www.chinapaintingmusic.com
> Chinapainting on My Space -
> http://www.myspace.com/chinapaintingmusic.com
> The Jim Goodin label and home for 7 other creative
> souls -
> http://www.woodandwiremusic.com
> Jim Goodin uses GHS Strings -
> http://www.ghsstrings.com and Seagull Guitars
> - http://www.seagullguitars.com, Jim Goodin is
> published by Mel Bay
> Publications, Inc. - http://www.melbay.com
> 
> Associates and friends on the web -
> Daryl Shawn -
> http://www.swanwelder.com
> Adam Werner - http://www.adamwerner.com
> John Stowell - http://www.johnstowell.com
> Matt Richards - http://www.mattrichardsmusic.net
> Michael Manring - http://www.manthing.com
> Will Ackerman - http://www.williamackerman.com
> New Land Music - http://www.newlandmusic.com
> 



       
____________________________________________________________________________________
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that gives answers, not web links. 
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From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 00:10:07 2007
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From: "Matthew F. McCabe" <mmccabe@finleysound.com>
Subject: Re: rocktron all access - silent switching
Date: Sun, 1 Jul 2007 17:10:03 -0700
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The switches make a resounding "click" when pressed.

---
King Never
www.kingnever.com


On Jul 1, 2007, at 6:43 AM, Luca Formentini wrote:

> Hi dears,
> in the never ending hunt for the right pedalboard, it seems I have  
> the chance to get a Rocktron All Access for a reasonable price.
>
> I have never touched it pesonally and I need to find someone who  
> owns or knows it to have a few informations:
> -how are the switches ? I need to know if they are "silent" like  
> the old Tc Electronic switches ( which don't "click") or are the  
> typical noisy ones. This is a very important thing for me as I am  
> playing more and more frequently in acoustic/classic environments,  
> when you can't produce any other noise ( or sound ;-)) than what  
> you are actually playing.
> -does exist a pc editor for the all access ?
> -any issue or anything I should be aware about.
>
> thank you and sorry for the non artistical topic.
>
> my best,
> luca
> www.unguitar.com
>
>
>

From member@ebay.com  Mon Jul  2 00:17:02 2007
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From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 02:58:39 2007
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To: Loopers-Delight@loopers-delight.com
From: Paul Mimlitsch <pmimlitsch@mac.com>
Subject: rc50 looping on youtube
Date: Sun, 1 Jul 2007 20:58:35 -0600
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maybe already mentioned:

http://www.youtube.com/watch?v=QFyFp7QCItc&mode=related&search=


got there from here:

http://www.youtube.com/watch?v=YiI2UsgDGd4&mode=related&search=

From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 05:19:12 2007
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From: Zoe Keating <cello@zoekeating.com>
Subject: Re: Zoe Keating/Loop!station show
Date: Sun, 1 Jul 2007 22:19:10 -0700
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Thanks for the review Daryl!

One of my Repeaters gets "jammed" sometimes. It's like the software  
freezes, the LCD just says "Not Ready" and you can't record, stop,  
erase...do anything. Only solution is to kill the power for the  
machine. It's happened for a couple of years that one...

Irritating, but I try to work it in where possible!



On Jun 27, 2007, at 8:14 AM, Daryl Shawn wrote:

> I saw Zoe Keating and Loop!Station on Saturday night in San  
> Francisco. I unfortunately missed the other performers who were  
> part of this all-cello evening (dubbed "Mondo Cello"), though I  
> understand they were more conventional bands using cello as an  
> instrument in addition to guitars and drums.
>
> Loop!station is a duo, cello and vocals, made of Sam Bass (who I  
> knew from the interesting cello/violin/drum trio Deadweight) and  
> Robin Coomer (who I knew from the really really loud rock band  
> Birdsaw). They had a bunch of different Loopstations (natch)  
> between them, plus at least one DL4. Sam's silver-painted (or could  
> it have been metal??) cello did a very nice job of setting up  
> varied textures, with his loopers, which are definitely used as an  
> accompaniment with his live playing being the main focus. My  
> girlfriend actually didn't even realize he was looping until he  
> started doing some percussion stuff. Robin would do some looping  
> also, as well as some generated harmonies. She has an ASTOUNDING  
> voice.
>
> They definitely play "songs" with "parts", which I suppose the  
> Loopstation pedals are pretty good for. It was somewhat amusing  
> watching them share patch-switching duties; if one was occupied  
> doing something involved, the other would take care of the  
> switches. Though they definitely had a lot to deal with technology- 
> wise, it never got tedious to watch, and the focus was really on  
> the cello and voice in the performance, just with a lot of foot- 
> tapping going on. I really enjoyed their set, very passionate as  
> well as interesting musically.
>
> Zoe came out last of the evening with her cello, a couple of  
> Repeaters in a rack with a laptop perched on top, and a single  
> floor controller (FCB1010, I think). She was the only solo  
> performer of the evening, but was immediately arresting with her  
> amazing tone (those low, bowed fourths and fifths are like the  
> voice of a god!) and slowly building compositions. There were some  
> technical problems (laptop crashes I believe), which ironically  
> didn't happen until she introduced one piece by describing that it  
> came about while dealing with a technical problem on tour. But she  
> handled it well and the problems didn't detract from the music. I  
> found it mesmerizing, really really beautiful stuff, and never even  
> thought about all the technology happening (well, until the  
> crashes). The audience seemed totally captivated too, and  
> definitely weren't a crowd of music geeks.
>
> It was interesting in that these were looping performances that  
> weren't built from improvisation, and moreover, involved the  
> performance of very specific pieces built from very specific loops,  
> as opposed to the seemingly more frequent improv-based looping.
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>
>
>

From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 06:38:09 2007
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Oh man, 16-track analog loops are gonna be amazing!!! Be sure to let us 
in on the mayhem.

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.com

> I think I'll cut some loops for that
> beast and get some 16 track madness going on. Probably
> make several loops that last 1, 2, 3, and 4minutes.
> Load em in the machine and see what mayhem results.
> Using the 4 digital delays and the re-201 to make
> looping within looping ought to be a fun time. THANX
> for the tips.
> Rig

From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 07:34:32 2007
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I did four Texas dates with my band a few years ago...though in San 
Antonio I played the worst gig of my life (at an unforgettable "venue" 
called Tacoland), and Houston was a little weird, I had a great time in 
Austin and El Paso, and I'd love to travel there again. Honest! It's 
just so freakin' BIG and in the middle of the country that any tour 
which includes it as well as any of the coast cities turns into a 
serious roadshow venture. I do want to get there soon, though, 
especially Austin.

I had a Shiner Bock tonight...cheers on ya!

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.com


> No Texas dates?
>
> Nobody ever plays Texas... [wanders off mubling with head hung low]
>
> --Josh

From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 13:02:21 2007
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Date: Mon, 02 Jul 2007 09:00:58 -0400
From: Bill Fox <billyfox@soundscapes.us>
Subject: Galactic Travels Playlist #535 for June 28, 2007
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Galactic Travels Playlist #535 for June 28, 2007

Galactic Travels is an electronic, ambient, and space music show, that
airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and Bethlehem,
PA, 93.9 FM in Easton, PA and Phillipsburg, NJ, 93.7 FM in Fogelsville
and Trexlertown, and webcasting on the internet.  WDIY also broadcasts
in Digital HD at 88.1 FM.

                Show #535                June 28, 2007

RECAP:
On this show, I started a month-long focus on Robert Rich.  The
Featured CD at Midnight was "Electric Ladder" on Soundscape Records.

Robert Rich: http://wdiy.org/programs/gt/playlists/2007/focus.html#jun


PLAYLIST:

11:04 pm
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Frank Klare          Digitalic One        Digitalic (Groove)
Robert Rich          Elemental Trigger -- Stalker (Fathom)
Robert Rich          Synergistic          Stalker (Fathom)
                       Perceptions --
Robert Rich          Interview June 23, 2007.
Gert Emmens and      Journey              Journey (EH)
  Ruud Heij
Klaus Schulze        Foreplay             Blackdance (Revisited)
Jim Cole and         Arches/Far Journeys  Innertones (Spectral Spiral)
  Spectral Voices

12:00 am
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Robert Rich          Electric Ladder      Electric Ladder (Soundscape)
Robert Rich          Shadowline           Electric Ladder (Soundscape)
Robert Rich          Poppy Fields         Electric Ladder (Soundscape)
Robert Rich          Sky Tunnel           Electric Ladder (Soundscape)
Robert Rich          Concentric           Electric Ladder (Soundscape)
Robert Rich          Aquifer              Electric Ladder (Soundscape)
Robert Rich          Never Alone          Electric Ladder (Soundscape)

1:00 am

 * = excerpt
VA = Various Artists (compilation)
++ = Advance CDR from Artist
-- = Background music under interview


NEXT SHOW:
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Jim Cole and Spectral Voices:
http://wdiy.org/programs/gt/playlists/2007/focus.html#jul

Bill
=======================================================================
Host of Galactic Travels, an electronic, ambient, and space music
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From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 13:09:28 2007
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Date: Mon, 2 Jul 2007 14:09:26 +0100 (BST)
From: Stuart Masters <stuartamasters@yahoo.co.uk>
Subject: Boss RC50 loopstation
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Hi, probably a stupid quesition but does anyone have experience with the Boss RC50? I've been thinking of getting one for a while now but I can't work out how independent your inputs can be when using it as a live looper. 

If you're putting a guitar and a mic through it and you're looping the guitar, does it have to pick up whatever is coming through the mic (if there was crowd noise, for example...)? Presumably that way you'd lose a lot of sound quality. Equally, I wouldn't want to have to mute the mic when looping guitar in case I wanted to sing over the top of the loop afterwards (or add percussion via the mic). 

I'm confused. I'm thinking that the only solution, if you want to be able to control mic and guitar loops independently, is to have two separate units... but then you can't sync your live loops. If anyone can tell me otherwise, I'll go and buy the thing right now. I've gone cross-eyed just trying to work this thing out!
   
  Otherwise, I'll stick to Jamman for mic/vocals and RC20xl for guitar.
   
  Thanks!

 		
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<DIV id=post_message_22957432>Hi, probably a stupid quesition but does anyone have experience with the Boss RC50? I've been thinking of getting one for a while now but I can't work out how independent your inputs can be when using it as a live looper. <BR><BR>If you're putting a guitar and a mic through it and you're looping the guitar, does it have to pick up whatever is coming through the mic (if there was crowd noise, for example...)? Presumably that way you'd lose a lot of sound quality. Equally, I wouldn't want to have to mute the mic when looping guitar in case I wanted to sing over the top of the loop afterwards (or add percussion via the mic). <BR><BR>I'm confused. I'm thinking that the only solution, if you want to be able to control mic and guitar loops independently, is to have two separate units... but then you can't sync your live loops. If anyone can tell me otherwise, I'll go and buy the thing right now. I've gone cross-eyed just trying to work this thing
 out!</DIV>  <DIV>&nbsp;</DIV>  <DIV>Otherwise, I'll stick to Jamman for mic/vocals and RC20xl for guitar.</DIV>  <DIV>&nbsp;</DIV>  <DIV>Thanks!</DIV><!-- / message --><p>&#32;
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From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 13:57:51 2007
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At 2:09 PM +0100 7/2/07, Stuart Masters wrote:
>Hi, probably a stupid quesition but does anyone have experience with 
>the Boss RC50? I've been thinking of getting one for a while now but 
>I can't work out how independent your inputs can be when using it as 
>a live looper.
>
>If you're putting a guitar and a mic through it and you're looping 
>the guitar, does it have to pick up whatever is coming through the 
>mic (if there was crowd noise, for example...)? Presumably that way 
>you'd lose a lot of sound quality. Equally, I wouldn't want to have 
>to mute the mic when looping guitar in case I wanted to sing over 
>the top of the loop afterwards (or add percussion via the mic).

How about a microphone with an on/off switch?




-- 

David Gans - david@trufun.com or david@gdhour.com
Truth and Fun, Inc., 484 Lake Park Ave. #102, Oakland CA 94610-2730
Blog:  http://logblog.gdhour.com
Web site: http://www.dgans.com

From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 14:20:56 2007
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From: Stuart Masters <stuartamasters@yahoo.co.uk>
Subject: Re: Boss RC50 loopstation
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Yeah, could do I suppose! 

David Gans <david@trufun.com> wrote:  At 2:09 PM +0100 7/2/07, Stuart Masters wrote:
>Hi, probably a stupid quesition but does anyone have experience with 
>the Boss RC50? I've been thinking of getting one for a while now but 
>I can't work out how independent your inputs can be when using it as 
>a live looper.
>
>If you're putting a guitar and a mic through it and you're looping 
>the guitar, does it have to pick up whatever is coming through the 
>mic (if there was crowd noise, for example...)? Presumably that way 
>you'd lose a lot of sound quality. Equally, I wouldn't want to have 
>to mute the mic when looping guitar in case I wanted to sing over 
>the top of the loop afterwards (or add percussion via the mic).

How about a microphone with an on/off switch?




-- 

David Gans - david@trufun.com or david@gdhour.com
Truth and Fun, Inc., 484 Lake Park Ave. #102, Oakland CA 94610-2730
Blog: http://logblog.gdhour.com
Web site: http://www.dgans.com



       
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Yeah, could do I suppose! <BR><BR><B><I>David Gans &lt;david@trufun.com&gt;</I></B> wrote:  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">At 2:09 PM +0100 7/2/07, Stuart Masters wrote:<BR>&gt;Hi, probably a stupid quesition but does anyone have experience with <BR>&gt;the Boss RC50? I've been thinking of getting one for a while now but <BR>&gt;I can't work out how independent your inputs can be when using it as <BR>&gt;a live looper.<BR>&gt;<BR>&gt;If you're putting a guitar and a mic through it and you're looping <BR>&gt;the guitar, does it have to pick up whatever is coming through the <BR>&gt;mic (if there was crowd noise, for example...)? Presumably that way <BR>&gt;you'd lose a lot of sound quality. Equally, I wouldn't want to have <BR>&gt;to mute the mic when looping guitar in case I wanted to sing over <BR>&gt;the top of the loop afterwards (or add percussion via the mic).<BR><BR>How about a microphone with an
 on/off switch?<BR><BR><BR><BR><BR>-- <BR><BR>David Gans - david@trufun.com or david@gdhour.com<BR>Truth and Fun, Inc., 484 Lake Park Ave. #102, Oakland CA 94610-2730<BR>Blog: http://logblog.gdhour.com<BR>Web site: http://www.dgans.com<BR><BR></BLOCKQUOTE><BR><p>&#32;


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If you want to selectivly send mic or guitar signals, put the rc50 into an effect loop in a mixer. Turn up the send to the RC50 from the mic whenever you need it. Be sure the loop out is set to sub. Works great. 
-------------- Original message -------------- 
From: Stuart Masters <stuartamasters@yahoo.co.uk> 
Yeah, could do I suppose! 

David Gans <david@trufun.com> wrote: 
At 2:09 PM +0100 7/2/07, Stuart Masters wrote:
>Hi, probably a stupid quesition but does anyone have experience with 
>the Boss RC50? I've been thinking of getting one for a while now but 
>I can't work out how independent your inputs can be when using it as 
>a live looper.
>
>If you're putting a guitar and a mic through it and you're looping 
>the guitar, does it have to pick up whatever is coming through the 
>mic (if there was crowd noise, for example...)? Presumably that way 
>you'd lose a lot of sound quality. Equally, I wouldn't want to have 
>to mute the mic when looping guitar in case I wanted to sing over 
>the top of the loop afterwards (or add percussion via the mic).

How about a microphone with an on/off switch?




-- 

David Gans - david@trufun.com or david@gdhour.com
Truth and Fun, Inc., 484 Lake Park Ave. #102, Oakland CA 94610-2730
Blog: http://logblog.gdhour.com
Web site: http://www.dgans.com






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<html><body>
<DIV>&nbsp;</DIV>
<DIV>If you want to selectivly send mic or guitar signals, put the rc50 into an effect loop in a mixer. Turn up the send to the RC50 from the mic whenever you need it. Be sure the loop out is set to sub. Works great. </DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">-------------- Original message -------------- <BR>From: Stuart Masters &lt;stuartamasters@yahoo.co.uk&gt; <BR>Yeah, could do I suppose! <BR><BR><B><I>David Gans &lt;david@trufun.com&gt;</I></B> wrote: 
<BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">At 2:09 PM +0100 7/2/07, Stuart Masters wrote:<BR>&gt;Hi, probably a stupid quesition but does anyone have experience with <BR>&gt;the Boss RC50? I've been thinking of getting one for a while now but <BR>&gt;I can't work out how independent your inputs can be when using it as <BR>&gt;a live looper.<BR>&gt;<BR>&gt;If you're putting a guitar and a mic through it and you're looping <BR>&gt;the guitar, does it have to pick up whatever is coming through the <BR>&gt;mic (if there was crowd noise, for example...)? Presumably that way <BR>&gt;you'd lose a lot of sound quality. Equally, I wouldn't want to have <BR>&gt;to mute the mic when looping guitar in case I wanted to sing over <BR>&gt;the top of the loop afterwards (or add percussion via the mic).<BR><BR>How about a microphone with an on/off switch?<BR><BR><BR><BR><BR>-- <BR><BR>David Gans - david@trufun.com or david@gdhour.com<BR>Trut
h and Fun, Inc., 484 Lake Park Ave. #102, Oakland CA 94610-2730<BR>Blog: http://logblog.gdhour.com<BR>Web site: http://www.dgans.com<BR><BR></BLOCKQUOTE><BR>
<P>
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From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 14:48:56 2007
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Anybody had any experience with this percussion doodad? I toyed with an 
HPD-15 in the store when they first came out and was not terribly impressed, 
but I am looking for something like that now. Any comments appreciated.

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From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 16:05:46 2007
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On Jul 1, 2007, at 10:14 AM, Todd Pafford wrote:

> write a tune or two vocally.  Sing,
> whistle, or hum something and build it up that way.  Once you've got
> something that sounds appealing, figure out how to play what you were
> just singing and go from there.
>
> Another idea is to pick a time signature or rhythm you wouldn't
> normally use and see what happens when you try to build a song around
> it.

Some of my favorite things I've written evolved using a combination  
of these two techniques.  I would walk around campus in college  
humming a groove to myself, and then I would mess it up by imposing  
odd time signatures (usually changing every measure or two) onto my  
groove.  I would then take that home, figure it out on keys or  
guitar, and build a song around the groove.  Very satisfying.

Thanks!  I needed to be reminded to think this way.

--Josh
--Apple-Mail-9--1073289719
Content-Transfer-Encoding: quoted-printable
Content-Type: text/html;
	charset=ISO-8859-1

<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; "><div><div>On Jul 1, 2007, at =
10:14 AM, Todd Pafford wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><p =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><font face=3D"Helvetica" =
size=3D"3" style=3D"font: 12.0px Helvetica">write a tune or two =
vocally.<span class=3D"Apple-converted-space">=A0 =
</span>Sing,</font></p> <p style=3D"margin: 0.0px 0.0px 0.0px =
0.0px"><font face=3D"Helvetica" size=3D"3" style=3D"font: 12.0px =
Helvetica">whistle, or hum something and build it up that way.<span =
class=3D"Apple-converted-space">=A0 </span>Once you've got</font></p> <p =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><font face=3D"Helvetica" =
size=3D"3" style=3D"font: 12.0px Helvetica">something that sounds =
appealing, figure out how to play what you were</font></p> <p =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><font face=3D"Helvetica" =
size=3D"3" style=3D"font: 12.0px Helvetica">just singing and go from =
there.</font></p> <p style=3D"margin: 0.0px 0.0px 0.0px 0.0px; font: =
12.0px Helvetica; min-height: 14.0px"><br></p> <p style=3D"margin: 0.0px =
0.0px 0.0px 0.0px"><font face=3D"Helvetica" size=3D"3" style=3D"font: =
12.0px Helvetica">Another idea is to pick a time signature or rhythm you =
wouldn't</font></p> <p style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><font =
face=3D"Helvetica" size=3D"3" style=3D"font: 12.0px Helvetica">normally =
use and see what happens when you try to build a song around</font></p> =
<p style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><font face=3D"Helvetica" =
size=3D"3" style=3D"font: 12.0px Helvetica">it.</font></p> =
</blockquote></div><br><div>Some of my favorite things I've written =
evolved using a combination of these two techniques. =A0I would walk =
around campus in college humming a groove to myself, and then I would =
mess it up by imposing odd time signatures (usually changing every =
measure or two) onto my groove. =A0I would then take that home, figure =
it out on keys or guitar, and build a song around the groove. =A0Very =
satisfying.</div><div><br =
class=3D"webkit-block-placeholder"></div><div>Thanks! =A0I needed to be =
reminded to think this way.</div><div><br =
class=3D"webkit-block-placeholder"></div><div>--Josh</div></body></html>=

--Apple-Mail-9--1073289719--

From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 16:19:10 2007
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Ahh, Shiner Bock!  I have a good friend who was just stationed (USAF)  
in California.  He sent me a text message hours after arriving to let  
me know he had found Shiner Bock for sale in his new town and he now  
felt life would be bearable.  Ha!

Yes, Austin is an amazing city.  Dallas also has some great small  
venues with great atmosphere.

Texas is huge, but I would definitely make the drive to any of these  
large cities to catch the musicians on this list.

--Josh


On Jul 2, 2007, at 12:34 AM, Daryl Shawn wrote:

> I did four Texas dates with my band a few years ago...though in San  
> Antonio I played the worst gig of my life (at an unforgettable  
> "venue" called Tacoland), and Houston was a little weird, I had a  
> great time in Austin and El Paso, and I'd love to travel there  
> again. Honest! It's just so freakin' BIG and in the middle of the  
> country that any tour which includes it as well as any of the coast  
> cities turns into a serious roadshow venture. I do want to get  
> there soon, though, especially Austin.
>
> I had a Shiner Bock tonight...cheers on ya!
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>
>
>> No Texas dates?
>>
>> Nobody ever plays Texas... [wanders off mubling with head hung low]
>>
>> --Josh
>
>
>

From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 16:43:56 2007
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Date: Mon, 02 Jul 2007 12:42:12 -0400
From: Bill Fox <billyfox@soundscapes.us>
Subject: Galactic Travels Monthly Top 20 Report for June, 2007
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http://wdiy.org/programs/gt/playlists/2007/top20jun.html

WDIY 88.1 FM "Galactic Travels" Top 20 for June, 2007.
Shows #533 to #535; 7-June-2007 to 28-June-2007
Reported in non-ranked, alphanumeric order.
Compiled by Bill Fox
website: http://galactictravels.info
RSS News Feed: http://wdiy.org/programs/gt/rss/enews.xml
Podcasts: http://wdiy.org/programs/gt/rss/podcasts.xml


ARTIST - ALBUM TITLE - LABEL
===========================================================
Andy Haas - Humanitarian War - Resonant
Broekhuis, Keller, and Schonwalder - Orange - Manikin
Frank Klare - Digitalic - Groove
Fulton/Reaves Project - The Range - Hypnos/Binary
Gert Emmens and Ruud Heij - Journey - EH
Jim Cole and Spectral Voices - Innertones - Spectral Spiral
Klaus Schulze - Ballett 3 - Revisited
Klaus Schulze - Blackdance - Revisited
Klaus Schulze - Kontinuum - Synthetic Symphony
Manitou - All Points North - Slobor
Michael Peck - Glacial - Gears of Sand
Oenyaw - A Whole Day Off - none
Robert Rich - Atlas Dei - Soundscape
Robert Rich - Calling Down the Sky - Soundscape
Robert Rich - Echo of Small Things - Soundscape
Robert Rich - Electric Ladder - Soundscape
Robert Rich and Ian Boddy - Lithosphere - DiN
Simon Matthews - Tales of Ten Worlds - none
Various Artists - Midnight Soul Dive - AlephZero
Wahnfried - Trance Appeal - Revisited

Bill
=======================================================================
Host of Galactic Travels, an electronic, ambient, and space music
show, Thursdays at 11:04 pm EDT (GMT-4:00) on WDIY 88.1 FM in Allentown
and Bethlehem, 93.9 FM in Easton and Phillipsburg, and on 93.7 FM in
Trexlertown and Fogelsville.  WDIY also broadcasts in HD Digital Radio
on 88.1 FM.
Galactic Travels web site - http://wdiy.org/programs/gt
RSS News Feed: http://wdiy.org/programs/gt/rss/enews.xml
Podcasts: http://wdiy.org/programs/gt/rss/gt.xml
Listen on-line to WDIY at http://wdiy.org and click on the LISTEN link
or go directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm
To subscribe to the galactic-travels mailing list, click on [Join This
Group!] at http://groups.yahoo.com/group/galactic-travels
Playlists are also published at http://billfox.blogspot.com
RSS (2.0) feed from http://billfox.blogspot.com/rss.xml
Atom (0.3) feed from http://billfox.blogspot.com/atom.xml

From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 20:24:49 2007
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> and making some big holes in it.

I like this approach !

From Loopers-Delight-request@loopers-delight.com  Mon Jul  2 23:36:18 2007
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Subject: Record Industry Decline
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Interesting article:





http://www.rollingstone.com/news/story/15137581/the_record_industrys_decline/print 




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Interesting article:<br>
<br>


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<div><FONT face=Arial size=2><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"><A href="http://www.rollingstone.com/news/story/15137581/the_record_industrys_decline/print" target=_blank rel=nofollow><SPAN id=lw_1183418763_0 style="BACKGROUND: none transparent scroll repeat 0% 0%">http://www.rollingstone.com/news/story/15137581/the_record_industrys_decline/print</SPAN></A></SPAN></FONT> </div>
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From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 01:50:05 2007
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Hi,
Yes I own one.  Its fun.  Not a replacement for real drums, but the sounds
are quite good, as good or better than HPD-15. one of these days, I'd like
to use it to trigger some midi events in Max.  But that's kind of on the
back burner for me

-Qua 

-----Original Message-----
From: jj 179 [mailto:jj179subs@hotmail.com] 
Sent: Monday, July 02, 2007 7:48 AM
To: Loopers-Delight@loopers-delight.com
Subject: OT: Roland HPD-10

Anybody had any experience with this percussion doodad? I toyed with an
HPD-15 in the store when they first came out and was not terribly impressed,
but I am looking for something like that now. Any comments appreciated.

_________________________________________________________________
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Date: Mon, 2 Jul 2007 18:52:34 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: Laptops -dedicated to music only?
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question:A lot of the new laptops are being now
offered with Win Vista,but some also with XP as an
option, would you buy with vista and replace it with
an xp version and update later to the vista one when
everything works?
Luis

--- Jon Southwood <jsouthwood@gmail.com> wrote:

> That shouldn't be a problem unless you're running
> Parallels while
> simultaneously trying to run the music stuff on the
> OS X side. If you
> normally have Parallels start when you log in, your
> best bet would probably
> be to have two users setup, one that launched
> Parallels at startup for your
> general/non-music stuff and a second user that would
> launch without
> Parallels. Then, Parallels isn't stealing resources
> when you want to do
> audio/music stuff. Of course, it might not even take
> all of that. You might
> just be able to quit Parallels and free up all the
> resources back to OS X.
> (I would hope so, but I'm not sure if Parallels
> leaves any background
> processes running when you quit.)
> 
> Cheers,
> 
> Jon Southwood
> 
> On 6/27/07, Qua Veda <qua@oregon.com> wrote:
> >
> > Hi,
> > This is what I expected,  I just thought I'd check
> to see.
> > I've been using a MacBookPro running WindowsXP in
> Parallels as part of a
> > pilot program at work. It occurred to me that if I
> bought my own
> > MacBookPro,
> > perhaps personal stuff could be run in
> Windows(Parallels), and music stuff
> > on the MacOS.    But I think there would be a
> problem with memory
> > allocation
> > etc so that you'd end up with neither OS taking
> full advantage of the
> > hardware.
> >
> > -Qua
> >
> >
> >
> > -----Original Message-----
> > From: Krispen Hartung
> [mailto:khartung@cableone.net]
> > Sent: Wednesday, June 27, 2007 9:40 AM
> > To: Loopers-Delight@loopers-delight.com
> > Subject: Re: Laptops -dedicated to music only?
> >
> > Mine is music performance only as well, with the
> exception of accessing
> > the
> > internet for software updates and a few key
> forums, like max/msp, etc. I
> > don't change anything with the settings, so my
> virus checkers, etc, are
> > all
> > intact.
> >
> > I did, however, optimize my configuration for
> music applications, it's on
> > Sweetwater's website and thier PC optimization
> guide.
> >
> >
>
http://www.sweetwater.com/sweetcare/ts/detail.php?Index=30058
> >
> > Kris
> >
> >
> > ----- Original Message -----
> > From: "Qua Veda" <qua@oregon.com>
> > To: <Loopers-Delight@loopers-delight.com>
> > Sent: Wednesday, June 27, 2007 10:17 AM
> > Subject: Laptops -dedicated to music only?
> >
> >
> > > Question for those of you who use laptops.
> > > Do you dedicate/optimize the laptop for use with
> music/audio/video only?
> > > (i.e. ,  no email, finances, other personal apps
> that you might use on a
> > > personal computer)
> > >
> > > -Qua
> > >
> > >
> >
> >
> >
> >
> 


www.myspace.com/luisangulocom


 
____________________________________________________________________________________
We won't tell. Get more on shows you hate to love 
(and love to hate): Yahoo! TV's Guilty Pleasures list.
http://tv.yahoo.com/collections/265 

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 04:06:55 2007
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From: James Richmond <yahoogroups@jamesrichmond.com>
Subject: Re: Studio recording - breaking patterns - ideas?
Date: Tue, 3 Jul 2007 00:06:49 -0400
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On Jun 30, 2007, at 9:39 PM, David Kirkdorffer wrote:

> This is wise advice.  Especially as during recording I tend to  
> harbor doubts about the validity of my work.

I have several "workstations" in my studio and home and have a bunch  
of oblique strategies.

The main control room has the big console, HD rig and all the outboard.
It demands a certain approach- the more conventional one.

I also have two different computers with controller keyboards each  
running different software.
I don't sync them with the HD rig- just use them for sound design.

In my live room I have a dedicated looping guitar rig and a 2 track  
recorder (actually a computer).
In  the living room I have my powerbook, Live, Max/MSP and a large  
collection of sample material (movies).
There are old computers- Atari, C64 and Amiga each running various  
bits of software in my spare room.
They are fun to go to when all else fails- the C64 particularly as I  
have to code in hex and assembly.
It takes ages to do anything so I have to choose carefully.

Several keyboards- usually the ones with sequencers- are kept off the  
network- using closed systems helps me to think differently.

I've put up a few PZM boundary  mics in the control room and the live  
room that I have permanently connected to some older TL Audio tube  
channels- I'm always flipping phase and doing silly things with them.

There is a send to a small speaker mounted in my antique upright  
piano in the room upstairs with a mic positioned on the bass end of  
the piano strings that I can send audio to and then 'reamp' via the  
piano.
It isn't always good but it is never boring.

Last week I mic'ed up the back of the air conditioner and keyed that  
to the kick drum to great effect.
How is that for "industrial"?

Jim
--Apple-Mail-7--1030020568
Content-Transfer-Encoding: quoted-printable
Content-Type: text/html;
	charset=ISO-8859-1

<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; "><DIV><DIV>On Jun 30, 2007, at =
9:39 PM, David Kirkdorffer wrote:</DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite"><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Sathu; =
font-size: 14px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><FONT face=3D"Arial" =
size=3D"2"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 11px; ">This is wise advice.=A0 Especially as during =
recording I tend to harbor doubts about the validity of my =
work.</SPAN></FONT></SPAN></BLOCKQUOTE></DIV><BR><DIV>I have several =
"workstations" in my studio and home and have a bunch of oblique =
strategies.</DIV><DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>The=
 main control room has the big console, HD rig and all the =
outboard.</DIV><DIV>It demands a certain approach- the more conventional =
one.</DIV><DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>I also =
have two different computers with controller keyboards each running =
different software.</DIV><DIV>I don't sync them with the HD rig- just =
use them for sound design.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>In my live room I have a =
dedicated looping guitar rig and a 2 track recorder (actually a =
computer).</DIV><DIV>In=A0 the living room I have my powerbook, Live, =
Max/MSP and a large collection of sample material =
(movies).</DIV><DIV>There are old computers- Atari, C64 and Amiga each =
running various bits of software in my spare room.</DIV><DIV>They are =
fun to go to when all else fails- the C64 particularly as I have to code =
in hex and assembly.</DIV><DIV>It takes ages to do anything so I have to =
choose carefully.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Several keyboards- usually =
the ones with sequencers- are kept off the network- using closed systems =
helps me to think differently.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>I've put up a few PZM =
boundary=A0 mics in the control room and the live room that I have =
permanently connected to some older TL Audio tube channels- I'm always =
flipping phase and doing silly things with them.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>There is a send to a small =
speaker mounted in my antique upright piano in the room upstairs with a =
mic positioned on the bass end of the piano strings that I can send =
audio to and then 'reamp' via the piano.</DIV><DIV>It isn't always good =
but it is never boring.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Last week I mic'ed up the =
back of the air conditioner and keyed that to the kick drum to great =
effect.</DIV><DIV>How is that for "industrial"?</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Jim</DIV></BODY></HTML>=

--Apple-Mail-7--1030020568--

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 04:26:34 2007
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Subject: Handsonic
Date: Mon, 02 Jul 2007 21:26:28 -0700
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   Hpd-10's spozed to have new sound banks,but the functions are limited.I 
think the 15 is better . Forget using  hand drum technique on it.The 
techique is more ,like bad typing ,kind of punching with an extended 
finger.Doesn't play anything like any hand drum, I know of. This might be 
appealing to nonpercussionists,but could further the dangersous and 
altogether too common belief that percussion instruments dont; require 
technique  or knowledge.It does do mute/open things and attack sensitivity. 
It's definately possible to get some very nice stuff out of it. Some of the 
samples sound good. I 've never been willing to pay 9 bills for a hpd15 ad I 
wouldn't pay 5 for the 10 ,but I would pay 5 for a used 15,it would be 
useful for sure.Esp for these  SF burningmantribe gigs with massive 
subwoofers and no monitors

_________________________________________________________________
http://liveearth.msn.com

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 04:34:48 2007
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From: Richard Sales <richard@glasswing.com>
Subject: Re: Record Industry Decline
Date: Mon, 2 Jul 2007 21:34:43 -0700
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--Apple-Mail-7--1028346646
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Yeah... GREAT article. Now, are you or are you related to Dan Ryman in  
Marin?

richard sales
glassWing farm and studio
vancouver island, b.c.
800.545.6846
250.752.4816
www.glassWing.com
www.richardsales.com
www.hayleysales.com
www.blueberryfieldsfarm.com
On 2-Jul-07, at 4:36 PM, ryman1960@aol.com wrote:

> Interesting article:
>
> http://www.rollingstone.com/news/story/15137581/ 
> the_record_industrys_decline/print
>  AOL now offers free email to everyone. Find out more about what's  
> free from AOL at AOL.com.

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Yeah... GREAT article. Now, are <italic>you</italic> or are you
related to Dan Ryman in Marin? 


<fontfamily><param>Gadget</param>richard sales

<color><param>7373,7F7F,C5C5</param>glassWing farm and studio</color>

vancouver island, b.c.

800.545.6846

250.752.4816<color><param>C3C3,9696,1C1C</param>

www.glassWing.com

www.richardsales.com

www.hayleysales.com

www.blueberryfieldsfarm.com</color></fontfamily>

On 2-Jul-07, at 4:36 PM, ryman1960@aol.com wrote:


<excerpt>Interesting article:


<fontfamily><param>Arial</param><color><param>0000,0000,EEEE</param><x-tad-bigger>http://www.rollingstone.com/news/story/15137581/the_record_industrys_decline/print</x-tad-bigger></color></fontfamily> 

 AOL now offers free email to everyone. Find out more about what's
free from AOL at
<bold><color><param>0000,0000,EEEE</param>AOL.com</color></bold>.

</excerpt>
--Apple-Mail-7--1028346646--

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 08:06:53 2007
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To: <Loopers-Delight@loopers-delight.com>
References: <470293.11275.qm@web38603.mail.mud.yahoo.com>
Subject: Re: Laptops -dedicated to music only?
Date: Tue, 3 Jul 2007 10:06:41 +0200
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Vista ?
...when everything works , surely !
A frien of mine, who works with computers, told me that there a lot of bugs, 
or missing drivers.
It's like Bill Gates puts on the market a new product, letting "test" it by 
the customers....

fabio
www.eterogeneo.com



----- Original Message ----- 
From: "L.A. Angulo" <labaloops@yahoo.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Tuesday, July 03, 2007 3:52 AM
Subject: Re: Laptops -dedicated to music only?


> question:A lot of the new laptops are being now
> offered with Win Vista,but some also with XP as an
> option, would you buy with vista and replace it with
> an xp version and update later to the vista one when
> everything works?
> Luis
>
> --- Jon Southwood <jsouthwood@gmail.com> wrote:
>
>> That shouldn't be a problem unless you're running
>> Parallels while
>> simultaneously trying to run the music stuff on the
>> OS X side. If you
>> normally have Parallels start when you log in, your
>> best bet would probably
>> be to have two users setup, one that launched
>> Parallels at startup for your
>> general/non-music stuff and a second user that would
>> launch without
>> Parallels. Then, Parallels isn't stealing resources
>> when you want to do
>> audio/music stuff. Of course, it might not even take
>> all of that. You might
>> just be able to quit Parallels and free up all the
>> resources back to OS X.
>> (I would hope so, but I'm not sure if Parallels
>> leaves any background
>> processes running when you quit.)
>>
>> Cheers,
>>
>> Jon Southwood
>>
>> On 6/27/07, Qua Veda <qua@oregon.com> wrote:
>> >
>> > Hi,
>> > This is what I expected,  I just thought I'd check
>> to see.
>> > I've been using a MacBookPro running WindowsXP in
>> Parallels as part of a
>> > pilot program at work. It occurred to me that if I
>> bought my own
>> > MacBookPro,
>> > perhaps personal stuff could be run in
>> Windows(Parallels), and music stuff
>> > on the MacOS.    But I think there would be a
>> problem with memory
>> > allocation
>> > etc so that you'd end up with neither OS taking
>> full advantage of the
>> > hardware.
>> >
>> > -Qua
>> >
>> >
>> >
>> > -----Original Message-----
>> > From: Krispen Hartung
>> [mailto:khartung@cableone.net]
>> > Sent: Wednesday, June 27, 2007 9:40 AM
>> > To: Loopers-Delight@loopers-delight.com
>> > Subject: Re: Laptops -dedicated to music only?
>> >
>> > Mine is music performance only as well, with the
>> exception of accessing
>> > the
>> > internet for software updates and a few key
>> forums, like max/msp, etc. I
>> > don't change anything with the settings, so my
>> virus checkers, etc, are
>> > all
>> > intact.
>> >
>> > I did, however, optimize my configuration for
>> music applications, it's on
>> > Sweetwater's website and thier PC optimization
>> guide.
>> >
>> >
>>
> http://www.sweetwater.com/sweetcare/ts/detail.php?Index=30058
>> >
>> > Kris
>> >
>> >
>> > ----- Original Message -----
>> > From: "Qua Veda" <qua@oregon.com>
>> > To: <Loopers-Delight@loopers-delight.com>
>> > Sent: Wednesday, June 27, 2007 10:17 AM
>> > Subject: Laptops -dedicated to music only?
>> >
>> >
>> > > Question for those of you who use laptops.
>> > > Do you dedicate/optimize the laptop for use with
>> music/audio/video only?
>> > > (i.e. ,  no email, finances, other personal apps
>> that you might use on a
>> > > personal computer)
>> > >
>> > > -Qua
>> > >
>> > >
>> >
>> >
>> >
>> >
>>
>
>
> www.myspace.com/luisangulocom
>
>
>
> ____________________________________________________________________________________
> We won't tell. Get more on shows you hate to love
> (and love to hate): Yahoo! TV's Guilty Pleasures list.
> http://tv.yahoo.com/collections/265
>
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG Free Edition.
> Version: 7.5.476 / Virus Database: 269.9.14/884 - Release Date: 02/07/2007 
> 15.35
>
> 

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 08:08:01 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Laptops -dedicated to music only?
Date: Tue, 3 Jul 2007 10:07:57 +0200
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On 3 jul 2007, at 03.52, L.A. Angulo wrote:

> question:A lot of the new laptops are being now
> offered with Win Vista,but some also with XP as an
> option, would you buy with vista and replace it with
> an xp version and update later to the vista one when
> everything works?

If everything works under XP I would never update to Vista. If you  
want to make music with the help of computers the golden rule is to  
never change a working system. That's the attitude we all have to our  
musical instruments and that's the secret of getting good at playing  
them.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 11:54:02 2007
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Date: Tue, 03 Jul 2007 07:52:21 -0400
From: Bill Fox <billyfox@soundscapes.us>
Subject: The AM/FM Show Playlist for June 30, 2007
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http://soundscapes.us/amfm/playlists/2007/070630.html

The AM/FM Show has two alternating hosts.  When I am at the helm, expect
to hear electronic, ambient, spacemusic, Progressive Rock, and an
eclectic mix of other genres.  The show airs from 6:00 am to 8:00 am on
WMUH Allentown, 91.7 FM and on the internet.  I also host Afterglow
every Thursday from 8:00 am to 9:30 am.

                Show #112                June 30, 2007.

During Phase I of this show, I continued the special on the sampler CDs
that come with each issue of E-dition electronic music magazine.


Phase I/Space:

ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
VA [Syndrome]        Fragments            E-dition #14 (Groove)
VA [Syndrome]        Shift Nine II        E-dition #14 (Groove)
VA [Syndrome]        Avon Lea             E-dition #14 (Groove)
VA [Syndrome]        Beneath the Surface  E-dition #14 (Groove)
VA [Didymos]         Vault                E-dition #14 (Groove)
VA [Didymos]         Morning's Over       E-dition #14 (Groove)
VA [Didymos]         Blueberry Dance      E-dition #14 (Groove)
Orion's Belt         Through the Ship     The Truth Within (Imagineer)
Frank Klare          Digitalic Five       Digitalic (Groove)


Phase II/Eclectic:

ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Bruno SanFilippo     Piano Textures VIII  Piano Textures (Ad21)
Denise Young         Green Mountain       Something You Don't Dream Of..
                       Meadows              (none)
Tefero Dormanu       Sleep To the Horn,   In the Shadow of the Mountain
                       Awake to the Flute   (none)
Pheo Rose            Breathe              Soul Bridge (none)


Phase III/Progressive Rock:

ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Kaipa                The Glorious         Angling Feelings (InsideOut)
                       Silence Within
Puppet Show          On Second Thought    The Tale of Woe (Progrock)
Karfagen             The Great Circus     The Space Between Us (Unicorn
                                            Digital)
Karcius              Highway To the Moon  Sphere (Unicorn Digital)
Karcius              Synapse              Sphere (Unicorn Digital)
Karcius              Back To Earth        Sphere (Unicorn Digital)

 * = excerpt
++ = Advanced CDR from artist
VA = Various Artists (compilation)

I return to the AM/FM Show on July 14.

On the next show, I will continue the special on the sampler CDs that
come with each issue of E-dition electronic music magazine.

Bill
======================================================================
Host of the AM/FM Show every other Saturday at 6:00 am EST (GMT-5:00).
Phase 1: Electronic, ambient, and space music to bring you back from
"Beyond the Barriers."
Phase 2: Mixed bag of acoustic, electric, pop, or New Age.
Phase 3: Progressive rock from past masters to contemporary releases.
Web Site - http://soundscapes.us/amfm
Listen to WMUH Allentown locally at 91.7 FM or on-line at
http://www.muhlenberg.edu/wmuh and click the
REAL AUDIO link or go directly to
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm
Playlists are also published at http://billfox.blogspot.com
RSS (2.0) feed from http://billfox.blogspot.com/rss.xml
Atom (0.3) feed from http://billfox.blogspot.com/atom.xml
======================================================================
The progdj list is the central clearing house for radio playlists of
Progressive Rock programs. Tired of joining dozens of mailing lists to
post playlists or track airplay?  The progdj list solves that problem.

The progdj list is the place to go in order to see playlists and CD
and concert reviews by DJs of progressive rock-friendly radio
programs. Anyone interested in seeing playlists can join. There is NO
SPAM because I keep the spammers out before the members ever see any
hint of it.

The progdj list is for DJs (obviously!) and band members, record label
personnel, promoters, managers, and anyone else interested in seeing
what gets played on the air. Need to find who is playing prog on the
radio? Go to the progdj list.

To join, go to http://groups.yahoo.com/group/progdj and click on the
[Join This Group!] link.
======================================================================

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 13:04:18 2007
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Subject: Re: Laptops -dedicated to music only?
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-------------------------------1183467850
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In a message dated 7/3/2007 4:08:25 A.M. Eastern Standard Time,  
perboysen@gmail.com writes:

If  everything works under XP I would never update to Vista. If you  
want  to make music with the help of computers the golden rule is to  
never  change a working system. That's the attitude we all have to our   
musical instruments and that's the secret of getting good at playing   
them.



I totally agree with this. I actually had Vista (came with a new computer I  
purchased) and at the time almost no one save Motu supported it. Most music  
specialty companies have come online with driver support in the last 4  months 
but I still wouldn't want the hassle of all the uncertain configuration  
issues with the OS itself. I am thinking it will take another 1-2 years or so to  
get the OS bugs worked out of the system itself via Microsoft. Of course we 
have  to allot the necessary time needed to give the industry music computer  
engineers and developers a chance to tweak the Vista system for  optimum 
compatibility and performance.
 
There is one KILLER advantageous feature that Vista offers however. USB  Plug 
n play virtual RAM. Now *that* smokes! Can you imagine a laptop with 2 gig  
of maxed ram becoming a 4 or 6 gig system in an instant? An elephant ain't  the 
only beasty in the local jungle soon destined to never  forget.     



************************************** See what's free at http://www.aol.com.

-------------------------------1183467850
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; charset=3DUS-ASCII">
<META content=3D"MSHTML 6.00.2900.2873" name=3DGENERATOR></HEAD>
<BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY:=20=
Arial"=20
bottomMargin=3D7 leftMargin=3D7 topMargin=3D7 rightMargin=3D7><FONT id=3Drol=
e_document=20
face=3DArial color=3D#000000 size=3D2>
<DIV>
<DIV>In a message dated 7/3/2007 4:08:25 A.M. Eastern Standard Time,=20
perboysen@gmail.com writes:</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT=20
  style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 size=
=3D2>If=20
  everything works under XP I would never update to Vista. If you&nbsp; <BR>=
want=20
  to make music with the help of computers the golden rule is to&nbsp; <BR>n=
ever=20
  change a working system. That's the attitude we all have to our&nbsp;=20
  <BR>musical instruments and that's the secret of getting good at playing&n=
bsp;=20
  <BR>them.<BR></FONT></BLOCKQUOTE></DIV>
<DIV></DIV>
<DIV>I totally agree with this. I actually had Vista (came with a new comput=
er I=20
purchased)&nbsp;and at the time almost no one save Motu supported it. Most m=
usic=20
specialty companies have come&nbsp;online with driver support in the last 4=20
months but I still wouldn't want the hassle of all the uncertain configurati=
on=20
issues with the OS itself. I am thinking it will take another 1-2 years or s=
o to=20
get the OS bugs worked out of the system itself via Microsoft. Of course we=20=
have=20
to allot the necessary time needed&nbsp;to give the industry music computer=20
engineers and developers&nbsp;a chance&nbsp;to tweak the Vista system for=20
optimum compatibility and performance.</DIV>
<DIV>&nbsp;</DIV>
<DIV>There is one KILLER advantageous feature that Vista offers however. USB=
=20
Plug n play virtual RAM. Now *that* smokes! Can you imagine a laptop with 2=20=
gig=20
of maxed ram becoming a 4 or 6 gig system in an instant?&nbsp;An elephant ai=
n't=20
the only beasty in the local jungle soon&nbsp;destined to never=20
forget.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</DIV></FONT><BR><BR><BR><DIV><FONT sty=
le=3D"color: black; font: normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN=
-TOP: 10px">See what's free at <A title=3D"http://www.aol.com?ncid=3DAOLAOF0=
0020000000503" href=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" targe=
t=3D"_blank">AOL.com</A>. </FONT></DIV></BODY></HTML>

-------------------------------1183467850--

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 13:23:58 2007
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Date: Tue, 03 Jul 2007 08:23:55 -0500
From: kkissinger@kevinkissinger.com
To: LoopersDelight <Loopers-Delight@loopers-delight.com>
Subject: New looping work
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Hello!

The set that I played last June at Electro-Music 2007 included two  
works with looping.  One of the works, entitled "Three-Legged Race"  
consists of solo Theremin and multiple-synchronized loops.  To listen  
and learn more about this work follow go to:

http://kevinkissinger.com/threeleggedrace.shtml

The set was well-recieved and my efforts now are to create more works  
that are done in real-time without pre-recorded elements.   
"Three-Legged Race" is the "pure" Theremin tone with loops.  My  
upcoming work will incorporate additional techniques that includes  
pitch-shifters, harmonizer, various filters, and longer delay times.

Hope you enjoy this track.  Thank you for listening.

-- Kevin

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 13:28:59 2007
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Subject: RE: Laptops -dedicated to music only?
Date: Tue, 3 Jul 2007 14:28:47 +0100
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>>I'm not sure if Parallels leaves any background processes running when
you quit.<<

just saw this, so sorry for the delayed response. it definitely does
not; when you close your VM (in my case, w2k sp4) & quit parallels, it's
as if it was never there. there's a chunk of HD gone, obviously, but
even this is only as much as the VM is actually consuming.

d.

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 13:31:25 2007
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Subject: it's in G, G
Date: Tue, 3 Jul 2007 14:31:19 +0100
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http://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf

surely this qualifies as loopage?

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 13:46:14 2007
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Subject: Re: Record Industry Decline
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Hi Loopers,

Systems here got taken down by weird circumstances much of the week. 
Thankfully my query about Recording software resulted in yet more reasons 
why I continue to subscribe to this list!  Thanks for all who responded. 
Guess I'll stick with good old Cool Edit for now, but having used CE for so 
long I felt it stupid not to find out.  Well, thanks to you I did!  Thanks 
again.

Hm, I have yet to read the article, though it'll probably be quite 
interesting whatever it says.

Also, it would seem from the source of this message that AOL/Yahoo are 
putting scripts in the emails their users produce now.  Naughty!

Is it possible for LD to filter out such things as this, and Rich Text?

----- Original Message ----- 
From: ryman1960@aol.com
To: Loopers-Delight@loopers-delight.com
Sent: Tuesday, 3 July, 2007 00:36 AM
Subject: Record Industry Decline


Interesting article:


http://www.rollingstone.com/news/story/15137581/the_record_industrys_decline/print


AOL now offers free email to everyone. Find out more about what's free from 
AOL at AOL.com. 

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 14:14:05 2007
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From: nico spahni <nicosp@gmx.net>
Subject: live looping with ableton live
Date: Tue, 3 Jul 2007 16:14:24 +0200
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I've just downloaded a demo version of Ableton Live (version 6). I'm 
considering using it for live looping. Can anyone get me started 
(manuals, setup, general advice etc.)?

Best regards from Switzerland

Nico

www.recpro.ch
www.myspace.com/nicospahni

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Subject: Re: live looping with ableton live
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In a message dated 7/3/2007 10:14:18 A.M. Eastern Standard Time,  
nicosp@gmx.net writes:

I've  just downloaded a demo version of Ableton Live (version 6). I'm  
considering using it for live looping. Can anyone get me started  
(manuals, setup, general advice etc.)?




I am thoroughly, completely and not so shamefully addicted to LIVE 6.0.  It's 
great for live looping but there is a good deal to understand before going  
nutz with it. It's hands down the easiest and most friendly sequencer out  
there. You will need a couple basic pieces of equipment to use LIVE,  but they are 
so basic to this craft that they are "musts" anyhow.
 
This is the place to start. What all do you have at this point Nico with  
respect to equipment that you plan on using when you "play  out"? 




************************************** See what's free at http://www.aol.com.

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<BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY:=20=
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face=3DArial color=3D#000000 size=3D2>
<DIV>
<DIV>In a message dated 7/3/2007 10:14:18 A.M. Eastern Standard Time,=20
nicosp@gmx.net writes:</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT=20
  style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 size=
=3D2>I've=20
  just downloaded a demo version of Ableton Live (version 6). I'm=20
  <BR>considering using it for live looping. Can anyone get me started=20
  <BR>(manuals, setup, general advice etc.)?<BR></FONT></BLOCKQUOTE></DIV>
<DIV></DIV>
<DIV>
<DIV>I am thoroughly, completely and not so shamefully addicted to LIVE 6.0.=
=20
It's great for live looping but there is a good deal to understand before go=
ing=20
nutz with it. It's hands down the easiest and most friendly&nbsp;sequencer o=
ut=20
there. You will need a couple&nbsp;basic pieces of equipment to use&nbsp;LIV=
E,=20
but they are so basic to this&nbsp;craft that they are "musts" anyhow.</DIV>
<DIV>&nbsp;</DIV>
<DIV>This is the place to start. What all do you have at this point Nico wit=
h=20
respect to equipment that you plan on using when you "play=20
out"?&nbsp;</DIV></DIV></FONT><BR><BR><BR><DIV><FONT style=3D"color: black;=20=
font: normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN-TOP: 10px">See what=
's free at <A title=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" href=
=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" target=3D"_blank">AOL.co=
m</A>. </FONT></DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 16:15:59 2007
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Subject: RE: it's in G, G
Date: Tue, 3 Jul 2007 18:15:50 +0200
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> http://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf
> surely this qualifies as loopage?

erm, yes, I'd say it does

-Michael  :-) 

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 16:35:35 2007
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Date: Tue, 3 Jul 2007 12:35:32 -0400
From: "todd reynolds" <toddreyn@gmail.com>
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hoofage-loopage



On 7/3/07, Michael Peters <mp@mpeters.de> wrote:
>
> > http://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf
> > surely this qualifies as loopage?
>
> erm, yes, I'd say it does
>
> -Michael  :-)
>
>


-- 
http://www.toddreynolds.com                    |:
http://myspace.com/toddreynoldsmusic  |:
------------------------------------------------------|:
917.576.6166
todd@toddreynolds.com
toddreyn@gmail.com

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hoofage-loopage<br><br><br><br><div><span class="gmail_quote">On 7/3/07, <b class="gmail_sendername">Michael Peters</b> &lt;<a href="mailto:mp@mpeters.de">mp@mpeters.de</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
&gt; <a href="http://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf">http://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf</a><br>&gt; surely this qualifies as loopage?<br><br>erm, yes, I&#39;d say it does
<br><br>-Michael&nbsp;&nbsp;:-)<br><br></blockquote></div><br><br clear="all"><br>-- <br><a href="http://www.toddreynolds.com">http://www.toddreynolds.com</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;|:<br><a href="http://myspace.com/toddreynoldsmusic">
http://myspace.com/toddreynoldsmusic</a>&nbsp;&nbsp;|:<br>------------------------------------------------------|:<br>917.576.6166&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br><a href="mailto:todd@toddreynolds.com">todd@toddreynolds.com
</a><br><a href="mailto:toddreyn@gmail.com">toddreyn@gmail.com</a>

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From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 16:39:38 2007
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Date: Tue, 3 Jul 2007 11:39:36 -0500
From: "Dan Katayama" <dan.katayama@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Using RC50 as an AUX Loop on a Mixer
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Any of guys using the RC50 as an Aux loop on a mixer for additional looping
capabilities?
I'm short a few inputs and am trying to do this, but can't seem to get the
levels on the send/returns right.
Anybody have any recommendations?

I have a Mackie Onyx 1220.

Thanks,
Dan



-- 
kosukeweb
http://home.comcast.net/~kkatayama76

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Any of guys using the RC50 as an Aux loop on a mixer for additional looping capabilities?<br>I&#39;m short a few inputs and am trying to do this, but can&#39;t seem to get the levels on the send/returns right.<br>Anybody have any recommendations?
<br><br>I have a Mackie Onyx 1220.<br><br>Thanks,<br>Dan<br><br><br clear="all"><br>-- <br>kosukeweb<br><a href="http://home.comcast.net/~kkatayama76">http://home.comcast.net/~kkatayama76</a>

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From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 16:50:29 2007
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Subject: Re: Using RC50 as an AUX Loop on a Mixer
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Quoting Dan Katayama <dan.katayama@gmail.com>:

> Any of guys using the RC50 as an Aux loop on a mixer for additional looping
> capabilities?
> I'm short a few inputs and am trying to do this, but can't seem to get the
> levels on the send/returns right.
> Anybody have any recommendations?

Dan,

I have had success using the INST input with the INST Input Level at  
the 9 o'clock position and the Master Level all the way up (5 o'clock  
position).

Since the Mackie puts out a line level signal, to use the INST input  
(which supports instrument level) requires a comparably low input  
level setting.

-- Kevin

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Thats how I use it. The problem I'm having is my mixer, a DFX12 only has a mono send to a stereo return. So I have to use it in mono. Not a huge deal, but slightly annoying. 
I have my guitar connected to channel 1. I then have send number 1 connected to the input of the RC 50. All send and return levels are set to "0" The output of the RC50 is to channel 2. 
The output from the loops are all set to "sub out". So the only time audio from the RC50 is heard is when a loop is running. Live guitar is heard through channel one. This is like setting the mix control on an Echoplex to loop only. 
It works great.
Levels are controlled on the mixer after basic seetings on the RC50 are set. I can then pan live guitar and loops a little left/right to clean up the mush that can sometimes happen. Also eq can help. 
The cool part about using the sends on a mixer, is I can now use the looper to loop vocals, drums, and keys. And all connections are pure and clean. 

MFC


 -------------- Original message ----------------------
From: "Dan Katayama" <dan.katayama@gmail.com>
> Any of guys using the RC50 as an Aux loop on a mixer for additional looping
> capabilities?
> I'm short a few inputs and am trying to do this, but can't seem to get the
> levels on the send/returns right.
> Anybody have any recommendations?
> 
> I have a Mackie Onyx 1220.
> 
> Thanks,
> Dan
> 
> 
> 
> -- 
> kosukeweb
> http://home.comcast.net/~kkatayama76



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To:    Loopers-Delight@loopers-delight.com
Subject:    Using RC50 as an AUX Loop on a Mixer
Date:    Tue, 3 Jul 2007 16:39:38 +0000
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Any of guys using the RC50 as an Aux loop on a mixer for additional looping capabilities?<br>I&#39;m short a few inputs and am trying to do this, but can&#39;t seem to get the levels on the send/returns right.<br>Anybody have any recommendations?
<br><br>I have a Mackie Onyx 1220.<br><br>Thanks,<br>Dan<br><br><br clear="all"><br>-- <br>kosukeweb<br><a href="http://home.comcast.net/~kkatayama76">http://home.comcast.net/~kkatayama76</a>

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From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 19:28:30 2007
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Subject: Re: live looping with ableton live
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hi nico, live has GREAT tutorials. check them out and you will know your way 
around it.
also watch the introductory movies on ableton's site.
you can activate an information window in the low left corner that explains 
everything you lide over with the mouse. the first tutorial will probably 
explain to you how to activate it (i believe it's a small triangle on the 
low border.

maybe someone else from the list could give you (and me) a little "how to" 
about using live as a looper?

smooth looping!

tilmann

----- Original Message ----- 
From: "nico spahni" <nicosp@gmx.net>
To: <Loopers-Delight@loopers-delight.com>
Sent: Tuesday, July 03, 2007 4:14 PM
Subject: live looping with ableton live


> I've just downloaded a demo version of Ableton Live (version 6). I'm 
> considering using it for live looping. Can anyone get me started (manuals, 
> setup, general advice etc.)?
>
> Best regards from Switzerland
>
> Nico
>
> www.recpro.ch
> www.myspace.com/nicospahni
> 

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 19:58:15 2007
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From: Bernhard Wagner LD <loopdelightml-NDI3MDE=-@bernhardwagner.net>
Subject: Re: live looping with ableton live
Date: Tue, 3 Jul 2007 21:58:10 +0200
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- live sucks as a sync slave
- live can't overdub
- live doesn't have the "First Loop Capability"
- but you can use Augustus Loop or Mobius as plugins


search the archives, e.g.
http://www.loopers-delight.com/LDarchive/200506/msg00042.html

Bernhard

On 03.07.2007, at 21:30, Tilmann Dehnhard wrote:

> maybe someone else from the list could give you (and me) a little  
> "how to" about using live as a looper?

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 20:15:31 2007
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more on Live's sync shortcomings:

http://www.loopers-delight.com/LDarchive/200611/msg00009.html

That said, I use Live pretty much exclusively, but then I don't sync
it to anything else :)

I find Live good for my particular style of looping, which relies on
the fact that I'm usually not looping myself - and so have time to
drive Live (with a mouse etc.). I imagine it would be quite hard to
use Live if you're just a solo guitarist (say), but I know it's been
done.

Normally I use a combination of Live and Augustus Loop - Live for
straight repetitions of phrases, Augustus for more 'evolving' stuff.

To each his own. If you're looking for an Echoplex substitute though,
Live ain't it.


cheers,
os.



On 03/07/07, Bernhard Wagner LD
<loopdelightml-NDI3MDE=-@bernhardwagner.net> wrote:
>
> - live sucks as a sync slave
> - live can't overdub
> - live doesn't have the "First Loop Capability"
> - but you can use Augustus Loop or Mobius as plugins
>
>
> search the archives, e.g.
> http://www.loopers-delight.com/LDarchive/200506/msg00042.html
>
> Bernhard
>
> On 03.07.2007, at 21:30, Tilmann Dehnhard wrote:
>
> > maybe someone else from the list could give you (and me) a little
> > "how to" about using live as a looper?
>
>


-- 
os@collective.co.uk
http://www.collective.co.uk/
http://www.myspace.com/darkroomtheband

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 20:32:08 2007
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I concur with Os.  however...

live plus sooperlooper is an awfully good situation... almost an oberheim
killer... and the sync is completely accurate cuz you're syncing to live's
clock from within it, using the software looper.

here's a tune done with nothing but live and SL  and in a live performance
to boot.  I'm not a solo guitartist, but rather a solo violinist.

http://toddreynolds.com/op/OP_IcySleeves.mp3

all best,

todd



On 7/3/07, Os <os@collective.co.uk> wrote:
>
> more on Live's sync shortcomings:
>
> http://www.loopers-delight.com/LDarchive/200611/msg00009.html
>
> That said, I use Live pretty much exclusively, but then I don't sync
> it to anything else :)
>
> I find Live good for my particular style of looping, which relies on
> the fact that I'm usually not looping myself - and so have time to
> drive Live (with a mouse etc.). I imagine it would be quite hard to
> use Live if you're just a solo guitarist (say), but I know it's been
> done.
>
> Normally I use a combination of Live and Augustus Loop - Live for
> straight repetitions of phrases, Augustus for more 'evolving' stuff.
>
> To each his own. If you're looking for an Echoplex substitute though,
> Live ain't it.
>
>
> cheers,
> os.
>
>
>
> On 03/07/07, Bernhard Wagner LD
> <loopdelightml-NDI3MDE=-@bernhardwagner.net> wrote:
> >
> > - live sucks as a sync slave
> > - live can't overdub
> > - live doesn't have the "First Loop Capability"
> > - but you can use Augustus Loop or Mobius as plugins
> >
> >
> > search the archives, e.g.
> > http://www.loopers-delight.com/LDarchive/200506/msg00042.html
> >
> > Bernhard
> >
> > On 03.07.2007, at 21:30, Tilmann Dehnhard wrote:
> >
> > > maybe someone else from the list could give you (and me) a little
> > > "how to" about using live as a looper?
> >
> >
>
>
> --
> os@collective.co.uk
> http://www.collective.co.uk/
> http://www.myspace.com/darkroomtheband
>
>


-- 
http://www.toddreynolds.com                    |:
http://myspace.com/toddreynoldsmusic  |:
------------------------------------------------------|:
917.576.6166
todd@toddreynolds.com
toddreyn@gmail.com

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I concur with Os.&nbsp; however... <br><br>live plus sooperlooper is an awfully good situation... almost an oberheim killer... and the sync is completely accurate cuz you&#39;re syncing to live&#39;s clock from within it, using the software looper.
<br><br>here&#39;s a tune done with nothing but live and SL&nbsp; and in a live performance to boot.&nbsp; I&#39;m not a solo guitartist, but rather a solo violinist.<br><br><a href="http://toddreynolds.com/op/OP_IcySleeves.mp3">http://toddreynolds.com/op/OP_IcySleeves.mp3
</a><br><br>all best,<br><br>todd<br><br><br><br><div><span class="gmail_quote">On 7/3/07, <b class="gmail_sendername">Os</b> &lt;<a href="mailto:os@collective.co.uk">os@collective.co.uk</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
more on Live&#39;s sync shortcomings:<br><br><a href="http://www.loopers-delight.com/LDarchive/200611/msg00009.html">http://www.loopers-delight.com/LDarchive/200611/msg00009.html</a><br><br>That said, I use Live pretty much exclusively, but then I don&#39;t sync
<br>it to anything else :)<br><br>I find Live good for my particular style of looping, which relies on<br>the fact that I&#39;m usually not looping myself - and so have time to<br>drive Live (with a mouse etc.). I imagine it would be quite hard to
<br>use Live if you&#39;re just a solo guitarist (say), but I know it&#39;s been<br>done.<br><br>Normally I use a combination of Live and Augustus Loop - Live for<br>straight repetitions of phrases, Augustus for more &#39;evolving&#39; stuff.
<br><br>To each his own. If you&#39;re looking for an Echoplex substitute though,<br>Live ain&#39;t it.<br><br><br>cheers,<br>os.<br><br><br><br>On 03/07/07, Bernhard Wagner LD<br>&lt;loopdelightml-NDI3MDE=-@<a href="http://bernhardwagner.net">
bernhardwagner.net</a>&gt; wrote:<br>&gt;<br>&gt; - live sucks as a sync slave<br>&gt; - live can&#39;t overdub<br>&gt; - live doesn&#39;t have the &quot;First Loop Capability&quot;<br>&gt; - but you can use Augustus Loop or Mobius as plugins
<br>&gt;<br>&gt;<br>&gt; search the archives, e.g.<br>&gt; <a href="http://www.loopers-delight.com/LDarchive/200506/msg00042.html">http://www.loopers-delight.com/LDarchive/200506/msg00042.html</a><br>&gt;<br>&gt; Bernhard
<br>&gt;<br>&gt; On 03.07.2007, at 21:30, Tilmann Dehnhard wrote:<br>&gt;<br>&gt; &gt; maybe someone else from the list could give you (and me) a little<br>&gt; &gt; &quot;how to&quot; about using live as a looper?<br>&gt;
<br>&gt;<br><br><br>--<br><a href="mailto:os@collective.co.uk">os@collective.co.uk</a><br><a href="http://www.collective.co.uk/">http://www.collective.co.uk/</a><br><a href="http://www.myspace.com/darkroomtheband">http://www.myspace.com/darkroomtheband
</a><br><br></blockquote></div><br><br clear="all"><br>-- <br><a href="http://www.toddreynolds.com">http://www.toddreynolds.com</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;|:<br><a href="http://myspace.com/toddreynoldsmusic">http://myspace.com/toddreynoldsmusic
</a>&nbsp;&nbsp;|:<br>------------------------------------------------------|:<br>917.576.6166&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br><a href="mailto:todd@toddreynolds.com">todd@toddreynolds.com</a><br><a href="mailto:toddreyn@gmail.com">
toddreyn@gmail.com</a>

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From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 20:35:48 2007
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Subject: Re: live looping with ableton live
Date: Tue, 3 Jul 2007 22:37:19 +0200
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yes, you are absolutely right.
i'll refrain from using live as long as there is no "first loop capability".

tilmann


----- Original Message ----- 
From: "Bernhard Wagner LD" <loopdelightml-NDI3MDE=-@bernhardwagner.net>
To: "Loopers" <loopers-delight@loopers-delight.com>
Sent: Tuesday, July 03, 2007 9:58 PM
Subject: Re: live looping with ableton live


>
> - live sucks as a sync slave
> - live can't overdub
> - live doesn't have the "First Loop Capability"
> - but you can use Augustus Loop or Mobius as plugins
>
>
> search the archives, e.g.
> http://www.loopers-delight.com/LDarchive/200506/msg00042.html
>
> Bernhard
>
> On 03.07.2007, at 21:30, Tilmann Dehnhard wrote:
>
>> maybe someone else from the list could give you (and me) a little  "how 
>> to" about using live as a looper?
> 

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 21:14:56 2007
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Date: Tue, 3 Jul 2007 16:14:50 -0500
To: Loopers-Delight@loopers-delight.com
From: Mech <mech@m3ch.net>
Subject: Re: live looping with ableton live
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At 9:15 PM +0100 7/3/07, Os wrote:
>more on Live's sync shortcomings:
>
>http://www.loopers-delight.com/LDarchive/200611/msg00009.html
>
>That said, I use Live pretty much exclusively, but then I don't sync
>it to anything else :)

Aside: sorry, I think I knew the answer to this, but I can't remember 
at the moment....  :P

Does Live's slave-sync silliness also extend into syncing to external 
devices (via MIDI Clock), or does this only affect syncing to hosted 
plugins?

Thanks!

	--m.
-- 
_____
"I want to keep you alive so there is always the possibility of 
murder... later"

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 21:27:02 2007
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Date: Tue, 3 Jul 2007 22:26:52 +0100
From: Os <os@collective.co.uk>
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Subject: Re: live looping with ableton live
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Live doesn't have a mechanism to sync to plugins as such - Augustus
Loop is essentially pretending to be an external MIDI device in order
to make this work.

So, in short, yes, it extends to syncing external devices.


cheers,
os.

On 03/07/07, Mech <mech@m3ch.net> wrote:
> At 9:15 PM +0100 7/3/07, Os wrote:
> >more on Live's sync shortcomings:
> >
> >http://www.loopers-delight.com/LDarchive/200611/msg00009.html
> >
> >That said, I use Live pretty much exclusively, but then I don't sync
> >it to anything else :)
>
> Aside: sorry, I think I knew the answer to this, but I can't remember
> at the moment....  :P
>
> Does Live's slave-sync silliness also extend into syncing to external
> devices (via MIDI Clock), or does this only affect syncing to hosted
> plugins?
>
> Thanks!
>
>         --m.
> --
> _____
> "I want to keep you alive so there is always the possibility of
> murder... later"
>
>


-- 
os@collective.co.uk
http://www.collective.co.uk/
http://www.myspace.com/darkroomtheband

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 21:34:16 2007
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Date: Tue, 3 Jul 2007 16:34:12 -0500
To: Loopers-Delight@loopers-delight.com
From: Mech <mech@m3ch.net>
Subject: Re: live looping with ableton live
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At 10:26 PM +0100 7/3/07, Os wrote:
>Live doesn't have a mechanism to sync to plugins as such - Augustus
>Loop is essentially pretending to be an external MIDI device in order
>to make this work.
>
>So, in short, yes, it extends to syncing external devices.

Frack, that's what I was thinking.  But I was hoping I was wrong 
about that.  Just grabbed a Ztar, and was hoping I could use its MIDI 
Looping capabilities as a sync master for Live.  Looks like I'll 
still have to deal with the same old issues.

Thanks for the quick response, Os!

	--m.
-- 
_____
"I want to keep you alive so there is always the possibility of 
murder... later"

From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 23:00:57 2007
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Date: Tue, 3 Jul 2007 16:00:54 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: bows for guitars
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Hi Gang,
id like to start experimenting with bows which work
better for guitars and can you spare some techniques
string gage etc.?Although Jimmy page has been an
inspiration i didnt find his bowing technique
particulary exciting,any other artists out there?
thanx!
Luis

www.myspace.com/luisangulocom


       
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From Loopers-Delight-request@loopers-delight.com  Tue Jul  3 23:02:47 2007
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Date: Tue, 3 Jul 2007 16:02:45 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: Laptops -dedicated to music only?
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wow!
>  
> There is one KILLER advantageous feature that Vista
> offers however. USB  Plug 
> n play virtual RAM. Now *that* smokes! Can you
> imagine a laptop with 2 gig  
> of maxed ram becoming a 4 or 6 gig system in an
> instant? An elephant ain't  the 
> only beasty in the local jungle soon destined to
> never  forget.     


www.myspace.com/luisangulocom


 
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Dear EDP mavens, a friend of mine is having trouble mapping feedback and
volume to the two expression pedals on his FCB101. I haven't done this in so
long and I can't even find the CC message table in my downloaded off the web
one sided EDP manual. I can show him how to map midi note numbers but not
CC's

 

Someone please , help me help this poor brother..... 

 

Bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Dear EDP mavens, a friend of mine is having trouble =
mapping
feedback and volume to the two expression pedals on his FCB101. I =
haven&#8217;t
done this in so long and I can&#8217;t even find the CC message table in =
my
downloaded off the web one sided EDP manual. I can show him how to map =
midi
note numbers but not CC&#8217;s<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Someone please , help me help this poor
brother&#8230;&#8230;&#8230;&#8230;. <o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Bill<o:p></o:p></span></font></p>

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http://video.google.de/videoplay?docid=3344948192478887654&hl=de

no loops involved here, but some of you might enjoy it anyway :-)
This is a 17 minute video from a 2004 gig with Tonlabor (sound lab), showing
several very scientific experiments with sound (that's why we have to wear
goggles)
This is me in the middle 

-Michael www.michaelpeters.de


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Yeah, but just make sure your tempo is a whole number and it will work.

-----Original Message-----
From: Mech [mailto:mech@m3ch.net] 
Sent: Tuesday, July 03, 2007 2:34 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: live looping with ableton live

At 10:26 PM +0100 7/3/07, Os wrote:
>Live doesn't have a mechanism to sync to plugins as such - Augustus
>Loop is essentially pretending to be an external MIDI device in order
>to make this work.
>
>So, in short, yes, it extends to syncing external devices.

Frack, that's what I was thinking.  But I was hoping I was wrong 
about that.  Just grabbed a Ztar, and was hoping I could use its MIDI 
Looping capabilities as a sync master for Live.  Looks like I'll 
still have to deal with the same old issues.

Thanks for the quick response, Os!

	--m.
-- 
_____
"I want to keep you alive so there is always the possibility of 
murder... later"



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The guy from Sigur Ros uses bowed guitar quite extensively.

os.


On 04/07/07, L.A. Angulo <labaloops@yahoo.com> wrote:
> Hi Gang,
> id like to start experimenting with bows which work
> better for guitars and can you spare some techniques
> string gage etc.?Although Jimmy page has been an
> inspiration i didnt find his bowing technique
> particulary exciting,any other artists out there?
> thanx!
> Luis
>
> www.myspace.com/luisangulocom
>
>
>
> ____________________________________________________________________________________
> Yahoo! oneSearch: Finally, mobile search
> that gives answers, not web links.
> http://mobile.yahoo.com/mobileweb/onesearch?refer=1ONXIC
>
>


-- 
os@collective.co.uk
http://www.collective.co.uk/
http://www.myspace.com/darkroomtheband

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Dear EDP mavens, a friend of mine is having trouble mapping feedback and
volume to the two expression pedals on his FCB101. I haven't done this in so
long and I can't even find the CC message table in my downloaded off the web
one sided EDP manual. I can show him how to map midi note numbers but not
CC's

Someone please , help me help this poor brother..... 

Bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Dear EDP mavens, a friend of mine is having trouble =
mapping
feedback and volume to the two expression pedals on his FCB101. I =
haven&#8217;t
done this in so long and I can&#8217;t even find the CC message table in =
my
downloaded off the web one sided EDP manual. I can show him how to map =
midi
note numbers but not CC&#8217;s<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Someone please , help me help this poor =
brother&#8230;&#8230;&#8230;&#8230;.
<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
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From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 21:16:17 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: bows for guitars
Date: Wed, 4 Jul 2007 11:42:12 +0200
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On 4 jul 2007, at 01.00, L.A. Angulo wrote:

> Hi Gang,
> id like to start experimenting with bows which work
> better for guitars and can you spare some techniques
> string gage etc.?Although Jimmy page has been an
> inspiration i didnt find his bowing technique
> particulary exciting,any other artists out there?
> thanx!
> Luis


Most guitarists seem to like the cello bow best. Myself I went for  
that size by recommendation, but I have not really tried a different  
type. More important than string gage is the shape of the guitar's  
body to actually make it possible to get at the strings with the bow  
in a comfortable way. On Fender guitars it's generally hard to bow  
because the plane of the fret board is so close too the top of the  
body, so you are constantly risking to hit the side of the guitars  
body with the bow instead of the string. On my Stratocaster I can  
only bow the lowest E string without major effort.

The way bowed instruments are built they have a much more convex  
finger board than any guitar has, so that's why it's so difficult to  
bow only one strings, especially one of the center strings. The trick  
here is to mute other strings with your left hand rather than being  
picky about not bowing non intended strings by mistake.  Least  
problem are with the E strings that are on the sides and as such  
gives you a better bowing angle.

To get a good vibration you need to grease the bow with wax an this  
grease is ruining the strings completely for any normal guitar  
playing. Therefore it's a good idea to use the bow last during a  
recording session because afterwards you need to take a brake to put  
on new strings ;-))

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 21:19:06 2007
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Date: Wed, 4 Jul 2007 13:51:35 -0500
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From: Mech <mech@m3ch.net>
Subject: Re: live looping with ableton live
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At 9:30 PM +0200 7/3/07, Tilmann Dehnhard wrote:
>
>maybe someone else from the list could give you (and me) a little 
>"how to" about using live as a looper?

Hrm, reading through a bit of backlogged email, and it occurs to me 
that it would probably be nice to stop hijacking threads and actually 
post something useful.

Here's a couple of things I've had bookmarked.  This is a link to a 
tutorial from the Ableton boards on how to set up Live for Live 
Looping:

	http://www.ableton.com/forum/viewtopic.php?t=63839

And here's one that shows you how to do something similar using the 
Mackie Controller emulation:

	http://www.ableton.com/forum/viewtopic.php?t=30237

Both of these are PC-centric, and frequently make reference to Bomes 
Translator.  If you're over on the Mac side, you can probably hack 
something similar using MIDIPipe.

Hope that helps some....

	--m.
-- 
_____
"I want to keep you alive so there is always the possibility of 
murder... later"

From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 21:25:17 2007
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From: Ted Killian <tedkillian@charter.net>
Subject: Re: bows for guitars
Date: Wed, 4 Jul 2007 11:04:46 -0700
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Well, there's the guy from the Icelandic band Sigur Ros, he seems to 
use a bow a lot.

On Jul 03, 2007, at 16:00, L.A. Angulo wrote:

> Hi Gang,
> id like to start experimenting with bows which work
> better for guitars and can you spare some techniques
> string gage etc.?Although Jimmy page has been an
> inspiration i didnt find his bowing technique
> particulary exciting,any other artists out there?
> thanx!
> Luis

From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 21:31:29 2007
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hi Luis.

The basic problems are 
1) the body of the guitar gets in the way
2) the bridge for a bowable instrument really needs to be curved, so you can
access individual strings ( so the fretboard needs to be curved too) 

so the only good solutions I know are

1) a custom built instrument
2) ebow ;-)
3) there's a technique I sometimes used for bass which would work with guitar, only works
  for the two outside strings and not that easy to co-ordinate, but I can share that if you like.

http://www.myspace.com/bernhardguenter
has a custom instrument.

andy butler

L.A. Angulo wrote:
> Hi Gang,
> id like to start experimenting with bows which work
> better for guitars and can you spare some techniques
> string gage etc.?Although Jimmy page has been an
> inspiration i didnt find his bowing technique
> particulary exciting,any other artists out there?
> thanx!
> Luis
> 
> www.myspace.com/luisangulocom
> 
> 
>        
> ____________________________________________________________________________________
> Yahoo! oneSearch: Finally, mobile search 
> that gives answers, not web links. 
> http://mobile.yahoo.com/mobileweb/onesearch?refer=1ONXIC
> 
> 

From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 21:31:30 2007
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From: Mark Sottilaro <sine@zerocrossing.net>
Subject: Re: live looping with ableton live
Date: Wed, 4 Jul 2007 12:08:24 -0700
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On Jul 3, 2007, at 1:15 PM, Os wrote:

> I imagine it would be quite hard to
> use Live if you're just a solo guitarist (say), but I know it's been
> done.

I don't use Live's looping functions (mobius does what I need) but  
honestly, if you don't think it can be played as an instrument, check  
out the Kid Beyond videos on the Ableton site.  I've seen him perform  
many times and if you didn't know what he was doing it would seem  
like all the looping was done on the floor.

>
> Normally I use a combination of Live and Augustus Loop - Live for
> straight repetitions of phrases, Augustus for more 'evolving' stuff.
>
> To each his own. If you're looking for an Echoplex substitute though,
> Live ain't it.

Yes, but the combo of all those things... makes it so much more.

Mark

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  I've never tried bowing a guitarI don't want anyone to think I'm 
influenced by Page But I do,under,the influence of Emil Richards bow the 
keys of Vibraphones and Marimbas,cymbals Richards bows gongs,which I've 
tried but the bow I have is for a fiddle ,and inadequteI really need a cello 
or bass bow.

_________________________________________________________________
http://liveearth.msn.com

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From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 21:47:02 2007
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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: bows for guitars
Date: Wed, 4 Jul 2007 14:46:56 -0700
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On Jul 4, 2007, at 2:08 AM, Os wrote:

> The guy from Sigur Ros uses bowed guitar quite extensively.


On the dvd "Touch the Sound," a sound journey with Evelyn Glennie,  
there is a segment or two with Fred Frith bowing guitar.

I seem to recall that the guitar he was using was an archtop but I'm  
not sure.


regards

BobC


http://tinyurl.com/yt8f8j
http://www.youtube.com/watch?v=-30Z5-Lwyag
http://www.youtube.com/watch?v=rVO-ZSWFa7E
http://www.dailymotion.com/yapruder/video/4006596

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Subject: RE: Laptops -dedicated to music only?
Date: Tue, 3 Jul 2007 17:26:43 -0700
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Why is that good?  Wouldn't your hard drive be faster than external =
drives?

-----Original Message-----
From: L.A. Angulo [mailto:labaloops@yahoo.com]=20
Sent: Tuesday, July 03, 2007 4:03 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Laptops -dedicated to music only?

wow!
> =20
> There is one KILLER advantageous feature that Vista
> offers however. USB  Plug=20
> n play virtual RAM. Now *that* smokes! Can you
> imagine a laptop with 2 gig =20
> of maxed ram becoming a 4 or 6 gig system in an
> instant? An elephant ain't  the=20
> only beasty in the local jungle soon destined to
> never  forget.    =20


www.myspace.com/luisangulocom


=20
_________________________________________________________________________=
___
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Never miss an email again!
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To: Loopers-Delight@loopers-delight.com
From: RP Collier <skeptikalist@gmail.com>
Subject: extreme bow usage
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Bowing the great fences of Australia:

http://jonroseweb.com/index.html


regards

BobC






http://tinyurl.com/yt8f8j
http://www.youtube.com/watch?v=-30Z5-Lwyag
http://www.youtube.com/watch?v=rVO-ZSWFa7E
http://www.dailymotion.com/yapruder/video/4006596


From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 22:26:35 2007
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Date: Tue, 3 Jul 2007 16:43:15 -0700 (PDT)
From: Tim Nelson <psychle62@yahoo.com>
Subject: Re: bows for guitars
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Hi Luis,

There are at least two of us on this list using bows;
Per Boyson and me. (If you follow the link in my sig
file to my CDBaby page, the track 'Ether' on the album
'animalvegetablemineral' has cello-bowed looped guitar
as a background bed.)

As far as well-known players, Jonsi (I forget his last
name) from Sigur Ros comes to mind as a player who
incorporates bowing as an integral stylistic element
rather than just as a maker of eerie noises. (I just
wish Sigur Ros would do instrumentals, though; I
absolutely love their instrumental sound, but I can
only take Jonsi's cooing falsetto in small doses. :P)

The biggest obstacle to arco guitaring is the relative
flatness of the guitar's string radius. Only the
outside E strings are available for single note
playing. Also, some flatter-bodied guitars (ie.
Fenders) make it hard to dig in with the bow without
contacting the guitar's body. (Per, I know you bow a
Strat; what's your approach?)

I modified a Les Paul Jr. with deep waist cutaways,
very heavy flatwounds and a steeper neck angle/higher
bridge to facilitate bowing, but it doesn't do much to
allow bowing of individual notes from the inner
strings. (This is the same guitar, nicknamed
'mjolner', you can hear looping in the background of
'ether'...)

-t-

--- "L.A. Angulo" <labaloops@yahoo.com> wrote:

> id like to start experimenting with bows which work
> better for guitars and can you spare some techniques
> string gage etc.?Although Jimmy page has been an
> inspiration i didnt find his bowing technique
> particulary exciting,any other artists out there?


http://www.myspace.com/nimbletunes
http://cdbaby.com/all/timnelson


 
____________________________________________________________________________________
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Let Yahoo! FareChase search your favorite travel sites to find flight and hotel bargains.
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From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 22:33:33 2007
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Subject: Re: live looping with ableton live
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Thanks to everyone for their helpful comments. Reading your posts I'm beginning to wonder what the added value to a new setup (including Live) would be. 

My current looping setup includes SL and Augustus Loop hosted in RAX (plus a number of quirky plugins) and controlled via FCB1010. I guess I should add that I mainly loop myself and can't do too much knob tweaking because I need to pluck a string every now and then :-).

What additional benefits would the combination SL, Augustus Loop and Live have?

Nico

www.recpro.ch
www.myspace.com/nicospahni


-------- Original-Nachricht --------
Datum: Tue, 3 Jul 2007 12:03:08 EDT
Von: BreachinThePeace@aol.com
An: Loopers-Delight@loopers-delight.com
Betreff: Re: live looping with ableton live

>  
> In a message dated 7/3/2007 10:14:18 A.M. Eastern Standard Time,  
> nicosp@gmx.net writes:
> 
> I've  just downloaded a demo version of Ableton Live (version 6). I'm  
> considering using it for live looping. Can anyone get me started  
> (manuals, setup, general advice etc.)?
> 
> 
> 
> 
> I am thoroughly, completely and not so shamefully addicted to LIVE 6.0. 
> It's 
> great for live looping but there is a good deal to understand before going
>  
> nutz with it. It's hands down the easiest and most friendly sequencer out 
> there. You will need a couple basic pieces of equipment to use LIVE,  but
> they are 
> so basic to this craft that they are "musts" anyhow.
>  
> This is the place to start. What all do you have at this point Nico with  
> respect to equipment that you plan on using when you "play  out"? 
> 
> 
> 
> 
> ************************************** See what's free at
> http://www.aol.com.

-- 
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Browser-Versionen downloaden: http://www.gmx.net/de/go/browser

From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 22:38:08 2007
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From: "list2" <list2@moondogeast.org>
To: "LoopersDelightlist (LoopersDelightlist)" <Loopers-Delight@loopers-delight.com>
Subject: Headrush delay trails?
Date: Tue, 3 Jul 2007 22:21:32 -0400
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Greetings,

 

I am a longtime lurker and greatly appreciate all I have surreptitiously
learned over the years. I've searched the archives without success and must
come out of hiding to ask a question of my own.

 

I am considering buying a Headrush (E2). I already own a DL4 and plan on
picking up a V3 'Rang when they hit the streets, so I'm looking at the E2
primarily as a delay (with the added bonus of its looping capability.)

 

My question: While using the E2 in delay mode, will delays trail away when
the pedal is bypassed (like the DL4 in "alternate bypass" mode) or will they
cut off abruptly (like the DL4 in "factory default" mode)?

 

Thanks,

 

hoby

 

 

 

 


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</head>

<body lang=3DEN-US link=3Dblue vlink=3Dpurple>

<div class=3DSection1>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'>Greetings,<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'>I am
a longtime lurker and greatly appreciate all I have surreptitiously =
learned
over the years. I&#8217;ve searched the archives without success and =
must come
out of hiding to ask a question of my own.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'>I am
considering buying a Headrush (E2). I already own a DL4 and plan on =
picking up
a V3 &#8216;Rang when they hit the streets, so I&#8217;m looking at the =
E2
primarily as a delay (with the added bonus of its looping =
capability.)<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'>My
question: While using the E2 in delay mode, will delays trail away when =
the
pedal is bypassed (like the DL4 in &#8220;alternate bypass&#8221; mode) =
or will
they cut off abruptly (like the DL4 in &#8220;factory default&#8221; =
mode)?<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'>Thanks,<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'>hoby<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'>&nbsp;<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

</div>

</body>

</html>

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From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 22:42:12 2007
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Subject: Re: live looping with ableton live
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Thanks to everyone for their helpful comments. Reading your posts I'm 
beginning to wonder what the added value to a new setup (including 
Live) would be.

My current looping setup includes SL and Augustus Loop hosted in RAX 
(plus a number of quirky plugins) and controlled via FCB1010. I guess I 
should add that I mainly loop myself and can't do too much knob 
tweaking because I need to pluck a string every now and then :-).

What additional benefits would the combination SL, Augustus Loop and 
Live have in stall for me?

Nico

www.recpro.ch
www.myspace.com/nicospahni



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<fontfamily><param>Verdana</param><x-tad-smaller>Thanks to everyone
for their helpful comments. Reading your posts I'm beginning to wonder
what the added value to a new setup (including Live) would be. 


My current looping setup includes SL and Augustus Loop hosted in RAX
(plus a number of quirky plugins) and controlled via FCB1010. I guess
I should add that I mainly loop myself and can't do too much knob
tweaking because I need to pluck a string every now and then :-).


What additional benefits would the combination SL, Augustus Loop and
Live have in stall for me?


Nico


</x-tad-smaller><color><param>2424,4E4E,7E7E</param><x-tad-smaller>www.recpro.ch</x-tad-smaller></color><x-tad-smaller>

</x-tad-smaller><color><param>2424,4E4E,7E7E</param><x-tad-smaller>www.myspace.com/nicospahni


</x-tad-smaller></color></fontfamily>


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Date: Tue, 3 Jul 2007 17:09:13 -0700 (PDT)
From: Paul Richards <paulrichard_rocks@yahoo.com>
Subject: Kinda OT: Fulltone Soul Blender
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Yazzah!
   
  I saw a mention of the above in an article about Genesis-specifically regarding Steve Hackett's tone. Some say that the Soul Blender can mimic the tone SH used a lot with Genesis and today for that matter. I was going to pop for one on eBay. Has anyone any experience with this "fuzz tone" (in a matter of speaking)? THX!
   
  Regards, Paul



       
---------------------------------
Got a little couch potato? 
Check out fun summer activities for kids.
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<div>Yazzah!</div>  <div>&nbsp;</div>  <div>I saw a mention of the above in an article about Genesis-specifically regarding Steve Hackett's tone. Some say that the Soul Blender can mimic the tone SH used a lot with Genesis and today for that matter. I was going to pop for one on eBay. Has anyone any experience with this "fuzz tone" (in a matter of speaking)? THX!</div>  <div>&nbsp;</div>  <div>Regards, Paul<BR><BR></div><p>&#32;
      <hr size=1>Got a little couch potato? <br>
Check out fun <a href="http://us.rd.yahoo.com/evt=48248/*http://search.yahoo.com/search?fr=oni_on_mail&p=summer+activities+for+kids&cs=bz">summer activities for kids.</a>
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From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 22:52:54 2007
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Subject: Looperlative video...
Date: Wed, 4 Jul 2007 23:52:48 +0100
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howdy loopists

Here's a funky ii-V improv thing I did on a friend's bass at a house  
concert in Dallas a couple of weeks ago - gives an example of what  
you can do with the scramble function on, if you're interested...

http://www.youtube.com/watch?v=nadirgovjTo

cheers

Steve
www.stevelawson.net - site
www.stevelawson.net/zencart/ - shop
http://steve.anthropiccollective.org - blog
www.myspace.com/solobassstevelawson




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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; "><DIV>howdy =
loopists</DIV><DIV><BR class=3D"khtml-block-placeholder"></DIV>Here's a =
funky ii-V improv thing I did on a friend's bass at a house concert in =
Dallas a couple of weeks ago - gives an example of what you can do with =
the scramble function on, if you're interested...<DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><A =
href=3D"http://www.youtube.com/watch?v=3DnadirgovjTo">http://www.youtube.c=
om/watch?v=3DnadirgovjTo</A></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>cheers</DIV><DIV><BR><DIV> =
<SPAN class=3D"Apple-style-span" style=3D"border-collapse: separate; =
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normal; letter-spacing: normal; line-height: normal; text-align: auto; =
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From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 23:27:47 2007
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Subject: bowing
Date: Wed, 04 Jul 2007 16:27:43 -0700
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  Per said you use wax on the bow,I assume he means Rosin,which increases 
friction which is what violin and other string players use..I think wax 
would tend to make the bow slide more smoothly, making it harder to get a 
sound. Bows are usually made from horstails .One could possible construct 
one to suit one's needs. There's a busker in SF named Michael Masely who 
invented this way of playing hammer dulcimer/santur/cymbalom type 
instruments.He has the regular sort of hammers,with the striking surface 
extended a bit and horse hair glued in such a way that he can either strike 
the string,or bow it,He has these rigged to fit over his fingertips and 
employs sevreal at a time.   No less a personage than Nicholas Slonimski,of 
Scale Thesaurus fame was impressed enough to include him in his history of 
20th century music.Not bad for a busker.

_________________________________________________________________
http://newlivehotmail.com

From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 23:28:00 2007
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  Per said you use wax on the bow,I assume he means Rosin,which increases 
friction which is what violin and other string players use..I think wax 
would tend to make the bow slide more smoothly, making it harder to get a 
sound. Bows are usually made from horstails .One could possible construct 
one to suit one's needs. There's a busker in SF named Michael Masely who 
invented this way of playing hammer dulcimer/santur/cymbalom type 
instruments.He has the regular sort of hammers,with the striking surface 
extended a bit and horse hair glued in such a way that he can either strike 
the string,or bow it,He has these rigged to fit over his fingertips and 
employs sevreal at a time.   No less a personage than Nicholas Slonimski,of 
Scale Thesaurus fame was impressed enough to include him in his history of 
20th century music.Not bad for a busker.

_________________________________________________________________
http://im.live.com/messenger/im/home/?source=hmtextlinkjuly07

From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 23:31:15 2007
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Date: Tue, 3 Jul 2007 17:47:57 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: Re: Record Industry Decline
To: Loopers-Delight@loopers-delight.com
In-Reply-To: <0b41668b92b7b29c01de39522c04b97e@glasswing.com>
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Howdy,

 i personally think the record companies strarted
screwing themselves whenthey came out with CDs at
double the price of LPs even though the unit
production cost was the same. Add to that the RIAA
wanting to tax blank tape and recording machines and
you can see that their own greed is the major factor
of their downfall. I think.
Rig


--- Richard Sales <richard@glasswing.com> wrote:

> Yeah... GREAT article. Now, are you or are you
> related to Dan Ryman in  
> Marin?
> 
> richard sales
> glassWing farm and studio
> vancouver island, b.c.
> 800.545.6846
> 250.752.4816
> www.glassWing.com
> www.richardsales.com
> www.hayleysales.com
> www.blueberryfieldsfarm.com
> On 2-Jul-07, at 4:36 PM, ryman1960@aol.com wrote:
> 
> > Interesting article:
> >
> > http://www.rollingstone.com/news/story/15137581/ 
> > the_record_industrys_decline/print
> >  AOL now offers free email to everyone. Find out
> more about what's  
> > free from AOL at AOL.com.
> 



       
____________________________________________________________________________________
Sick sense of humor? Visit Yahoo! TV's 
Comedy with an Edge to see what's on, when. 
http://tv.yahoo.com/collections/222

From Loopers-Delight-request@loopers-delight.com  Wed Jul  4 23:42:22 2007
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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: bows for guitars
Date: Tue, 3 Jul 2007 17:06:15 -0700
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On Jul 3, 2007, at 4:00 PM, L.A. Angulo wrote:

> id like to start experimenting with bows which work
> better for guitars

Hi

I've heard good things about these:

http://www.incredibow.com/


regards

BobC




http://tinyurl.com/yt8f8j
http://www.youtube.com/watch?v=-30Z5-Lwyag
http://www.youtube.com/watch?v=rVO-ZSWFa7E
http://www.dailymotion.com/yapruder/video/4006596

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 00:20:22 2007
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From: Jeff Shirkey <jcshirke@midway.uchicago.edu>
Subject: Re: Kinda OT: Fulltone Soul Blender
Date: Wed, 4 Jul 2007 19:22:07 -0500
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It's a great pedal. Does Led Zep stuff real well, too, imo. There are  
usually plenty of samples on the Fulltone site. Search The Gear Page  
for reviews/clips also.

Jeff

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Date: Wed, 4 Jul 2007 19:27:47 -0500
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Subject: RE: live looping with ableton live
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At 5:29 PM -0700 7/3/07, Mark Sottilaro wrote:
>Yeah, but just make sure your tempo is a whole number and it will work.

Well, I was hoping that the MIDI Looper in the Ztar should be able to 
do "first loop" capability (although, that's an assumption: the axe 
doesn't actually arrive until Friday, and I'm still trying to puzzle 
through the manual).

If I'm required to set a tempo manually, you're absolutely right; 
your tip should work with no problem.  If I'm lucky, though, I should 
be able to whack out a MIDI sequence and loop it the same as any 
other first loop device.  Of course, then I have to deal with 
Ableton's flakiness.  :P

Please, somebody shoot me....

	--m.
-- 
_____
"I want to keep you alive so there is always the possibility of 
murder... later"

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At hte NAMM show last year, I played one of these things:

http://www.bowedguitar.com/

The "Togaman". Wow, EXTREMELY cool. Tuned like a guitar, with arched frets 
and bridge. You can stop the strings either in mid-air or by pressing 
against the frets. Sounds like an electric violin. I was really impressed. 
Sounds great and relatively easy to play.

Mark Smart
http://www.marksmart.net

----- Original Message ----- 
From: "RP Collier" <skeptikalist@gmail.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Tuesday, July 03, 2007 7:06 PM
Subject: Re: bows for guitars


>
> On Jul 3, 2007, at 4:00 PM, L.A. Angulo wrote:
>
>> id like to start experimenting with bows which work
>> better for guitars
>
> Hi
>
> I've heard good things about these:
>
> http://www.incredibow.com/
>
>
> regards
>
> BobC
>
>
>
>
> http://tinyurl.com/yt8f8j
> http://www.youtube.com/watch?v=-30Z5-Lwyag
> http://www.youtube.com/watch?v=rVO-ZSWFa7E
> http://www.dailymotion.com/yapruder/video/4006596 

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 00:51:08 2007
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Date: Wed, 4 Jul 2007 19:51:02 -0500
To: Loopers-Delight@loopers-delight.com
From: Mech <mech@m3ch.net>
Subject: Re: live looping with ableton live
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At 4:17 PM +0200 7/4/07, nico spahni wrote:
>
>My current looping setup includes SL and Augustus Loop hosted in RAX 
>(plus a number of quirky plugins) and controlled via FCB1010. I 
>guess I should add that I mainly loop myself and can't do too much 
>knob tweaking because I need to pluck a string every now and then 
>:-).
>
>What additional benefits would the combination SL, Augustus Loop and 
>Live have in stall for me?

Nico,

Last year, I did an A/B comparison between both Live (version 5) and 
Rax (whatever the final version was before Plasq stopped producing 
it) as a host.  I keep looking for a more streamlined, pared-down 
host than Ableton (I don't use nearly all its functions), but keep 
getting dragged back to it again and again.

I stuck with Live over Rax for the following reasons:

CPU usage: believe it or not, Live is actually more CPU efficient 
than Rax (by about 5-10% on average, in a Powerbook G4 1.67MHz). 
This is based on loading the same VST/AU's into each host, in a 
similar configuration.  Even without Rax's visualizer running, Live 
was generally easier on the CPU, even though its more feature-laden.

Support for Multi-Output Interfaces: At the time, I was doing a lot 
of effect loops out the spare interface jacks to/from external 
hardware.  Always had a problem with getting Rax proprely configured 
there.

Routing: Very few pieces of software have as flexible a routing 
scheme as Live.  There's no problem with patching any source or 
effect into any other source or effect on the fly, even doing splits 
and submixes or send/insert effect chains.

Now, one thing I don't remember testing on Rax was whether it had the 
slave-sync idiosyncrasies that plague Live, so that could be a point 
in Rax's favor.

Finally, I went back over to Live before Plasq discontinued it so I 
don't remember for certain, but did they ever put out a Universal 
Binary version of Rax?  I was thinking that they might have ceased 
development before a UB version was released.

	--m.
-- 
_____
"I want to keep you alive so there is always the possibility of 
murder... later"

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 00:51:53 2007
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From: "list2" <list2@moondogeast.org>
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Greetings,

 

I am a longtime lurker and greatly appreciate all I have surreptitiously
learned over the years. I've searched the archives without success and must
come out of hiding to ask a question of my own.

 

I am considering buying a Headrush (E2). I already own a DL4 and plan on
picking up a V3 'Rang when they hit the streets, so I'm looking at the E2
primarily as a delay (with the added bonus of its looping capability.)

 

My question: While using the E2 in delay mode, will delays trail away when
the pedal is bypassed (like the DL4 in "alternate bypass" mode) or will they
cut off abruptly (like the DL4 in "factory default" mode)?

 

Thanks,

 

hoby

 

 

 


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'>Greetings,<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'>I am
a longtime lurker and greatly appreciate all I have surreptitiously =
learned
over the years. I&#8217;ve searched the archives without success and =
must come
out of hiding to ask a question of my own.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'>I am
considering buying a Headrush (E2). I already own a DL4 and plan on =
picking up
a V3 &#8216;Rang when they hit the streets, so I&#8217;m looking at the =
E2
primarily as a delay (with the added bonus of its looping =
capability.)<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'>My
question: While using the E2 in delay mode, will delays trail away when =
the
pedal is bypassed (like the DL4 in &#8220;alternate bypass&#8221; mode) =
or will
they cut off abruptly (like the DL4 in &#8220;factory default&#8221; =
mode)?<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'>Thanks,<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'>hoby<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

</div>

</body>

</html>

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From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 01:18:55 2007
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Date: Wed, 4 Jul 2007 18:18:53 -0700 (PDT)
From: Tim Nelson <psychle62@yahoo.com>
Subject: Re: bows for guitars
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That's very cool.

It's basically the same as an arpeggione (although
electrified and solid-bodied), an instrument which
enjoyed some popularity a few hundred years ago that
allowed guitarists to double on a cello-like
instrument; it was essentially a fretted guitar with a
tightly radiused fingerboard and a narrow waist for
bowing.

-t-

--- Mark Smart <mwsmart@insightbb.com> wrote:

> At hte NAMM show last year, I played one of these
> things:
> 
> http://www.bowedguitar.com/
> 
> The "Togaman". Wow, EXTREMELY cool. Tuned like a
> guitar, with arched frets 
> and bridge. You can stop the strings either in
> mid-air or by pressing 
> against the frets. Sounds like an electric violin. I
> was really impressed. 
> Sounds great and relatively easy to play.


http://www.myspace.com/nimbletunes
http://cdbaby.com/all/timnelson


      ____________________________________________________________________________________
Luggage? GPS? Comic books? 
Check out fitting gifts for grads at Yahoo! Search
http://search.yahoo.com/search?fr=oni_on_mail&p=graduation+gifts&cs=bz

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 01:48:18 2007
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From: "RICK WALKER" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: bows for guitars
Date: Wed, 4 Jul 2007 18:48:10 -0700
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Hey Luis,

I've been bowing things for many years and currently own several bows.

A few salient things that might interest you:

1)  Suzuki makes very small bows for their graduated size violins for their 
method
of teaching little kids.     I went into Sylvain music and bought the very 
smallest bow
that they sold for $25 and it has become my favorite of all of my bows (I 
have bass
bows, cello bows,  regular sized violin bows, tiny Suzuki bows and a bowed 
psaltery bow).
It is by far the cheapest bow you can purchase.    I just resin the hell out 
of it when playing
bass,  guitar, mandolin, banjo, oud or saz
http://imagehost.vendio.com/bin/viewimage.x/00000000/sux2bepoor/2031.jpg?vvid=65324393&sp=1

2)  Barry Cleveland, the fine guitarist and writer for Guitar Player 
magazine just told me he is
saving his money becausea guy in Los Angeles is making a curved fretboard 
'ViolGuitar',
a six string normally tuned guitar with a curved bridge that is designed 
expressedly for bowing.
I'll find out more from him about it.   Barry uses a lot of bow on his CDs 
and did the other
night if I"m not mistaken when we played together with Michael Manring and 
Robert Powell.
He has several fine ones out and debuted at the Y2K6 loopfestival last year 
and will be playing
again this year,  thankfully     http://www.barrycleveland.com/.

3) Using a traditional guitar,   barr chords and or one of those beautiful 
rolling capos
it's really great to throw a guitar into open tunings so that you can bow 
across the entire
surface of the bow.

4) I use a bowed psaltery bow that I had customized (but which you could 
purchase through
Lark in the Morning in California) that is a bowed symmetrical bow (curved 
shape).

I customized mine by going out and finding the thinnest brass plating I 
could possibly find
and then wrapping part of the curved wooden part of the bow.   This creates 
an
ersatz slide that allows you to use three techniques in one piece of music
1)  turn it upside down and use it to 'hammer' the strings like a hammered 
dulcimer.
    (the small curved body is excellent for bouncing off the strings)
2)  you can just bow the strings conventionally or
3)  you can turn the bow upside down and use the brass portion as a slide

By tuning a mandolin into an open tuning (I'm just in love with DADE because 
of it's lydian barr harmonics
and sus2 feel)  you use both hands to play the instrument in a drone line 
fashion (it's great for creating
really intriguing loops that are, nonetheless,  open ended to play anything 
on top of because they aren't
dense harmonically speaking.    I use a blue plastic tiki martini skewer as 
a hammer in one hand
and my psaltery bow in the other to create different kinds of rhythmic or 
pad styled textures.

Additionally, just to make it even more idiosyncratic,  I prepare the 
mandolin with alligator clips and bicycle
chains but then tune it to an open tuning once the instrument is prepared.

It's a great droning timbre with all of these different kinds of strikes.

I just wish that the wonderful Cimbalon player Michael Masley would sell his 
inventions..........he has invented
hammered dulcimer hammers that have small curves bow at the very ends that 
velcro onto his fingers.

Check his amazing music out for some ethereal bowed goodness.
www.artistgeneral.com

************
and one last thought,    Did you ever see the keyboardist Lyle Mays play 
with Pat Metheny back in the original days of his
quartets on ECM records?      He was fond of tuning an autoharp to open 
tunings,  putting a mic on it and then
occasionally strumming a lush chord over the top of his acoustic piano 
playing with a pic and his left hand.
It was a lovely and ethereal sound.

It occurred to me that the same thing could be done with simple children's 
zithers that are sold lots of places.
These are cheap instrument (usually from $20-$40 each) and they are 
small.................you could
easily put contact mics on a couple of them and tune them to some cool 
chords and just bow them or strike them
at different places during your sets.    Hey,  I think I'm going to do that 
right now.  I"ve collected a bunch of them

Good luck with your bowing.

love, Rick 

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 01:54:22 2007
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Date: Wed, 4 Jul 2007 20:54:20 -0500
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I had one of these:

http://www.piranhaguitarbow.com/

I never got anything remotely satisfactory out of it. There's also an
electric Gamba someone is making -- heck, I'm on the internet -- just a
sec.:

http://www.ruby-gamba.com/mainpage.html






On 7/4/07, RICK WALKER <looppool@cruzio.com> wrote:
>
> Hey Luis,
>
> I've been bowing things for many years and currently own several bows.
>
> A few salient things that might interest you:
>
> 1)  Suzuki makes very small bows for their graduated size violins for
> their
> method
> of teaching little kids.     I went into Sylvain music and bought the very
> smallest bow
> that they sold for $25 and it has become my favorite of all of my bows (I
> have bass
> bows, cello bows,  regular sized violin bows, tiny Suzuki bows and a bowed
> psaltery bow).
> It is by far the cheapest bow you can purchase.    I just resin the hell
> out
> of it when playing
> bass,  guitar, mandolin, banjo, oud or saz
>
> http://imagehost.vendio.com/bin/viewimage.x/00000000/sux2bepoor/2031.jpg?vvid=65324393&sp=1
>
> 2)  Barry Cleveland, the fine guitarist and writer for Guitar Player
> magazine just told me he is
> saving his money becausea guy in Los Angeles is making a curved fretboard
> 'ViolGuitar',
> a six string normally tuned guitar with a curved bridge that is designed
> expressedly for bowing.
> I'll find out more from him about it.   Barry uses a lot of bow on his CDs
> and did the other
> night if I"m not mistaken when we played together with Michael Manring and
> Robert Powell.
> He has several fine ones out and debuted at the Y2K6 loopfestival last
> year
> and will be playing
> again this year,  thankfully     http://www.barrycleveland.com/.
>
> 3) Using a traditional guitar,   barr chords and or one of those beautiful
> rolling capos
> it's really great to throw a guitar into open tunings so that you can bow
> across the entire
> surface of the bow.
>
> 4) I use a bowed psaltery bow that I had customized (but which you could
> purchase through
> Lark in the Morning in California) that is a bowed symmetrical bow (curved
> shape).
>
> I customized mine by going out and finding the thinnest brass plating I
> could possibly find
> and then wrapping part of the curved wooden part of the bow.   This
> creates
> an
> ersatz slide that allows you to use three techniques in one piece of music
> 1)  turn it upside down and use it to 'hammer' the strings like a hammered
> dulcimer.
>     (the small curved body is excellent for bouncing off the strings)
> 2)  you can just bow the strings conventionally or
> 3)  you can turn the bow upside down and use the brass portion as a slide
>
> By tuning a mandolin into an open tuning (I'm just in love with DADE
> because
> of it's lydian barr harmonics
> and sus2 feel)  you use both hands to play the instrument in a drone line
> fashion (it's great for creating
> really intriguing loops that are, nonetheless,  open ended to play
> anything
> on top of because they aren't
> dense harmonically speaking.    I use a blue plastic tiki martini skewer
> as
> a hammer in one hand
> and my psaltery bow in the other to create different kinds of rhythmic or
> pad styled textures.
>
> Additionally, just to make it even more idiosyncratic,  I prepare the
> mandolin with alligator clips and bicycle
> chains but then tune it to an open tuning once the instrument is prepared.
>
> It's a great droning timbre with all of these different kinds of strikes.
>
> I just wish that the wonderful Cimbalon player Michael Masley would sell
> his
> inventions..........he has invented
> hammered dulcimer hammers that have small curves bow at the very ends that
> velcro onto his fingers.
>
> Check his amazing music out for some ethereal bowed goodness.
> www.artistgeneral.com
>
> ************
> and one last thought,    Did you ever see the keyboardist Lyle Mays play
> with Pat Metheny back in the original days of his
> quartets on ECM records?      He was fond of tuning an autoharp to open
> tunings,  putting a mic on it and then
> occasionally strumming a lush chord over the top of his acoustic piano
> playing with a pic and his left hand.
> It was a lovely and ethereal sound.
>
> It occurred to me that the same thing could be done with simple children's
> zithers that are sold lots of places.
> These are cheap instrument (usually from $20-$40 each) and they are
> small.................you could
> easily put contact mics on a couple of them and tune them to some cool
> chords and just bow them or strike them
> at different places during your sets.    Hey,  I think I'm going to do
> that
> right now.  I"ve collected a bunch of them
>
> Good luck with your bowing.
>
> love, Rick
>
>

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I had one of these:<br><br><a href="http://www.piranhaguitarbow.com/">http://www.piranhaguitarbow.com/</a><br><br>I never got anything remotely satisfactory out of it. There&#39;s also an electric Gamba someone is making -- heck, I&#39;m on the internet -- just a sec.:
<br><br><a href="http://www.ruby-gamba.com/mainpage.html">http://www.ruby-gamba.com/mainpage.html</a><br><br><br><br><br><br><br><div><span class="gmail_quote">On 7/4/07, <b class="gmail_sendername">RICK WALKER</b> &lt;<a href="mailto:looppool@cruzio.com">
looppool@cruzio.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Hey Luis,<br><br>I&#39;ve been bowing things for many years and currently own several bows.
<br><br>A few salient things that might interest you:<br><br>1)&nbsp;&nbsp;Suzuki makes very small bows for their graduated size violins for their<br>method<br>of teaching little kids.&nbsp;&nbsp;&nbsp;&nbsp; I went into Sylvain music and bought the very
<br>smallest bow<br>that they sold for $25 and it has become my favorite of all of my bows (I<br>have bass<br>bows, cello bows,&nbsp;&nbsp;regular sized violin bows, tiny Suzuki bows and a bowed<br>psaltery bow).<br>It is by far the cheapest bow you can purchase.&nbsp;&nbsp;&nbsp;&nbsp;I just resin the hell out
<br>of it when playing<br>bass,&nbsp;&nbsp;guitar, mandolin, banjo, oud or saz<br><a href="http://imagehost.vendio.com/bin/viewimage.x/00000000/sux2bepoor/2031.jpg?vvid=65324393&amp;sp=1">http://imagehost.vendio.com/bin/viewimage.x/00000000/sux2bepoor/2031.jpg?vvid=65324393&amp;sp=1
</a><br><br>2)&nbsp;&nbsp;Barry Cleveland, the fine guitarist and writer for Guitar Player<br>magazine just told me he is<br>saving his money becausea guy in Los Angeles is making a curved fretboard<br>&#39;ViolGuitar&#39;,<br>a six string normally tuned guitar with a curved bridge that is designed
<br>expressedly for bowing.<br>I&#39;ll find out more from him about it.&nbsp;&nbsp; Barry uses a lot of bow on his CDs<br>and did the other<br>night if I&quot;m not mistaken when we played together with Michael Manring and<br>Robert Powell.
<br>He has several fine ones out and debuted at the Y2K6 loopfestival last year<br>and will be playing<br>again this year,&nbsp;&nbsp;thankfully&nbsp;&nbsp;&nbsp;&nbsp; <a href="http://www.barrycleveland.com/">http://www.barrycleveland.com/</a>.<br><br>
3) Using a traditional guitar,&nbsp;&nbsp; barr chords and or one of those beautiful<br>rolling capos<br>it&#39;s really great to throw a guitar into open tunings so that you can bow<br>across the entire<br>surface of the bow.<br><br>
4) I use a bowed psaltery bow that I had customized (but which you could<br>purchase through<br>Lark in the Morning in California) that is a bowed symmetrical bow (curved<br>shape).<br><br>I customized mine by going out and finding the thinnest brass plating I
<br>could possibly find<br>and then wrapping part of the curved wooden part of the bow.&nbsp;&nbsp; This creates<br>an<br>ersatz slide that allows you to use three techniques in one piece of music<br>1)&nbsp;&nbsp;turn it upside down and use it to &#39;hammer&#39; the strings like a hammered
<br>dulcimer.<br>&nbsp;&nbsp;&nbsp;&nbsp;(the small curved body is excellent for bouncing off the strings)<br>2)&nbsp;&nbsp;you can just bow the strings conventionally or<br>3)&nbsp;&nbsp;you can turn the bow upside down and use the brass portion as a slide<br>
<br>By tuning a mandolin into an open tuning (I&#39;m just in love with DADE because<br>of it&#39;s lydian barr harmonics<br>and sus2 feel)&nbsp;&nbsp;you use both hands to play the instrument in a drone line<br>fashion (it&#39;s great for creating
<br>really intriguing loops that are, nonetheless,&nbsp;&nbsp;open ended to play anything<br>on top of because they aren&#39;t<br>dense harmonically speaking.&nbsp;&nbsp;&nbsp;&nbsp;I use a blue plastic tiki martini skewer as<br>a hammer in one hand<br>
and my psaltery bow in the other to create different kinds of rhythmic or<br>pad styled textures.<br><br>Additionally, just to make it even more idiosyncratic,&nbsp;&nbsp;I prepare the<br>mandolin with alligator clips and bicycle<br>
chains but then tune it to an open tuning once the instrument is prepared.<br><br>It&#39;s a great droning timbre with all of these different kinds of strikes.<br><br>I just wish that the wonderful Cimbalon player Michael Masley would sell his
<br>inventions..........he has invented<br>hammered dulcimer hammers that have small curves bow at the very ends that<br>velcro onto his fingers.<br><br>Check his amazing music out for some ethereal bowed goodness.<br><a href="http://www.artistgeneral.com">
www.artistgeneral.com</a><br><br>************<br>and one last thought,&nbsp;&nbsp;&nbsp;&nbsp;Did you ever see the keyboardist Lyle Mays play<br>with Pat Metheny back in the original days of his<br>quartets on ECM records?&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;He was fond of tuning an autoharp to open
<br>tunings,&nbsp;&nbsp;putting a mic on it and then<br>occasionally strumming a lush chord over the top of his acoustic piano<br>playing with a pic and his left hand.<br>It was a lovely and ethereal sound.<br><br>It occurred to me that the same thing could be done with simple children&#39;s
<br>zithers that are sold lots of places.<br>These are cheap instrument (usually from $20-$40 each) and they are<br>small.................you could<br>easily put contact mics on a couple of them and tune them to some cool
<br>chords and just bow them or strike them<br>at different places during your sets.&nbsp;&nbsp;&nbsp;&nbsp;Hey,&nbsp;&nbsp;I think I&#39;m going to do that<br>right now.&nbsp;&nbsp;I&quot;ve collected a bunch of them<br><br>Good luck with your bowing.<br><br>love, Rick
<br><br></blockquote></div><br>

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From: "Travis Hartnett" <travishartnett@gmail.com>
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Exciting bowed guitar? Try Sigur Ros.

The problem with bowing a guitar is that "proper" bowing technique
requires a much more curved bridge radius (and corresponding fretboard
radius) than production guitars feature.  One solution to this is the
BoTar:

http://www.dramm.de/botare.htm

TH


On 7/3/07, L.A. Angulo <labaloops@yahoo.com> wrote:
> Hi Gang,
> id like to start experimenting with bows which work
> better for guitars and can you spare some techniques
> string gage etc.?Although Jimmy page has been an
> inspiration i didnt find his bowing technique
> particulary exciting,any other artists out there?
> thanx!
> Luis

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Date: Wed, 4 Jul 2007 22:38:56 -0400
From: "Jim Goodin" <jimgoodinmusic@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Record Industry Decline
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I would concur with Bill. I'm sure there is much fear in the traditional
brick and mortar industry.  Though harder to realize income and exact
marketing the Internet has truely provided a "chance" for all who will
enter.

Happy 4th to all on LD.

Jim
www.jimgoodinmusic.com
www.chinapaintingmusic.com



On 7/3/07, bill bigrig <billbigrig@yahoo.com> wrote:
>
> Howdy,
>
> i personally think the record companies strarted
> screwing themselves whenthey came out with CDs at
> double the price of LPs even though the unit
> production cost was the same. Add to that the RIAA
> wanting to tax blank tape and recording machines and
> you can see that their own greed is the major factor
> of their downfall. I think.
> Rig
>
>
> --- Richard Sales <richard@glasswing.com> wrote:
>
> > Yeah... GREAT article. Now, are you or are you
> > related to Dan Ryman in
> > Marin?
> >
> > richard sales
> > glassWing farm and studio
> > vancouver island, b.c.
> > 800.545.6846
> > 250.752.4816
> > www.glassWing.com
> > www.richardsales.com
> > www.hayleysales.com
> > www.blueberryfieldsfarm.com
> > On 2-Jul-07, at 4:36 PM, ryman1960@aol.com wrote:
> >
> > > Interesting article:
> > >
> > > http://www.rollingstone.com/news/story/15137581/
> > > the_record_industrys_decline/print
> > >  AOL now offers free email to everyone. Find out
> > more about what's
> > > free from AOL at AOL.com.
> >
>
>
>
>
>
> ____________________________________________________________________________________
> Sick sense of humor? Visit Yahoo! TV's
> Comedy with an Edge to see what's on, when.
> http://tv.yahoo.com/collections/222
>
>


-- 
The Acoustic World Guitar of Jim Goodin  - http://www.jimgoodinmusic.com
MySpace (solo) - http://www.myspace.com/jimgoodinmusic
Chinapainting -
http://www.chinapaintingmusic.com
Chinapainting on My Space -
http://www.myspace.com/chinapaintingmusic.com
The Jim Goodin label and home for 7 other creative souls -
http://www.woodandwiremusic.com
Jim Goodin uses GHS Strings - http://www.ghsstrings.com and Seagull Guitars
- http://www.seagullguitars.com, Jim Goodin is published by Mel Bay
Publications, Inc. - http://www.melbay.com

Associates and friends on the web -
Daryl Shawn -
http://www.swanwelder.com
Adam Werner - http://www.adamwerner.com
John Stowell - http://www.johnstowell.com
Matt Richards - http://www.mattrichardsmusic.net
Michael Manring - http://www.manthing.com
Will Ackerman - http://www.williamackerman.com
New Land Music - http://www.newlandmusic.com

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<div>I would concur with Bill.&nbsp;I&#39;m sure there is much fear in the traditional brick and mortar industry.&nbsp; Though harder to realize income and exact marketing the Internet has truely provided a &quot;chance&quot; for all who will enter.
</div>
<div>&nbsp;</div>
<div>Happy 4th to all on LD.</div>
<div>&nbsp;</div>
<div>Jim</div>
<div><a href="http://www.jimgoodinmusic.com">www.jimgoodinmusic.com</a></div>
<div><a href="http://www.chinapaintingmusic.com">www.chinapaintingmusic.com</a></div>
<div><br><br>&nbsp;</div>
<div><span class="gmail_quote">On 7/3/07, <b class="gmail_sendername">bill bigrig</b> &lt;<a href="mailto:billbigrig@yahoo.com">billbigrig@yahoo.com</a>&gt; wrote:</span>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">Howdy,<br><br>i personally think the record companies strarted<br>screwing themselves whenthey came out with CDs at
<br>double the price of LPs even though the unit<br>production cost was the same. Add to that the RIAA<br>wanting to tax blank tape and recording machines and<br>you can see that their own greed is the major factor<br>of their downfall. I think.
<br>Rig<br><br><br>--- Richard Sales &lt;<a href="mailto:richard@glasswing.com">richard@glasswing.com</a>&gt; wrote:<br><br>&gt; Yeah... GREAT article. Now, are you or are you<br>&gt; related to Dan Ryman in<br>&gt; Marin?
<br>&gt;<br>&gt; richard sales<br>&gt; glassWing farm and studio<br>&gt; vancouver island, b.c.<br>&gt; 800.545.6846<br>&gt; 250.752.4816<br>&gt; <a href="http://www.glassWing.com">www.glassWing.com</a><br>&gt; <a href="http://www.richardsales.com">
www.richardsales.com</a><br>&gt; <a href="http://www.hayleysales.com">www.hayleysales.com</a><br>&gt; <a href="http://www.blueberryfieldsfarm.com">www.blueberryfieldsfarm.com</a><br>&gt; On 2-Jul-07, at 4:36 PM, <a href="mailto:ryman1960@aol.com">
ryman1960@aol.com</a> wrote:<br>&gt;<br>&gt; &gt; Interesting article:<br>&gt; &gt;<br>&gt; &gt; <a href="http://www.rollingstone.com/news/story/15137581/">http://www.rollingstone.com/news/story/15137581/</a><br>&gt; &gt; the_record_industrys_decline/print
<br>&gt; &gt;&nbsp;&nbsp;AOL now offers free email to everyone. Find out<br>&gt; more about what&#39;s<br>&gt; &gt; free from AOL at AOL.com.<br>&gt;<br><br><br><br><br>____________________________________________________________________________________
<br>Sick sense of humor? Visit Yahoo! TV&#39;s<br>Comedy with an Edge to see what&#39;s on, when.<br><a href="http://tv.yahoo.com/collections/222">http://tv.yahoo.com/collections/222</a><br><br></blockquote></div><br><br clear="all">
<br>-- <br>The Acoustic World Guitar of Jim Goodin&nbsp;&nbsp;- <a href="http://www.jimgoodinmusic.com">http://www.jimgoodinmusic.com</a><br>MySpace (solo) - <a href="http://www.myspace.com/jimgoodinmusic">http://www.myspace.com/jimgoodinmusic
</a><br>Chinapainting -<br><a href="http://www.chinapaintingmusic.com">http://www.chinapaintingmusic.com</a><br>Chinapainting on My Space -<br><a href="http://www.myspace.com/chinapaintingmusic.com">http://www.myspace.com/chinapaintingmusic.com
</a><br>The Jim Goodin label and home for 7 other creative souls - <a href="http://www.woodandwiremusic.com">http://www.woodandwiremusic.com</a> <br>Jim Goodin uses GHS Strings - <a href="http://www.ghsstrings.com">http://www.ghsstrings.com
</a> and Seagull Guitars - <a href="http://www.seagullguitars.com">http://www.seagullguitars.com</a>, Jim Goodin is published by Mel Bay Publications, Inc. - <a href="http://www.melbay.com">http://www.melbay.com</a><br><br>
Associates and friends on the web -<br>Daryl Shawn -<br><a href="http://www.swanwelder.com">http://www.swanwelder.com</a><br>Adam Werner - <a href="http://www.adamwerner.com">http://www.adamwerner.com</a><br>John Stowell - 
<a href="http://www.johnstowell.com">http://www.johnstowell.com</a><br>Matt Richards - <a href="http://www.mattrichardsmusic.net">http://www.mattrichardsmusic.net</a><br>Michael Manring - <a href="http://www.manthing.com">
http://www.manthing.com</a><br>Will Ackerman - <a href="http://www.williamackerman.com">http://www.williamackerman.com</a><br>New Land Music - <a href="http://www.newlandmusic.com">http://www.newlandmusic.com</a> 

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From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 02:59:23 2007
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Date: Wed, 4 Jul 2007 19:59:22 -0700 (PDT)
From: jan gyn <jan_gyn@yahoo.com>
Subject: Re: Kinda OT: Fulltone Soul Blender
To: Loopers-Delight@loopers-delight.com
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I have one.
Great 60s Jeff Beck sounds.
It's my favorite Fulltone pedal.
-jan

--- Paul Richards <paulrichard_rocks@yahoo.com> wrote:

> Yazzah!
>    
>   I saw a mention of the above in an article about
> Genesis-specifically regarding Steve Hackett's tone.
> Some say that the Soul Blender can mimic the tone SH
> used a lot with Genesis and today for that matter. I
> was going to pop for one on eBay. Has anyone any
> experience with this "fuzz tone" (in a matter of
> speaking)? THX!
>    
>   Regards, Paul
> 
> 
> 
>        
> ---------------------------------
> Got a little couch potato? 
> Check out fun summer activities for kids.



       
____________________________________________________________________________________
Be a better Heartthrob. Get better relationship answers from someone who knows. Yahoo! Answers - Check it out. 
http://answers.yahoo.com/dir/?link=list&sid=396545433

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Subject: Re: bows for guitars
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Not exactly what you were looking for, but fun to look at anyway:

http://www.bowedguitar.com/

http://www.dramm.de/botare.htm

http://www.woodviolins.com (fretted 6-string violins and cellos)

http://www.piranhaguitarbow.com/


--Josh



On Jul 3, 2007, at 6:00 PM, L.A. Angulo wrote:

> Hi Gang,
> id like to start experimenting with bows which work
> better for guitars and can you spare some techniques
> string gage etc.?Although Jimmy page has been an
> inspiration i didnt find his bowing technique
> particulary exciting,any other artists out there?
> thanx!
> Luis
>
> www.myspace.com/luisangulocom
>
>
>
> ______________________________________________________________________ 
> ______________
> Yahoo! oneSearch: Finally, mobile search
> that gives answers, not web links.
> http://mobile.yahoo.com/mobileweb/onesearch?refer=1ONXIC
>
>
>

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 04:59:28 2007
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From: Craig McCollough <craig@craigmccollough.com>
Subject: Re: Laptops -dedicated to music only?
Date: Tue, 3 Jul 2007 17:12:48 -0700
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well, it doesn't quite work that way - the speed of the media being  
used does not actually match the speed of actual RAM. I wouldn't  
trust an audio application with ReadyBoost. It is a very cool idea,  
but no one should be misled in to thinking that it is the equivalent  
of adding more real RAM. And for systems with >1GB RAM there appears  
to be no significant performance increase whatsoever, AFAIK.

http://en.wikipedia.org/wiki/ReadyBoost
Windows Help: http://preview.tinyurl.com/2dhs4g

cheers,
craig

On Jul 3, 2007, at 4:02 PM, L.A. Angulo wrote:

> wow!
>>
>> There is one KILLER advantageous feature that Vista
>> offers however. USB  Plug
>> n play virtual RAM. Now *that* smokes! Can you
>> imagine a laptop with 2 gig
>> of maxed ram becoming a 4 or 6 gig system in an
>> instant? An elephant ain't  the
>> only beasty in the local jungle soon destined to
>> never  forget.
>
>
> www.myspace.com/luisangulocom
>
>
>
> ______________________________________________________________________ 
> ______________
> Never miss an email again!
> Yahoo! Toolbar alerts you the instant new Mail arrives.
> http://tools.search.yahoo.com/toolbar/features/mail/
>

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 05:33:45 2007
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Date: Wed, 4 Jul 2007 22:33:25 -0700
From: "Michael Billow" <mbillow@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Record Industry Decline
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I agree that the Record Companies have not handled
this well, the worst of which was suing people for
downloading music from trade sites. But the reason
for their downfall is not their conduct, it is the changing
world of technology and the fact that music can now
be traded so easily, all over the world. Its the internet,
nobody's fault really. Its basically no different from being
able to record a record on your cassette player in the
70s, except now you can share and trade with thousands
of people from your own computer.But the music industry
is going to have to scramble to roll with the changes.

On 7/3/07, bill bigrig <billbigrig@yahoo.com> wrote:
>
> Howdy,
> i personally think the record companies strarted
> screwing themselves whenthey came out with CDs at
> double the price of LPs even though the unit
> production cost was the same. Add to that the RIAA
> wanting to tax blank tape and recording machines and
> you can see that their own greed is the major factor
> of their downfall. I think.
> Rig
>
>
> --- Richard Sales <richard@glasswing.com> wrote:
>
> > Yeah... GREAT article. Now, are you or are you
> > related to Dan Ryman in
> > Marin?
> >
> > richard sales
> > glassWing farm and studio
> > vancouver island, b.c.
> > 800.545.6846
> > 250.752.4816
> > www.glassWing.com
> > www.richardsales.com
> > www.hayleysales.com
> > www.blueberryfieldsfarm.com
> > On 2-Jul-07, at 4:36 PM, ryman1960@aol.com wrote:
> >
> > > Interesting article:
> > >
> > > http://www.rollingstone.com/news/story/15137581/
> > > the_record_industrys_decline/print
> > >  AOL now offers free email to everyone. Find out
> > more about what's
> > > free from AOL at AOL.com.
> >
>
>
>
>
>
> ____________________________________________________________________________________
> Sick sense of humor? Visit Yahoo! TV's
> Comedy with an Edge to see what's on, when.
> http://tv.yahoo.com/collections/222
>
>

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I agree that the Record Companies have not handled<br>this well, the worst of which was suing people for<br>downloading music from trade sites. But the reason<br>for their downfall is not their conduct, it is the changing<br>
world of technology and the fact that music can now<br>be traded so easily, all over the world. Its the internet, <br>nobody&#39;s fault really. Its basically no different from being <br>able to record a record on your cassette player in the 
<br>70s, except now you can share and trade with thousands <br>of people from your own computer.But the music industry<br>is going to have to scramble to roll with the changes.<br><br><div><span class="gmail_quote">On 7/3/07, 
<b class="gmail_sendername">bill bigrig</b> &lt;<a href="mailto:billbigrig@yahoo.com">billbigrig@yahoo.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Howdy,<br> i personally think the record companies strarted<br>screwing themselves whenthey came out with CDs at<br>double the price of LPs even though the unit<br>production cost was the same. Add to that the RIAA<br>wanting to tax blank tape and recording machines and
<br>you can see that their own greed is the major factor<br>of their downfall. I think.<br>Rig<br><br><br>--- Richard Sales &lt;<a href="mailto:richard@glasswing.com">richard@glasswing.com</a>&gt; wrote:<br><br>&gt; Yeah... GREAT article. Now, are you or are you
<br>&gt; related to Dan Ryman in<br>&gt; Marin?<br>&gt;<br>&gt; richard sales<br>&gt; glassWing farm and studio<br>&gt; vancouver island, b.c.<br>&gt; 800.545.6846<br>&gt; 250.752.4816<br>&gt; <a href="http://www.glassWing.com">
www.glassWing.com</a><br>&gt; <a href="http://www.richardsales.com">www.richardsales.com</a><br>&gt; <a href="http://www.hayleysales.com">www.hayleysales.com</a><br>&gt; <a href="http://www.blueberryfieldsfarm.com">www.blueberryfieldsfarm.com
</a><br>&gt; On 2-Jul-07, at 4:36 PM, <a href="mailto:ryman1960@aol.com">ryman1960@aol.com</a> wrote:<br>&gt;<br>&gt; &gt; Interesting article:<br>&gt; &gt;<br>&gt; &gt; <a href="http://www.rollingstone.com/news/story/15137581/">
http://www.rollingstone.com/news/story/15137581/</a><br>&gt; &gt; the_record_industrys_decline/print<br>&gt; &gt;&nbsp;&nbsp;AOL now offers free email to everyone. Find out<br>&gt; more about what&#39;s<br>&gt; &gt; free from AOL at 
AOL.com.<br>&gt;<br><br><br><br><br>____________________________________________________________________________________<br>Sick sense of humor? Visit Yahoo! TV&#39;s<br>Comedy with an Edge to see what&#39;s on, when.<br>
<a href="http://tv.yahoo.com/collections/222">http://tv.yahoo.com/collections/222</a><br><br></blockquote></div><br>

------=_Part_27958_31280892.1183613605557--

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>My question: While using the E2 in delay mode, will delays trail away when
>the pedal is bypassed (like the DL4 in "alternate bypass" mode) or will 
>they
>cut off abruptly (like the DL4 in "factory default" mode)?

they trail off

cheers

sim

_________________________________________________________________
Watch all 9 Live Earth concerts live on MSN.  http://liveearth.uk.msn.com

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From: surflottry organization <solottoaward3@yahoo.de>
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To: undisclosed-recipients: ;
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: bows for guitars
Date: Thu, 5 Jul 2007 11:22:12 +0200
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On 4 jul 2007, at 01.43, Tim Nelson wrote:

>  (Per, I know you bow a
> Strat; what's your approach?)


Careful positioning of the bow where the guitar's body is  carved out  
does precisely let me bow the lower e string. Picture here:
http://www.boysen.se/bilder/press/perboysen2_small.jpg

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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From: Per Boysen <perboysen@gmail.com>
Subject: Re: live looping with ableton live
Date: Thu, 5 Jul 2007 11:32:57 +0200
To: Loopers-Delight@loopers-delight.com
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On 4 jul 2007, at 16.17, nico spahni wrote:

> Thanks to everyone for their helpful comments. Reading your posts  
> I'm beginning to wonder what the added value to a new setup  
> (including Live) would be.
>
> My current looping setup includes SL and Augustus Loop hosted in  
> RAX (plus a number of quirky plugins) and controlled via FCB1010. I  
> guess I should add that I mainly loop myself and can't do too much  
> knob tweaking because I need to pluck a string every now and then :-).
>
> What additional benefits would the combination SL, Augustus Loop  
> and Live have in stall for me?


Short answer: More fun.

Long answer:
You may have fun with Live's excellent effect plug-ins. You may have  
fun with Live's excellent audio routing capability. You may have fun  
with Live's excellent MIDI routing capability; especially if you want  
to get into binding MIDI clips to your pedals and put the MIDI events  
for loop control inside those clips. This opens up for designing your  
own "presets" for sequences of looper actions (just one example:  
press one pedal button to set the loop to reverse and overdub for one  
bar and then return from reverse and stop overdubbing).

As said by others in this thread Live works best as a looper plug-in  
host if  not synced. So you'd better bind one MIDI pedal to Live's  
Tap Tempo function. Then to "kick-start" looping: kick four steady  
pulses on that button and keep on with the fifth kick hitting the  
pedal you have assigned to overdub or record (depending on which  
looping plug-in you're using).

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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Subject: RE: bows for guitars
Date: Thu, 5 Jul 2007 11:27:29 +0100
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my guitarist has used a violin bow on his stratocasters for about 12
years on & off. the usual problems are lack of control over which
strings you hit, because of the large fingerboard radius & the shape of
the body, & horrible squeaky feedback if you hit the strings in the
wrong place (with either the bow or your fretting hand) & bow some high
harmonics by accident. I'm sure I have some slightly spinal-tap footage
of him playing with the bow's tensioner on stage... :-)

it's an acquired taste- he tends more towards a gentle drone effect,
much as one might achieve with an e-bow if the damn things didn't
overload so easily, rather than the hyperactive whooping of jimmy page
fame. it can be heard all over our album "zabriskie point". & of course,
with his jam man, he can build up mighty droning chords very quickly.

lately he's returned to more traditional glissando guitar techniques a
la keith rowe/syd barrett/daevid allen/steve hillage et al. I'm trying
to get him to write something for wikipedia about this undervalued
approach to guitaring.... we were in the front row as the glissando
orchestra did their thing last year at the gong unconvention. some of it
was excruciating, but I wouldn't have missed it for anything.

there are some bassists who have bowed their instruments too- lee
jackson (of the nice) used to bow his left-handed vox phantom (or
whatever it was- teardrop-shaped, anyway, & with a very slim neck, all
of which helped, but he still had the squeaking problem occasionally) &
I'm pretty sure I've seen jack bruce doing this too, on his little
gibbo.

d.

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From: Bill Fox <billyfox@soundscapes.us>
Subject: Listen to Afterglow and Galactic Travels
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AFTERGLOW ON WMUH:                      http://soundscapes.us/afterglow
=======================================================================
Afterglow airs from 8:00 am to 9:30 am every Thursday morning.  Tune in
for a delightful mix of eclectic musical genres including a healthy
dose of Progressive Rock.  Tune in at 91.7 FM or on the internet at:
http://muhlenberg.edu/wmuh


GALACTIC TRAVELS ON WDIY:                   http://galactictravels.info
=======================================================================
Tonight at 11 pm on Galactic Travels, I'll begin a month-long Special
Focus on Jim Cole and Spectral Voices.  The Featured CD at Midnight
will be "Coalescence" on Spectral Spiral.  For details, see the Special
Focus page at:
http://wdiy.org/programs/gt/playlists/2007/focus.html#jul

Galactic Travels is an electronic, ambient, and space music show that
airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and
Bethlehem, 93.9 FM in Easton and Phillipsburg, 93.7 FM in Fogelsville
and Trexlertown, on the internet, and in High Definition Radio at 88.1
FM.

======================================================================
All times are EDT / GMT-4.

Listen on-line to WDIY at http://wdiy.org and click LISTEN or go
directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm

Listen on-line to WMUH at http://www.muhlenberg.edu/wmuh and click the
REAL AUDIO link or go directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm

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Subject: Re: live looping with ableton live
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In a message dated 7/4/2007 5:31:45 P.M. Eastern Standard Time,  
sine@zerocrossing.net writes:

I don't  use Live's looping functions (mobius does what I need) but  
honestly,  if you don't think it can be played as an instrument, check  
out the  Kid Beyond videos on the Ableton site.  I've seen him perform   
many times and if you didn't know what he was doing it would seem   
like all the looping was done on the floor.



I couldn't agree more. The ONLY limit to LIVE is your imagination. If  all 
you're looking to do is loop, then LIVE is over kill for  certain. To me, the 
best looper on the planet (JMO alert!) is Mobius.  How could it be better? Other 
than being Mac friendly which is asking a hell of  a lot from someone that 
GRACED us all with his amazing engineering. LIVE without  question is the most 
friendly and most efficient sequencer on the  planet. Anyone that makes a 
statement about LIVE's inability to be used as a  primary performance tool lacks 
the necessary intuition it takes to tie  their shoes. 
Simpler/Impulse/Operator/Sampler are all amazing devices. If a  musician were to spend 30 days straight, 
12 hours a day, and this is after  they are primarily familiar with LIVE's 
mechanical layout, they would have  accumulated a grain (no pun intended) of 
sand on the musical beach of life as  far as scratching the surface of LIVE's 
instrumental capabilities.  



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<META content=3D"MSHTML 6.00.2900.2873" name=3DGENERATOR></HEAD>
<BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY:=20=
Arial"=20
bottomMargin=3D7 leftMargin=3D7 topMargin=3D7 rightMargin=3D7><FONT id=3Drol=
e_document=20
face=3DArial color=3D#000000 size=3D2>
<DIV>
<DIV>In a message dated 7/4/2007 5:31:45 P.M. Eastern Standard Time,=20
sine@zerocrossing.net writes:</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT=20
  style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 size=
=3D2>I don't=20
  use Live's looping functions (mobius does what I need) but&nbsp; <BR>hones=
tly,=20
  if you don't think it can be played as an instrument, check&nbsp; <BR>out=20=
the=20
  Kid Beyond videos on the Ableton site.&nbsp; I've seen him perform&nbsp;=20
  <BR>many times and if you didn't know what he was doing it would seem&nbsp=
;=20
  <BR>like all the looping was done on the floor.<BR></FONT></BLOCKQUOTE></D=
IV>
<DIV></DIV>
<DIV>I couldn't agree more. The ONLY limit to&nbsp;LIVE is your imagination.=
 If=20
all you're looking to do is loop, then LIVE is&nbsp;over kill for=20
certain.&nbsp;To me, the&nbsp;best looper on the planet (JMO alert!) is Mobi=
us.=20
How could it be better? Other than being Mac friendly which is asking a hell=
 of=20
a lot from someone that GRACED us all with his amazing engineering. LIVE wit=
hout=20
question is the&nbsp;most friendly&nbsp;and most efficient sequencer on the=20
planet. Anyone that makes a statement about LIVE's inability to be used as a=
=20
primary performance tool lacks the necessary&nbsp;intuition it takes&nbsp;to=
 tie=20
their shoes.&nbsp;Simpler/Impulse/Operator/Sampler are all amazing devices.=20=
If a=20
musician were to spend 30 days straight, 12 hours a&nbsp;day, and this is af=
ter=20
they are primarily familiar with LIVE's mechanical layout, they would have=20
accumulated a grain (no pun intended) of sand on the musical beach of life a=
s=20
far&nbsp;as scratching the surface of LIVE's instrumental capabilities.=20
&nbsp;&nbsp;&nbsp;</DIV></FONT><BR><BR><BR><DIV><FONT style=3D"color: black;=
 font: normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN-TOP: 10px">See wha=
t's free at <A title=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" href=
=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" target=3D"_blank">AOL.co=
m</A>. </FONT></DIV></BODY></HTML>

-------------------------------1183637263--

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Subject: Re: Laptops -dedicated to music only?
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In a message dated 7/5/2007 12:59:45 A.M. Eastern Standard Time,  
craig@craigmccollough.com writes:

well, it  doesn't quite work that way - the speed of the media being  
used does  not actually match the speed of actual RAM. I wouldn't  
trust an  audio application with ReadyBoost. It is a very cool idea,  
but no  one should be misled in to thinking that it is the equivalent  
of  adding more real RAM. And for systems with >1GB RAM there appears   
to be no significant performance increase whatsoever,  AFAIK
 
Now, I readily admit that I may have been misinformed although the person I  
talked to was an engineer as I have ZERO idea about this sort of thing,  but 
could I ask you to please back up what you are saying with some idea as  to why 
this would not increase memory performance? Just so I/we could understand  it 
a little better. It seems odd to me that what is being labeled "portable  
virtual RAM memory" would in no way contribute to 1 gig of onboard  RAM.???????   



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<BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY:=20=
Arial"=20
bottomMargin=3D7 leftMargin=3D7 topMargin=3D7 rightMargin=3D7><FONT id=3Drol=
e_document=20
face=3DArial color=3D#000000 size=3D2>
<DIV>In a message dated 7/5/2007 12:59:45 A.M. Eastern Standard Time,=20
craig@craigmccollough.com writes:</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT=20
  style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 size=
=3D2>well, it=20
  doesn't quite work that way - the speed of the media being&nbsp; <BR>used=20=
does=20
  not actually match the speed of actual RAM. I wouldn't&nbsp; <BR>trust an=20
  audio application with ReadyBoost. It is a very cool idea,&nbsp; <BR>but n=
o=20
  one should be misled in to thinking that it is the equivalent&nbsp; <BR>of=
=20
  adding more real RAM. And for systems with &gt;1GB RAM there appears&nbsp;=
=20
  <BR>to be no significant performance increase whatsoever,=20
AFAIK</FONT></BLOCKQUOTE>
<DIV>&nbsp;</DIV>
<DIV>Now, I readily admit that I may have been misinformed although the pers=
on I=20
talked to was an engineer as I have ZERO idea about this sort of thing,=20
but&nbsp;could I ask you to please back up what you are saying with some ide=
a as=20
to why this would not increase memory performance? Just so I/we could unders=
tand=20
it a little better. It seems odd to me that what is being labeled "portable=20
virtual RAM memory" would in no way contribute to 1 gig of onboard=20
RAM.???????&nbsp;&nbsp;&nbsp;</DIV></FONT><BR><BR><BR><DIV><FONT style=3D"co=
lor: black; font: normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN-TOP: 10=
px">See what's free at <A title=3D"http://www.aol.com?ncid=3DAOLAOF000200000=
00503" href=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" target=3D"_bl=
ank">AOL.com</A>. </FONT></DIV></BODY></HTML>

-------------------------------1183638128--

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Date: Thu, 05 Jul 2007 13:41:58 +0100
From: Bart Lyons <blyons@belfast.oilfield.slb.com>
Subject: Re: bows for guitars
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Andy, the custom built instruments I saw were around $4K as you say 
EBOW is a excellent alternative for only $60. Having said that I'm 
still trying to master the Ebow. Listening to your CD you have had a 
lot of practice.

BART


At 08:56 04/07/2007, andy butler wrote:
>hi Luis.
>
>The basic problems are 1) the body of the guitar gets in the way
>2) the bridge for a bowable instrument really needs to be curved, so you can
>access individual strings ( so the fretboard needs to be curved too)
>so the only good solutions I know are
>
>1) a custom built instrument
>2) ebow ;-)
>3) there's a technique I sometimes used for bass which would work 
>with guitar, only works
>  for the two outside strings and not that easy to co-ordinate, but 
> I can share that if you like.
>
>http://www.myspace.com/bernhardguenter
>has a custom instrument.
>
>andy butler
>
>L.A. Angulo wrote:
>>Hi Gang,
>>id like to start experimenting with bows which work
>>better for guitars and can you spare some techniques
>>string gage etc.?Although Jimmy page has been an
>>inspiration i didnt find his bowing technique
>>particulary exciting,any other artists out there?
>>thanx!
>>Luis
>>www.myspace.com/luisangulocom
>>
>>
>>____________________________________________________________________________________
>>Yahoo! oneSearch: Finally, mobile search that gives answers, not 
>>web links. http://mobile.yahoo.com/mobileweb/onesearch?refer=1ONXIC

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<html>
<body>
<font size=3>Andy, the custom built instruments I saw were around $4K as
you say EBOW is a excellent alternative for only $60. Having said that
I'm still trying to master the Ebow. Listening to your CD you have had a
lot of practice.<br><br>
BART<br><br>
<br>
At 08:56 04/07/2007, andy butler wrote:<br>
<blockquote type=cite class=cite cite="">hi Luis.<br><br>
The basic problems are 1) the body of the guitar gets in the way<br>
2) the bridge for a bowable instrument really needs to be curved, so you
can<br>
access individual strings ( so the fretboard needs to be curved too)
<br>
so the only good solutions I know are<br><br>
1) a custom built instrument<br>
2) ebow ;-)<br>
3) there's a technique I sometimes used for bass which would work with
guitar, only works<br>
&nbsp;for the two outside strings and not that easy to co-ordinate, but I
can share that if you like.<br><br>
<a href="http://www.myspace.com/bernhardguenter" eudora="autourl">
http://www.myspace.com/bernhardguenter</a><br>
has a custom instrument.<br><br>
andy butler<br><br>
L.A. Angulo wrote:<br>
<blockquote type=cite class=cite cite="">Hi Gang,<br>
id like to start experimenting with bows which work<br>
better for guitars and can you spare some techniques<br>
string gage etc.?Although Jimmy page has been an<br>
inspiration i didnt find his bowing technique<br>
particulary exciting,any other artists out there?<br>
thanx!<br>
Luis<br>
<a href="http://www.myspace.com/luisangulocom" eudora="autourl">
www.myspace.com/luisangulocom</a><br><br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br>
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Subject: Re: bows for guitars
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Bart Lyons wrote:

> Andy, the custom built instruments I saw were around $4K as you say 
> EBOW is a excellent alternative for only $60. Having said that I'm 
> still trying to master the Ebow. Listening to your CD you have had a 
> lot of practice.
>
Err, where are you finding an Ebow for $60?  The going price here in 
Lansing is more like $90.

If you like antiques, another alternative is the Gizmo, which has its 
own advantages and problems.

I'm a bit behind on checking my e-mail, but has Eddie Phillips of the 
Creation been mentioned as a bowing guitarist.  Some sources say he was 
Jimmy Page's inspiration.

John McIntyre
mcintyre@pa.msu.edu

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Subject: Guitar-Viola(?)
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Anybody heard of, or tried one of these?  They're kinda spendy - but look like the answer to guitarists wanting a bow-ing experience.

http://www.togamanguitars.com/


Bart Lyons <blyons@belfast.oilfield.slb.com> wrote:   Andy, the custom built instruments I saw were around $4K as you say EBOW is a excellent alternative for only $60. Having said that I'm still trying to master the Ebow. Listening to your CD you have had a lot of practice.

 BART

 
 At 08:56 04/07/2007, andy butler wrote:
 hi Luis.

 The basic problems are 1) the body of the guitar gets in the way
 2) the bridge for a bowable instrument really needs to be curved, so you can
 access individual strings ( so the fretboard needs to be curved too) 
 so the only good solutions I know are

 1) a custom built instrument
 2) ebow ;-)
 3) there's a technique I sometimes used for bass which would work with guitar, only works
  for the two outside strings and not that easy to co-ordinate, but I can share that if you like.

  http://www.myspace.com/bernhardguenter
 has a custom instrument.

 andy butler

 L.A. Angulo wrote:
 Hi Gang,
 id like to start experimenting with bows which work
 better for guitars and can you spare some techniques
 string gage etc.?Although Jimmy page has been an
 inspiration i didnt find his bowing technique
 particulary exciting,any other artists out there?
 thanx!
 Luis
  www.myspace.com/luisangulocom

        
 ____________________________________________________________________________________
 Yahoo! oneSearch: Finally, mobile search that gives answers, not web links.  http://mobile.yahoo.com/mobileweb/onesearch?refer=1ONXIC
 

       
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Anybody heard of, or tried one of these?&nbsp; They're kinda spendy - but look like the answer to guitarists wanting a bow-ing experience.<br><br>http://www.togamanguitars.com/<br><br><br><b><i>Bart Lyons &lt;blyons@belfast.oilfield.slb.com&gt;</i></b> wrote:<blockquote class="replbq" style="border-left: 2px solid rgb(16, 16, 255); margin-left: 5px; padding-left: 5px;">   <font size="3">Andy, the custom built instruments I saw were around $4K as you say EBOW is a excellent alternative for only $60. Having said that I'm still trying to master the Ebow. Listening to your CD you have had a lot of practice.<br><br> BART<br><br> <br> At 08:56 04/07/2007, andy butler wrote:<br> </font><blockquote type="cite" class="cite" cite=""><font size="3">hi Luis.<br><br> The basic problems are 1) the body of the guitar gets in the way<br> 2) the bridge for a bowable instrument really needs to be curved, so you can<br> access individual strings ( so the fretboard needs to be curved too) <br>
 so the only good solutions I know are<br><br> 1) a custom built instrument<br> 2) ebow ;-)<br> 3) there's a technique I sometimes used for bass which would work with guitar, only works<br> &nbsp;for the two outside strings and not that easy to co-ordinate, but I can share that if you like.<br><br> <a href="http://www.myspace.com/bernhardguenter" eudora="autourl"> http://www.myspace.com/bernhardguenter</a><br> has a custom instrument.<br><br> andy butler<br><br> L.A. Angulo wrote:<br> </font><blockquote type="cite" class="cite" cite=""><font size="3">Hi Gang,<br> id like to start experimenting with bows which work<br> better for guitars and can you spare some techniques<br> string gage etc.?Although Jimmy page has been an<br> inspiration i didnt find his bowing technique<br> particulary exciting,any other artists out there?<br> thanx!<br> Luis<br> <a href="http://www.myspace.com/luisangulocom" eudora="autourl"> www.myspace.com/luisangulocom</a><br><br>
 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br> ____________________________________________________________________________________<br> Yahoo! oneSearch: Finally, mobile search that gives answers, not web links. <a href="http://mobile.yahoo.com/mobileweb/onesearch?refer=1ONXIC" eudora="autourl"> http://mobile.yahoo.com/mobileweb/onesearch?refer=1ONXIC</a><br> </font></blockquote></blockquote></blockquote><br><p>&#32;
      <hr size=1>Looking for a deal? <a href="http://us.rd.yahoo.com/evt=47094/*http://farechase.yahoo.com/;_ylc=X3oDMTFicDJoNDllBF9TAzk3NDA3NTg5BHBvcwMxMwRzZWMDZ3JvdXBzBHNsawNlbWFpbC1uY20-">Find great prices on flights and hotels</a> with Yahoo! FareChase.
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From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 16:08:48 2007
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Yeah, I was saying before that I played one at the NAMM show (2006) and =
it was REALLY cool. It was pretty easy for a guitarist to play right off =
the bat. I caught on quickly. It looks like they have a guitar-synth =
compatible version now that didn't exist when I tried it.

If I ever decide to do a bowed electric instument, it will be one of =
these. Don't have the cash at the moment, though.

Mark
  ----- Original Message -----=20
  From: Michael=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Thursday, July 05, 2007 10:21 AM
  Subject: Guitar-Viola(?)


  Anybody heard of, or tried one of these?  They're kinda spendy - but =
look like the answer to guitarists wanting a bow-ing experience.

  http://www.togamanguitars.com/


  Bart Lyons <blyons@belfast.oilfield.slb.com> wrote:
    Andy, the custom built instruments I saw were around $4K as you say =
EBOW is a excellent alternative for only $60. Having said that I'm still =
trying to master the Ebow. Listening to your CD you have had a lot of =
practice.

    BART


    At 08:56 04/07/2007, andy butler wrote:

      hi Luis.

      The basic problems are 1) the body of the guitar gets in the way
      2) the bridge for a bowable instrument really needs to be curved, =
so you can
      access individual strings ( so the fretboard needs to be curved =
too)=20
      so the only good solutions I know are

      1) a custom built instrument
      2) ebow ;-)
      3) there's a technique I sometimes used for bass which would work =
with guitar, only works
       for the two outside strings and not that easy to co-ordinate, but =
I can share that if you like.

      http://www.myspace.com/bernhardguenter
      has a custom instrument.

      andy butler

      L.A. Angulo wrote:

        Hi Gang,
        id like to start experimenting with bows which work
        better for guitars and can you spare some techniques
        string gage etc.?Although Jimmy page has been an
        inspiration i didnt find his bowing technique
        particulary exciting,any other artists out there?
        thanx!
        Luis
        www.myspace.com/luisangulocom

              =20
        =
_________________________________________________________________________=
___________
        Yahoo! oneSearch: Finally, mobile search that gives answers, not =
web links. http://mobile.yahoo.com/mobileweb/onesearch?refer=3D1ONXIC





-------------------------------------------------------------------------=
-----
  Looking for a deal? Find great prices on flights and hotels with =
Yahoo! FareChase.
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<HTML><HEAD>
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charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.6000.16481" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Yeah, I was saying before that I played =
one at the=20
NAMM show (2006) and it was REALLY cool. It was pretty easy for a =
guitarist to=20
play right off the bat. I caught on quickly. It looks like they have a=20
guitar-synth compatible version now that didn't exist when I tried=20
it.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>If I ever decide to do a bowed electric =
instument,=20
it will be one of these. Don't have the cash at the moment, =
though.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Mark</FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dmichaelbrian76@yahoo.com=20
  href=3D"mailto:michaelbrian76@yahoo.com">Michael</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Thursday, July 05, 2007 =
10:21=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Guitar-Viola(?)</DIV>
  <DIV><BR></DIV>Anybody heard of, or tried one of these?&nbsp; They're =
kinda=20
  spendy - but look like the answer to guitarists wanting a bow-ing=20
  experience.<BR><BR><A=20
  =
href=3D"http://www.togamanguitars.com/">http://www.togamanguitars.com/</A=
><BR><BR><BR><B><I>Bart=20
  Lyons &lt;<A=20
  =
href=3D"mailto:blyons@belfast.oilfield.slb.com">blyons@belfast.oilfield.s=
lb.com</A>&gt;</I></B>=20
  wrote:
  <BLOCKQUOTE class=3Dreplbq=20
  style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: =
rgb(16,16,255) 2px solid"><FONT=20
    size=3D3>Andy, the custom built instruments I saw were around $4K as =
you say=20
    EBOW is a excellent alternative for only $60. Having said that I'm =
still=20
    trying to master the Ebow. Listening to your CD you have had a lot =
of=20
    practice.<BR><BR>BART<BR><BR><BR>At 08:56 04/07/2007, andy butler=20
    wrote:<BR></FONT>
    <BLOCKQUOTE class=3Dcite cite=3D"" type=3D"cite"><FONT size=3D3>hi=20
      Luis.<BR><BR>The basic problems are 1) the body of the guitar gets =
in the=20
      way<BR>2) the bridge for a bowable instrument really needs to be =
curved,=20
      so you can<BR>access individual strings ( so the fretboard needs =
to be=20
      curved too) <BR>so the only good solutions I know are<BR><BR>1) a =
custom=20
      built instrument<BR>2) ebow ;-)<BR>3) there's a technique I =
sometimes used=20
      for bass which would work with guitar, only works<BR>&nbsp;for the =
two=20
      outside strings and not that easy to co-ordinate, but I can share =
that if=20
      you like.<BR><BR><A =
href=3D"http://www.myspace.com/bernhardguenter"=20
      =
eudora=3D"autourl">http://www.myspace.com/bernhardguenter</A><BR>has a=20
      custom instrument.<BR><BR>andy butler<BR><BR>L.A. Angulo =
wrote:<BR></FONT>
      <BLOCKQUOTE class=3Dcite cite=3D"" type=3D"cite"><FONT size=3D3>Hi =
Gang,<BR>id=20
        like to start experimenting with bows which work<BR>better for =
guitars=20
        and can you spare some techniques<BR>string gage etc.?Although =
Jimmy=20
        page has been an<BR>inspiration i didnt find his bowing=20
        technique<BR>particulary exciting,any other artists out=20
        there?<BR>thanx!<BR>Luis<BR><A=20
        href=3D"http://www.myspace.com/luisangulocom"=20
        =
eudora=3D"autourl">www.myspace.com/luisangulocom</A><BR><BR>&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;=20
        =
<BR>_____________________________________________________________________=
_______________<BR>Yahoo!=20
        oneSearch: Finally, mobile search that gives answers, not web =
links. <A=20
        =
href=3D"http://mobile.yahoo.com/mobileweb/onesearch?refer=3D1ONXIC"=20
        =
eudora=3D"autourl">http://mobile.yahoo.com/mobileweb/onesearch?refer=3D1O=
NXIC</A><BR></FONT></BLOCKQUOTE></BLOCKQUOTE></BLOCKQUOTE><BR>
  <P>
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  Looking for a deal? <A=20
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more:
=20
http://uploads.ungrounded.net/221000/221483_Play.swf
=20
seems like flash really lends itself to looping. one wonders if there's
a way to trigger animated avatars from a midi interface- have one's own
virtual dance troupe on a big screen, sort of thing.....

________________________________

From: todd reynolds [mailto:toddreyn@gmail.com]=20
Sent: Tuesday, July 03, 2007 5:36 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: it's in G, G


hoofage-loopage




On 7/3/07, Michael Peters <mp@mpeters.de> wrote:=20

	> http://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf
	> surely this qualifies as loopage?
=09
	erm, yes, I'd say it does=20
=09
	-Michael  :-)
=09
=09




--=20
http://www.toddreynolds.com                    |:
http://myspace.com/toddreynoldsmusic  |:
------------------------------------------------------|:
917.576.6166                                             =20
todd@toddreynolds.com=20
toddreyn@gmail.com=20

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<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN =
class=3D994232516-05072007>more:</SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN =
class=3D994232516-05072007></SPAN></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN class=3D994232516-05072007><A=20
href=3D"http://uploads.ungrounded.net/221000/221483_Play.swf">http://uplo=
ads.ungrounded.net/221000/221483_Play.swf</A></SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN =
class=3D994232516-05072007></SPAN></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN class=3D994232516-05072007>seems like flash really =
lends=20
itself to looping. one wonders if there's a way to trigger animated =
avatars from=20
a midi interface- have one's own virtual dance troupe on a big screen, =
sort of=20
thing.....</SPAN></FONT></DIV><BR>
<DIV class=3DOutlookMessageHeader lang=3Den-us dir=3Dltr align=3Dleft>
<HR tabIndex=3D-1>
<FONT face=3DTahoma size=3D2><B>From:</B> todd reynolds =
[mailto:toddreyn@gmail.com]=20
<BR><B>Sent:</B> Tuesday, July 03, 2007 5:36 PM<BR><B>To:</B>=20
Loopers-Delight@loopers-delight.com<BR><B>Subject:</B> Re: it's in G,=20
G<BR></FONT><BR></DIV>
<DIV></DIV>hoofage-loopage<BR><BR><BR><BR>
<DIV><SPAN class=3Dgmail_quote>On 7/3/07, <B =
class=3Dgmail_sendername>Michael=20
Peters</B> &lt;<A href=3D"mailto:mp@mpeters.de">mp@mpeters.de</A>&gt;=20
wrote:</SPAN>
<BLOCKQUOTE class=3Dgmail_quote=20
style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">&gt;=20
  <A=20
  =
href=3D"http://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf">ht=
tp://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf</A><BR>&gt;=20
  surely this qualifies as loopage?<BR><BR>erm, yes, I'd say it does=20
  <BR><BR>-Michael&nbsp;&nbsp;:-)<BR><BR></BLOCKQUOTE></DIV><BR><BR=20
clear=3Dall><BR>-- <BR><A=20
href=3D"http://www.toddreynolds.com">http://www.toddreynolds.com</A>&nbsp=
;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;|:<BR><A=20
href=3D"http://myspace.com/toddreynoldsmusic">http://myspace.com/toddreyn=
oldsmusic</A>&nbsp;&nbsp;|:<BR>------------------------------------------=
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href=3D"mailto:todd@toddreynolds.com">todd@toddreynolds.com </A><BR><A=20
href=3D"mailto:toddreyn@gmail.com">toddreyn@gmail.com</A> </BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 16:29:56 2007
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Subject: RE: bows for guitars
Date: Thu, 5 Jul 2007 17:29:53 +0100
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From: "Goddard, Duncan" <goddard.duncan@mtvne.com>
To: <Loopers-Delight@loopers-delight.com>
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=20
>>Eddie Phillips of the Creation been mentioned as a bowing guitarist.
Some sources say he was Jimmy Page's inspiration.<<

yeah, the notoriously revisionist wikipedia for one. the same article
notes that he was briefly pp arnold's bassist, which presumably he did
either immediately (see what I did there?) before or after lee jackson
of "the nice", the other bowing bassist.

d.

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 16:38:21 2007
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Subject: RE: it's in G, G
Date: Thu, 5 Jul 2007 09:38:10 -0700
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Not sure if someone's figured this out for Flash, but you can totally do
this with Arkaos.

 

-----Original Message-----
From: Goddard, Duncan [mailto:goddard.duncan@mtvne.com] 
Sent: Thursday, July 05, 2007 9:27 AM
To: Loopers-Delight@loopers-delight.com
Subject: RE: it's in G, G

 

more:

 

http://uploads.ungrounded.net/221000/221483_Play.swf

 

seems like flash really lends itself to looping. one wonders if there's a
way to trigger animated avatars from a midi interface- have one's own
virtual dance troupe on a big screen, sort of thing.....

 

  _____  

From: todd reynolds [mailto:toddreyn@gmail.com] 
Sent: Tuesday, July 03, 2007 5:36 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: it's in G, G

hoofage-loopage




On 7/3/07, Michael Peters <mp@mpeters.de> wrote: 

> http://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf
> surely this qualifies as loopage?

erm, yes, I'd say it does 

-Michael  :-)




-- 
http://www.toddreynolds.com                    |:
http://myspace.com/toddreynoldsmusic  |:
------------------------------------------------------|:
917.576.6166                                              
todd@toddreynolds.com  <mailto:todd@toddreynolds.com> 
toddreyn@gmail.com 


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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Not sure if someone&#8217;s figured =
this
out for Flash, but you can totally do this with =
Arkaos.</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>-----Original =
Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> Goddard, Duncan
[mailto:goddard.duncan@mtvne.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Thursday, July 05, =
2007 9:27
AM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> RE: it's in G, =
G</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
color=3Dblue
face=3D"AmericanTypewriter Medium"><span =
style=3D'font-size:12.0pt;font-family:
"AmericanTypewriter Medium";color:blue'>more:</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
color=3Dblue
face=3D"AmericanTypewriter Medium"><span =
style=3D'font-size:12.0pt;font-family:
"AmericanTypewriter Medium";color:blue'><a
href=3D"http://uploads.ungrounded.net/221000/221483_Play.swf">http://uplo=
ads.ungrounded.net/221000/221483_Play.swf</a></span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
color=3Dblue
face=3D"AmericanTypewriter Medium"><span =
style=3D'font-size:12.0pt;font-family:
"AmericanTypewriter Medium";color:blue'>seems like flash really lends =
itself to
looping. one wonders if there's a way to trigger animated avatars from a =
midi
interface- have one's own virtual dance troupe on a big screen, sort of
thing.....</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<div class=3DMsoNormal align=3Dcenter =
style=3D'margin-left:.5in;text-align:center'><font
size=3D3 face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>

<hr size=3D2 width=3D"100%" align=3Dcenter>

</span></font></div>

<p class=3DMsoNormal =
style=3D'margin-right:0in;margin-bottom:12.0pt;margin-left:
.5in'><b><font size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;font-family:
Tahoma;font-weight:bold'>From:</span></font></b><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'> todd reynolds
[mailto:toddreyn@gmail.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Tuesday, July 03, =
2007 5:36
PM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: it's in G, =
G</span></font></p>

<p class=3DMsoNormal =
style=3D'margin-right:0in;margin-bottom:12.0pt;margin-left:
.5in'><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>hoofage-loopage<br>
<br>
<br>
</span></font></p>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><span =
class=3Dgmailquote><font
size=3D3 face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>On =
7/3/07, <b><span
style=3D'font-weight:bold'>Michael Peters</span></b> &lt;<a
href=3D"mailto:mp@mpeters.de">mp@mpeters.de</a>&gt; =
wrote:</span></font></span> </p>

<p class=3DMsoNormal =
style=3D'margin-right:0in;margin-bottom:12.0pt;margin-left:
.5in'><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>&gt; <a
href=3D"http://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf">ht=
tp://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf</a><br>
&gt; surely this qualifies as loopage?<br>
<br>
erm, yes, I'd say it does <br>
<br>
-Michael&nbsp;&nbsp;:-)</span></font></p>

</div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'><br>
<br clear=3Dall>
<br>
-- <br>
<a =
href=3D"http://www.toddreynolds.com">http://www.toddreynolds.com</a>&nbsp=
;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;|:<br>
<a =
href=3D"http://myspace.com/toddreynoldsmusic">http://myspace.com/toddreyn=
oldsmusic</a>&nbsp;&nbsp;|:<br>
------------------------------------------------------|:<br>
917.576.6166&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n=
bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb=
sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br>=

<a href=3D"mailto:todd@toddreynolds.com">todd@toddreynolds.com </a><br>
<a href=3D"mailto:toddreyn@gmail.com">toddreyn@gmail.com</a> =
</span></font></p>

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From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 16:42:33 2007
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From: "Mark Sottilaro" <sine@zerocrossing.net>
To: <Loopers-Delight@loopers-delight.com>
Subject: RE: Laptops -dedicated to music only?
Date: Thu, 5 Jul 2007 09:42:21 -0700
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He did say it.  Real RAM is very fast and lends itself to low latency =
audio
applications.  Hard drives or things like memory sticks are a lot =
slower.
Fine for storing stuff and probably OK if you're working on big image or
text files, but not good for audio.

=20

-----Original Message-----
From: BreachinThePeace@aol.com [mailto:BreachinThePeace@aol.com]=20
Sent: Thursday, July 05, 2007 5:22 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Laptops -dedicated to music only?

=20

In a message dated 7/5/2007 12:59:45 A.M. Eastern Standard Time,
craig@craigmccollough.com writes:

well, it doesn't quite work that way - the speed of the media being =20
used does not actually match the speed of actual RAM. I wouldn't =20
trust an audio application with ReadyBoost. It is a very cool idea, =20
but no one should be misled in to thinking that it is the equivalent =20
of adding more real RAM. And for systems with >1GB RAM there appears =20
to be no significant performance increase whatsoever, AFAIK

=20

Now, I readily admit that I may have been misinformed although the =
person I
talked to was an engineer as I have ZERO idea about this sort of thing, =
but
could I ask you to please back up what you are saying with some idea as =
to
why this would not increase memory performance? Just so I/we could
understand it a little better. It seems odd to me that what is being =
labeled
"portable virtual RAM memory" would in no way contribute to 1 gig of =
onboard
RAM.???????  =20





  _____ =20

See what's free at AOL.com =
<http://www.aol.com?ncid=3DAOLAOF00020000000503> .=20


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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial =
id=3D"role_document"><span
style=3D'font-size:10.0pt;font-family:Arial;color:navy'>He did say =
it.&nbsp; Real
RAM is very fast and lends itself to low latency audio =
applications.&nbsp; Hard
drives or things like memory sticks are a lot slower.&nbsp; Fine for =
storing stuff
and probably OK if you&#8217;re working on big image or text files, but =
not
good for audio.</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>-----Original =
Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> =
BreachinThePeace@aol.com
[mailto:BreachinThePeace@aol.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Thursday, July 05, =
2007 5:22
AM<br>
<b><span style=3D'font-weight:bold'>To:</span></b> =
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: Laptops =
-dedicated to
music only?</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
color=3Dblack
face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;color:black'>In a
message dated 7/5/2007 12:59:45 A.M. Eastern Standard Time,
craig@craigmccollough.com writes:</span></font></p>

</div>

<blockquote style=3D'border:none;border-left:solid blue =
1.5pt;padding:0in 0in 0in 4.0pt;
margin-left:3.75pt;margin-top:5.0pt;margin-bottom:5.0pt'>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
color=3Dblack
face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;color:black'>well,
it doesn't quite work that way - the speed of the media being&nbsp; <br>
used does not actually match the speed of actual RAM. I wouldn't&nbsp; =
<br>
trust an audio application with ReadyBoost. It is a very cool =
idea,&nbsp; <br>
but no one should be misled in to thinking that it is the =
equivalent&nbsp; <br>
of adding more real RAM. And for systems with &gt;1GB RAM there =
appears&nbsp; <br>
to be no significant performance increase whatsoever, =
AFAIK</span></font></p>

</blockquote>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
color=3Dblack
face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;color:black'>&nbsp;</span></f=
ont></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
color=3Dblack
face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;color:black'>Now, I
readily admit that I may have been misinformed although the person I =
talked to
was an engineer as I have ZERO idea about this sort of thing, =
but&nbsp;could I
ask you to please back up what you are saying with some idea as to why =
this
would not increase memory performance? Just so I/we could understand it =
a
little better. It seems odd to me that what is being labeled =
&quot;portable
virtual RAM memory&quot; would in no way contribute to 1 gig of onboard
RAM.???????&nbsp;&nbsp;&nbsp;</span></font></p>

</div>

<p class=3DMsoNormal =
style=3D'margin-right:0in;margin-bottom:12.0pt;margin-left:
.5in'><font size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial;color:black'><br>
<br>
</span></font></p>

<div>

<div class=3DMsoNormal align=3Dcenter =
style=3D'margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;text-align:center'><font size=3D2
color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
color:black'>

<hr size=3D2 width=3D"100%" align=3Dcenter>

</span></font></div>

<p class=3DMsoNormal =
style=3D'margin-right:0in;margin-bottom:0in;margin-left:.5in;
margin-bottom:.0001pt'><font size=3D2 color=3Dblack face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:black'>See what's free =
at <a
href=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" =
target=3D"_blank"
title=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503">AOL.com</a>. =
</span></font></p>

</div>

</div>

</body>

</html>

------=_NextPart_000_002D_01C7BEE8.CCCAA070--


From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 16:42:55 2007
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From: Josh Carroll <josh@infinivert.com>
Subject: Re: it's in G, G
Date: Thu, 5 Jul 2007 11:42:48 -0500
To: Loopers-Delight@loopers-delight.com
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I thought about creating a flash animated drummer that would receive  
MIDI note info from my drum track.  However, I'm not sure how to go  
about getting the MIDI info into the flash animation.

--Josh



On Jul 5, 2007, at 11:26 AM, Goddard, Duncan wrote:

> more:
>
> http://uploads.ungrounded.net/221000/221483_Play.swf
>
> seems like flash really lends itself to looping. one wonders if  
> there's a way to trigger animated avatars from a midi interface-  
> have one's own virtual dance troupe on a big screen, sort of  
> thing.....
>
> From: todd reynolds [mailto:toddreyn@gmail.com]
> Sent: Tuesday, July 03, 2007 5:36 PM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: it's in G, G
>
> hoofage-loopage
>
>
>
> On 7/3/07, Michael Peters <mp@mpeters.de> wrote:
> > http://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf
> > surely this qualifies as loopage?
>
> erm, yes, I'd say it does
>
> -Michael  :-)
>
>
>
>
> -- 
> http://www.toddreynolds.com                    |:
> http://myspace.com/toddreynoldsmusic  |:
> ------------------------------------------------------|:
> 917.576.6166
> todd@toddreynolds.com
> toddreyn@gmail.com


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
I thought about creating a flash animated drummer that would receive =
MIDI note info from my drum track. =A0However, I'm not sure how to go =
about getting the MIDI info into the flash animation.<div><br =
class=3D"webkit-block-placeholder"></div><div>--Josh</div><div><br =
class=3D"webkit-block-placeholder"></div><div><br =
class=3D"webkit-block-placeholder"></div><div><br><div><div>On Jul 5, =
2007, at 11:26 AM, Goddard, Duncan wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite">  <div =
dir=3D"ltr" align=3D"left"><font face=3D"AmericanTypewriter Medium" =
color=3D"#0000ff"><span =
class=3D"994232516-05072007">more:</span></font></div> <div dir=3D"ltr" =
align=3D"left"><font face=3D"AmericanTypewriter Medium" =
color=3D"#0000ff"><span class=3D"994232516-05072007"></span></font>=A0</di=
v> <div dir=3D"ltr" align=3D"left"><font face=3D"AmericanTypewriter =
Medium" color=3D"#0000ff"><span class=3D"994232516-05072007"><a =
href=3D"http://uploads.ungrounded.net/221000/221483_Play.swf">http://uploa=
ds.ungrounded.net/221000/221483_Play.swf</a></span></font></div> <div =
dir=3D"ltr" align=3D"left"><font face=3D"AmericanTypewriter Medium" =
color=3D"#0000ff"><span class=3D"994232516-05072007"></span></font>=A0</di=
v> <div dir=3D"ltr" align=3D"left"><font face=3D"AmericanTypewriter =
Medium" color=3D"#0000ff"><span class=3D"994232516-05072007">seems like =
flash really lends itself to looping. one wonders if there's a way to =
trigger animated avatars from a midi interface- have one's own virtual =
dance troupe on a big screen, sort of thing.....</span></font></div><br> =
<div class=3D"OutlookMessageHeader" lang=3D"en-us" dir=3D"ltr" =
align=3D"left"> <hr tabindex=3D"-1"> <font face=3D"Tahoma" =
size=3D"2"><b>From:</b> todd reynolds [<a =
href=3D"mailto:toddreyn@gmail.com">mailto:toddreyn@gmail.com</a>] =
<br><b>Sent:</b> Tuesday, July 03, 2007 5:36 PM<br><b>To:</b> <a =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@looper=
s-delight.com</a><br><b>Subject:</b> Re: it's in G, =
G<br></font><br></div> <div></div>hoofage-loopage<br><br><br><br> =
<div><span class=3D"gmail_quote">On 7/3/07, <b =
class=3D"gmail_sendername">Michael Peters</b> &lt;<a =
href=3D"mailto:mp@mpeters.de">mp@mpeters.de</a>&gt; wrote:</span> =
<blockquote class=3D"gmail_quote" style=3D"PADDING-LEFT: 1ex; MARGIN: =
0pt 0pt 0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid">&gt;   <a =
href=3D"http://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf">htt=
p://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf</a><br>&gt;   =
surely this qualifies as loopage?<br><br>erm, yes, I'd say it does   =
<br><br>-Michael=A0=A0:-)<br><br></blockquote></div><br><br =
clear=3D"all"><br>-- <br><a =
href=3D"http://www.toddreynolds.com">http://www.toddreynolds.com</a>=A0=A0=
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0|:<br><a =
href=3D"http://myspace.com/toddreynoldsmusic">http://myspace.com/toddreyno=
ldsmusic</a>=A0=A0|:<br>--------------------------------------------------=
----|:<br>917.576.6166=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=
=A0=A0=A0<br><a =
href=3D"mailto:todd@toddreynolds.com">todd@toddreynolds.com </a><br><a =
href=3D"mailto:toddreyn@gmail.com">toddreyn@gmail.com</a> =
</blockquote></div><br></div></body></html>=

--Apple-Mail-12--811861869--

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 17:03:02 2007
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From: Craig McCollough <craig@craigmccollough.com>
Subject: Re: Laptops -dedicated to music only?
Date: Thu, 5 Jul 2007 10:02:57 -0700
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The links that I included were meant to provide further explanation.  
I'll include them again for your perusal. "Portable virtual RAM" is a  
misnomer;  the ReadyBoost drive is used as a memory cache - so it's  
more of a technology for speeding up access to items that would  
normally be stored on the hard drive. Application load times are  
reportedly the most significant performance increase.

I've not seen that Microsoft ever refers to ReadyBoost technology as  
"portable virtual RAM" - it's more of a stop-gap until flash-based or  
hybrid flash/platter drives become ubiquitous.

links:
http://en.wikipedia.org/wiki/ReadyBoost
Windows Help: http://preview.tinyurl.com/2dhs4g
http://vista.blorge.com/2007/05/20/vistas-readyboost-lacks-punch/

Cheers,
Craig

On Jul 5, 2007, at 5:22 AM, BreachinThePeace@aol.com wrote:

> In a message dated 7/5/2007 12:59:45 A.M. Eastern Standard Time,  
> craig@craigmccollough.com writes:
> well, it doesn't quite work that way - the speed of the media being
> used does not actually match the speed of actual RAM. I wouldn't
> trust an audio application with ReadyBoost. It is a very cool idea,
> but no one should be misled in to thinking that it is the equivalent
> of adding more real RAM. And for systems with >1GB RAM there appears
> to be no significant performance increase whatsoever, AFAIK
>
> Now, I readily admit that I may have been misinformed although the  
> person I talked to was an engineer as I have ZERO idea about this  
> sort of thing, but could I ask you to please back up what you are  
> saying with some idea as to why this would not increase memory  
> performance? Just so I/we could understand it a little better. It  
> seems odd to me that what is being labeled "portable virtual RAM  
> memory" would in no way contribute to 1 gig of onboard RAM.???????
>
>
>
> See what's free at AOL.com.


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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">The links that I included were =
meant to provide further explanation. I'll include them again for your =
perusal. "Portable virtual RAM" is a misnomer;=A0 the ReadyBoost drive =
is used as a memory cache - so it's more of a technology for speeding up =
access to items that would normally be stored on the hard drive. =
Application load times are reportedly the most significant performance =
increase.=A0<DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>I've =
not seen that Microsoft ever refers to ReadyBoost technology as =
"portable virtual RAM" - it's more of a stop-gap until flash-based or =
hybrid flash/platter drives become ubiquitous.<DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>links:</DIV><DIV =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; "><A =
href=3D"http://en.wikipedia.org/wiki/ReadyBoost">http://en.wikipedia.org/w=
iki/ReadyBoost</A></DIV><DIV style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; ">Windows Help: <A =
href=3D"http://preview.tinyurl.com/2dhs4g">http://preview.tinyurl.com/2dhs=
4g</A></DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><A =
href=3D"http://vista.blorge.com/2007/05/20/vistas-readyboost-lacks-punch/"=
>http://vista.blorge.com/2007/05/20/vistas-readyboost-lacks-punch/</A></DI=
V><DIV style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; "><BR class=3D"khtml-block-placeholder"></DIV><DIV =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">Cheers,</DIV><DIV style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
">Craig</DIV><DIV><BR><DIV><DIV>On Jul 5, 2007, at 5:22 AM, <A =
href=3D"mailto:BreachinThePeace@aol.com">BreachinThePeace@aol.com</A> =
wrote:</DIV><BR class=3D"Apple-interchange-newline"><BLOCKQUOTE =
type=3D"cite"> <FONT id=3D"role_document" face=3D"Arial" color=3D"#000000"=
 size=3D"2"> <DIV>In a message dated 7/5/2007 12:59:45 A.M. Eastern =
Standard Time, <A =
href=3D"mailto:craig@craigmccollough.com">craig@craigmccollough.com</A> =
writes:</DIV> <BLOCKQUOTE style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: blue 2px solid"><FONT style=3D"BACKGROUND-COLOR: =
transparent" face=3D"Arial" color=3D"#000000" size=3D"2">well, it   =
doesn't quite work that way - the speed of the media being=A0 <BR>used =
does   not actually match the speed of actual RAM. I wouldn't=A0 =
<BR>trust an   audio application with ReadyBoost. It is a very cool =
idea,=A0 <BR>but no   one should be misled in to thinking that it is the =
equivalent=A0 <BR>of   adding more real RAM. And for systems with =
&gt;1GB RAM there appears=A0   <BR>to be no significant performance =
increase whatsoever, AFAIK</FONT></BLOCKQUOTE> <DIV>=A0</DIV> <DIV>Now, =
I readily admit that I may have been misinformed although the person I =
talked to was an engineer as I have ZERO idea about this sort of thing, =
but=A0could I ask you to please back up what you are saying with some =
idea as to why this would not increase memory performance? Just so I/we =
could understand it a little better. It seems odd to me that what is =
being labeled "portable virtual RAM memory" would in no way contribute =
to 1 gig of onboard RAM.???????=A0=A0=A0</DIV></FONT><BR><BR><BR><DIV><FON=
T style=3D"color: black; font: normal 10pt ARIAL, SAN-SERIF;"><HR =
style=3D"MARGIN-TOP: 10px">See what's free at <A =
title=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" =
href=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" =
target=3D"_blank">AOL.com</A>. =
</FONT></DIV></BLOCKQUOTE></DIV><BR></DIV></DIV></BODY></HTML>=

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From: Josh Carroll <josh@infinivert.com>
Subject: Re: it's in G, G
Date: Thu, 5 Jul 2007 12:04:22 -0500
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If you have Max/MSP:

http://www.artsdigital.com/Flash_MIDI_howto.html


--Josh



On Jul 5, 2007, at 11:38 AM, Mark Sottilaro wrote:

> Not sure if someone=92s figured this out for Flash, but you can =20
> totally do this with Arkaos.
>
> -----Original Message-----
> From: Goddard, Duncan [mailto:goddard.duncan@mtvne.com]
> Sent: Thursday, July 05, 2007 9:27 AM
> To: Loopers-Delight@loopers-delight.com
> Subject: RE: it's in G, G
>
> more:
>
> http://uploads.ungrounded.net/221000/221483_Play.swf
>
> seems like flash really lends itself to looping. one wonders if =20
> there's a way to trigger animated avatars from a midi interface- =20
> have one's own virtual dance troupe on a big screen, sort of =20
> thing.....
>
> From: todd reynolds [mailto:toddreyn@gmail.com]
> Sent: Tuesday, July 03, 2007 5:36 PM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: it's in G, G
> hoofage-loopage
>
>
> On 7/3/07, Michael Peters <mp@mpeters.de> wrote:
> > http://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf
> > surely this qualifies as loopage?
>
> erm, yes, I'd say it does
>
> -Michael  :-)
>
>
>
> --=20
> http://www.toddreynolds.com                    |:
> http://myspace.com/toddreynoldsmusic  |:
> ------------------------------------------------------|:
> 917.576.6166
> todd@toddreynolds.com
> toddreyn@gmail.com


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
If you have Max/MSP:<div><br =
class=3D"webkit-block-placeholder"></div><div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font =
face=3D"Helvetica" size=3D"3" style=3D"font: 12.0px Helvetica"><a =
href=3D"http://www.artsdigital.com/Flash_MIDI_howto.html">http://www.artsd=
igital.com/Flash_MIDI_howto.html</a></font></div> <div><div><br =
class=3D"webkit-block-placeholder"></div><div><br =
class=3D"webkit-block-placeholder"></div><div>--Josh</div><div><br =
class=3D"webkit-block-placeholder"></div><div><br =
class=3D"webkit-block-placeholder"></div><div><br =
class=3D"webkit-block-placeholder"></div><div>On Jul 5, 2007, at 11:38 =
AM, Mark Sottilaro wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; color: =
rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: =
normal; font-variant: normal; font-weight: normal; letter-spacing: =
normal; line-height: normal; orphans: 2; text-align: auto; text-indent: =
0px; text-transform: none; white-space: normal; widows: 2; word-spacing: =
0px; -webkit-border-horizontal-spacing: 0px; =
-webkit-border-vertical-spacing: 0px; =
-webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: =
auto; -webkit-text-stroke-width: 0; "><div class=3D"Section1"><div =
style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: Times New Roman; =
"><font size=3D"2" color=3D"navy" face=3D"Arial"><span style=3D"font-size:=
 10.0pt;font-family:Arial;color:navy">Not sure if someone=92s figured =
this out for Flash, but you can totally do this with =
Arkaos.</span></font></div><p class=3D"MsoNormal" style=3D"margin-top: =
0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; =
font-size: 12pt; font-family: Times New Roman; "><font size=3D"2" =
color=3D"navy" face=3D"Arial"><span style=3D"font-size: =
10.0pt;font-family:Arial;color:navy">=A0</span></font></p><div =
style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: Times New Roman; =
"><font size=3D"2" face=3D"Tahoma"><span =
style=3D"font-size:10.0pt;font-family:Tahoma">-----Original =
Message-----<br><b><span style=3D"font-weight:bold">From:</span></b><span =
class=3D"Apple-converted-space">=A0</span>Goddard, Duncan [<a =
href=3D"mailto:goddard.duncan@mtvne.com">mailto:goddard.duncan@mtvne.com</=
a>]<span class=3D"Apple-converted-space">=A0</span><br><b><span =
style=3D"font-weight:bold">Sent:</span></b><span =
class=3D"Apple-converted-space">=A0</span>Thursday, July 05, 2007 9:27 =
AM<br><b><span style=3D"font-weight:bold">To:</span></b><span =
class=3D"Apple-converted-space">=A0</span><a =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@looper=
s-delight.com</a><br><b><span =
style=3D"font-weight:bold">Subject:</span></b><span =
class=3D"Apple-converted-space">=A0</span>RE: it's in G, =
G</span></font></div><p class=3D"MsoNormal" style=3D"margin-left:.5in; =
margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: =
0.0001pt; font-size: 12pt; font-family: Times New Roman; "><font =
size=3D"3" face=3D"Times New Roman"><span =
style=3D"font-size:12.0pt">=A0</span></font></p><div style=3D"margin-top: =
0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; =
font-size: 12pt; font-family: Times New Roman; "><font size=3D"3" =
color=3D"blue" face=3D"AmericanTypewriter Medium"><span =
style=3D"font-size:12.0pt;font-family: &quot;AmericanTypewriter =
Medium&quot;;color:blue">more:</span></font></div><p class=3D"MsoNormal" =
style=3D"margin-left:.5in; margin-top: 0in; margin-right: 0in; =
margin-left: 0in; margin-bottom: 0.0001pt; font-size: 12pt; font-family: =
Times New Roman; "><font size=3D"3" face=3D"Times New Roman"><span =
style=3D"font-size:12.0pt">=A0</span></font></p><div style=3D"margin-top: =
0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; =
font-size: 12pt; font-family: Times New Roman; "><font size=3D"3" =
color=3D"blue" face=3D"AmericanTypewriter Medium"><span =
style=3D"font-size:12.0pt;font-family: &quot;AmericanTypewriter =
Medium&quot;;color:blue"><a =
href=3D"http://uploads.ungrounded.net/221000/221483_Play.swf" =
style=3D"color: blue; text-decoration: underline; =
">http://uploads.ungrounded.net/221000/221483_Play.swf</a></span></font></=
div><p class=3D"MsoNormal" style=3D"margin-left:.5in; margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: Times New Roman; "><font size=3D"3" face=3D"Times New =
Roman"><span style=3D"font-size:12.0pt">=A0</span></font></p><div =
style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: Times New Roman; =
"><font size=3D"3" color=3D"blue" face=3D"AmericanTypewriter =
Medium"><span style=3D"font-size:12.0pt;font-family: =
&quot;AmericanTypewriter Medium&quot;;color:blue">seems like flash =
really lends itself to looping. one wonders if there's a way to trigger =
animated avatars from a midi interface- have one's own virtual dance =
troupe on a big screen, sort of thing.....</span></font></div><p =
class=3D"MsoNormal" style=3D"margin-left:.5in; margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: Times New Roman; "><font size=3D"3" face=3D"Times New =
Roman"><span style=3D"font-size:12.0pt">=A0</span></font></p><div =
class=3D"MsoNormal" align=3D"center" =
style=3D"margin-left:.5in;text-align:center; margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: Times New Roman; "><font size=3D"3" face=3D"Times New =
Roman"><span style=3D"font-size:12.0pt"><hr size=3D"2" width=3D"100%" =
align=3D"center"></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: Times New Roman; "><b><font size=3D"2" =
face=3D"Tahoma"><span style=3D"font-size:10.0pt;font-family: =
Tahoma;font-weight:bold">From:</span></font></b><font size=3D"2" =
face=3D"Tahoma"><span style=3D"font-size:10.0pt;font-family:Tahoma"><span =
class=3D"Apple-converted-space">=A0</span>todd reynolds [<a =
href=3D"mailto:toddreyn@gmail.com">mailto:toddreyn@gmail.com</a>]<span =
class=3D"Apple-converted-space">=A0</span><br><b><span =
style=3D"font-weight:bold">Sent:</span></b><span =
class=3D"Apple-converted-space">=A0</span>Tuesday, July 03, 2007 5:36 =
PM<br><b><span style=3D"font-weight:bold">To:</span></b><span =
class=3D"Apple-converted-space">=A0</span><a =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@looper=
s-delight.com</a><br><b><span =
style=3D"font-weight:bold">Subject:</span></b><span =
class=3D"Apple-converted-space">=A0</span>Re: it's in G, =
G</span></font></div><div style=3D"margin-top: 0in; margin-right: 0in; =
margin-left: 0in; margin-bottom: 0.0001pt; font-size: 12pt; font-family: =
Times New Roman; "><font size=3D"3" face=3D"Times New Roman"><span =
style=3D"font-size:12.0pt">hoofage-loopage<br><br><br></span></font></div>=
<div><div style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: Times New Roman; =
"><span class=3D"gmailquote"><font size=3D"3" face=3D"Times New =
Roman"><span style=3D"font-size:12.0pt">On 7/3/07,<span =
class=3D"Apple-converted-space">=A0</span><b><span =
style=3D"font-weight:bold">Michael Peters</span></b><span =
class=3D"Apple-converted-space">=A0</span>&lt;<a =
href=3D"mailto:mp@mpeters.de" style=3D"color: blue; text-decoration: =
underline; ">mp@mpeters.de</a>&gt; wrote:</span></font></span></div><div =
style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: Times New Roman; =
"><font size=3D"3" face=3D"Times New Roman"><span =
style=3D"font-size:12.0pt">&gt;<span =
class=3D"Apple-converted-space">=A0</span><a =
href=3D"http://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf" =
style=3D"color: blue; text-decoration: underline; =
">http://svt.se/hogafflahage/hogafflaHage_site/Kor/hestekor.swf</a><br>&gt=
; surely this qualifies as loopage?<br><br>erm, yes, I'd say it =
does<span =
class=3D"Apple-converted-space">=A0</span><br><br>-Michael=A0=A0:-)</span>=
</font></div></div><div style=3D"margin-top: 0in; margin-right: 0in; =
margin-left: 0in; margin-bottom: 0.0001pt; font-size: 12pt; font-family: =
Times New Roman; "><font size=3D"3" face=3D"Times New Roman"><span =
style=3D"font-size:12.0pt"><br><br clear=3D"all"><br>--<span =
class=3D"Apple-converted-space">=A0</span><br><a =
href=3D"http://www.toddreynolds.com" style=3D"color: blue; =
text-decoration: underline; =
">http://www.toddreynolds.com</a>=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=
=A0=A0=A0=A0=A0=A0|:<br><a href=3D"http://myspace.com/toddreynoldsmusic" =
style=3D"color: blue; text-decoration: underline; =
">http://myspace.com/toddreynoldsmusic</a>=A0=A0|:<br>--------------------=
----------------------------------|:<br>917.576.6166=A0=A0=A0=A0=A0=A0=A0=A0=
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0<br><a =
href=3D"mailto:todd@toddreynolds.com" style=3D"color: blue; =
text-decoration: underline; ">todd@toddreynolds.com<span =
class=3D"Apple-converted-space">=A0</span></a><br><a =
href=3D"mailto:toddreyn@gmail.com" style=3D"color: blue; =
text-decoration: underline; =
">toddreyn@gmail.com</a></span></font></div></div></span></blockquote></di=
v><br></div></body></html>=

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From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 17:24:24 2007
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Subject: Re: Laptops -dedicated to music only?
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In a message dated 7/5/2007 1:03:22 P.M. Eastern Standard Time,  
craig@craigmccollough.com writes:

ReadyBoost


Thanks Craig.  I apologize as I did not realize those links were  not a part 
of your signature. I was definitely misinformed by the tech support  engineer 
(possible wanna be) person I spoke to. So I am to understand  that this 
"virtual" memory never really functions as true random access memory  would, it just 
acts as a cach expansion from which data can be retrieved albeit  at a much 
slower speed. I wonder if "they" will come up with motherboard  facilities 
where by you can expand actual RAM externally? Actually, I would  settle for a 
direct external sata port on my laptop. ;-)
 
 



************************************** See what's free at http://www.aol.com.

-------------------------------1183656247
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; charset=3DUS-ASCII">
<META content=3D"MSHTML 6.00.2900.2873" name=3DGENERATOR></HEAD>
<BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY:=20=
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e_document=20
face=3DArial color=3D#000000 size=3D2>
<DIV>
<DIV>In a message dated 7/5/2007 1:03:22 P.M. Eastern Standard Time,=20
craig@craigmccollough.com writes:</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT=20
  style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000=20
  size=3D2>ReadyBoost</FONT></BLOCKQUOTE></DIV>
<DIV></DIV>
<DIV>Thanks Craig.&nbsp; I apologize as I&nbsp;did not realize those links w=
ere=20
not a part of your signature. I was definitely misinformed by the tech suppo=
rt=20
engineer (possible wanna be)&nbsp;person I spoke to. So I am to&nbsp;underst=
and=20
that this "virtual" memory never really functions as true random access memo=
ry=20
would, it just acts as a cach expansion from which data can be retrieved alb=
eit=20
at a much&nbsp;slower speed. I wonder if "they" will come up with motherboar=
d=20
facilities where by you can expand actual RAM externally?&nbsp;Actually, I w=
ould=20
settle for a direct external sata port on my laptop. ;-)</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV></FONT><BR><BR><BR><DIV><FONT style=3D"color: black; font:=20=
normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN-TOP: 10px">See what's fre=
e at <A title=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" href=3D"htt=
p://www.aol.com?ncid=3DAOLAOF00020000000503" target=3D"_blank">AOL.com</A>.=20=
</FONT></DIV></BODY></HTML>

-------------------------------1183656247--

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 17:38:59 2007
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To: Loopers-Delight@loopers-delight.com
Subject: Re: bows for guitars
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Kelly Coyle wrote:
> I had one of these:
> 
> http://www.piranhaguitarbow.com/
> 

thanks Kelly,
just ordered one of those.

if anyone's interested I'll report back about it
(in about a month)

andy butler 

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 18:17:48 2007
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Subject: record industry
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  I think the record industry started it's decline by gearing it's whole 
promo machine to producing Very expensive videos for MTV ,henceforth known 
as emptyvideos.They stopped putting money into more creative eccentricquirky 
acts and even dropped alot of famous musicians who were making platinum 
record cause they were dropping 100k on each video. Meanwhile MTV staretd 
producing more feature programming designed to keep viewers tuned in rather 
than surfing,and reduced the amount of airtime for mtvids.When napster and 
cheap digital recording  came along the didn't adapt intelligently. The tech 
changes are certainly an important factor,but secondary to bad tactics and 
strategies.They could have used napster to their advantage.

_________________________________________________________________
http://liveearth.msn.com

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  I think the record industry started it's decline by gearing it's whole 
promo machine to producing Very expensive videos for MTV ,henceforth known 
as emptyvideos.They stopped putting money into more creative eccentricquirky 
acts and even dropped alot of famous musicians who were making platinum 
record cause they were dropping 100k on each video. Meanwhile MTV staretd 
producing more feature programming designed to keep viewers tuned in rather 
than surfing,and reduced the amount of airtime for mtvids.When napster and 
cheap digital recording  came along the didn't adapt intelligently. The tech 
changes are certainly an important factor,but secondary to bad tactics and 
strategies.They could have used napster to their advantage.

_________________________________________________________________
http://newlivehotmail.com

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 19:28:56 2007
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Date: Thu, 5 Jul 2007 14:28:41 -0500
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At 11:17 AM -0700 7/5/07, samba - wrote:
>  I think the record industry started it's decline by gearing it's 
>whole promo machine to producing Very expensive videos for MTV 
>,henceforth known as emptyvideos.They stopped putting money into 
>more creative eccentricquirky acts and even dropped alot of famous 
>musicians who were making platinum record cause they were dropping 
>100k on each video. Meanwhile MTV staretd producing more feature 
>programming designed to keep viewers tuned in rather than 
>surfing,and reduced the amount of airtime for mtvids.When napster 
>and cheap digital recording  came along the didn't adapt 
>intelligently. The tech changes are certainly an important 
>factor,but secondary to bad tactics and strategies.They could have 
>used napster to their advantage.

Oh, while I'll agree that this was eventually a contributing factor 
to the decline of the Major Record Companies, I'd take a bit of issue 
with the "started to decline" statement.

Remember the whole DIY movement that came to fruition during the Punk 
and post-Punk eras?  This was a full-blown scourge of indie labels 
who came about as a reaction to the Major Label's tendency to 
predominantly pick up and fund huge dinosaur rock acts, while leaving 
newer and more experimental acts behind in the dust.

Many people realized that they could just as easily press their own 
singles or trade tapes, and a whole alternative label revolution was 
born due to the corruption and sloth of the Majors.  This started at 
least as far back as the mid-70's (well, that's when the big wave 
caught on; I don't doubt other DIY'ers were paving the way a lot 
earlier).

In other words, the Majors started to rot from the inside long before 
MTV played any part.

In addition, if you think about it, I believe early eMpTV actually 
had a coalescing and reviving effect upon the Majors, in that, while 
MTV began by playing cool and "arty" videos, they eventually upped 
their production standards (as well as, I suspect, their payola 
kickbacks) until the independent and alternative labels/artists could 
find no safe harbor there (with the possible exception of the token 
"120 minutes" once a week).  This, I also believe, helped lead to the 
demise of most independent college radio, with the popularization of 
"grundge" and the eventual codification of indie music into the 
Billboard "Alternative Top 40" during the late-80's/early-90's. 
Alternative artists believed they had finally achieved the 
recognition they had aspired to for so long, and, by supporting the 
commodification of their sector, unwittingly colluded in their own 
doom.

Thus, all this actually led to the Majors getting a temporary shot in 
the arm, as they managed to drive many independent label competitors 
out of business (or else they bought and assimilated them).  Of 
course, MTV, being a profit-oriented animal itself, started to 
diversify into its own programming to maximize its profits -- 
eventually leaving the majors out on the carpet, as you rightfully 
pointed out.

While I look at the Majors as dinosaurs who deserve nothing more than 
to have kerosene poured atop them, I still wouldn't count them out 
just yet.  They've found too many ways to re-invent themselves and 
bounce back in the past.  As long as there's a profit-motive they can 
exploit, they'll still be around.

	--m.
-- 
_____
"I want to keep you alive so there is always the possibility of 
murder... later"

From rxexv@rpfl.com  Thu Jul  5 21:46:39 2007
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Brokers Move On ERMX!

EntreMetrix Inc. (ERMX)
$0.18

Heavy trading today as ERMX announced its launch of digital support
tools for its portfolio companies. Brokers are getting ahead of this
steady climb as they grab up large blocks of shares for there clients.
Look at the numbers and get on ERMX Friday morning!

Well devised and executed policy should make managers immune from
watchdog interference.

Controlling and problem solving is the job of management whilst
leadership focuses on motivating and enabling others to work towards new
goals.

This will enable the Account Manager concerned to make decisions
relating to that account based on the collective knowledge of the
organisation, rather than simply on their personal knowledge.

Through the use of this technology, organisations can provide complete
information to anyone, no matter where they are. Innovation What is the
definition of innovation? Real success in future will be far more
difficult to define.

Yet while their technical training usually covered several years, their
training in people was typically a few days or even hours.

Far from being an altruistic aim, any observer of the airline business
would know that this could be translated as "To corner the most
lucrative segment of the market airlines market". The disposal of failed
leaders is still a standard piece of management control theory.

Because of this, people are unwilling to take risks.

But what results do you use?

Management culture - It is no good sending your staff out armed with the
information necessary to make significant decisions if they do not have
the ability or authority to use it.

But what results do you use? But of almost equal significance to the sum
of money raised was the way in which it was raised. A great deal of lip
service is paid to innovation because it is always easier to talk about
it than actually do anything about it. However, this is analogous to
changing the labels on the buttons on a control panel, without changing
the connections to the things they operate.
>From one perspective this appears fair as the investor cares about
financial results and above all the share price.

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 22:23:22 2007
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From: Warren Sirota <wsirota@wsdesigns.com>
Subject: RE: record industry
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(curmudgeon alert) I have to semi-agree. I feel that MTV, with its
inevitable focus on visuals, also inevitably led to the transformation of
the commercial music industry into the soft-core porn industry. This led to
a huge decline in quality and diversity of musical expression at the labels
(remember Reprise from the late 60's? I'd buy stuff on that label I never
heard of just cause it was on the label).

The Internet was terrific for music promotion when it was mostly dialup and
low-fi RealAudio streaming. Once speeds got fast and mp3s became
downloadable, well... you'd like to believe that people would respect artist
copyrights and stuff because they're honorable, but when temptation is
placed in our paths, many will succumb. And, as someone else said, the
outrageous prices for new CDs have contributed greatly to the situation.

Personally, I feel that a royalty charge on mp3 players and sound chips
would not be out of line. However, in a practical sense, the idea that such
a royalty would ever be distributed fairly to smaller artists is so
far-fetched as to make the whole concept ridiculous. But still, who are the
main financial beneficiaries of music sharing/theft (choose your loaded
term)? Clearly, it's the hardware mfrs.

-----Original Message-----
From: samba - [mailto:sambacomet@hotmail.com] 
Sent: Thursday, July 05, 2007 2:18 PM
To: Loopers-Delight@loopers-delight.com
Subject: record industry


  I think the record industry started it's decline by gearing it's whole 
promo machine to producing Very expensive videos for MTV ,henceforth known 
as emptyvideos.They stopped putting money into more creative eccentricquirky

acts and even dropped alot of famous musicians who were making platinum 
record cause they were dropping 100k on each video. Meanwhile MTV staretd 
producing more feature programming designed to keep viewers tuned in rather 
than surfing,and reduced the amount of airtime for mtvids.When napster and 
cheap digital recording  came along the didn't adapt intelligently. The tech

changes are certainly an important factor,but secondary to bad tactics and 
strategies.They could have used napster to their advantage.

_________________________________________________________________
http://newlivehotmail.com


From customer.service@myisland.com  Thu Jul  5 22:26:43 2007
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We are currently trying to upgrade our online banking methods. All accounts have been temporarily limited until each person completes our secure online form. For this operation you will be required to pass through a series of authentications.

Your credit card on file with North Island Credit Union:
Card Number: 4337-79XX-XXXX-XXXX

To begin upgrading your account, please go to our website: http://aguia.diberardino.com.br/manual/programs/Island/www.myisland.com/island/personal/

We apologize for any inconvenience this may cause.
Thank you for using North Island Credit Union.

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 22:47:16 2007
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Date: Thu, 05 Jul 2007 18:45:26 -0400
From: Bill Fox <billyfox@soundscapes.us>
Subject: Re: Record Industry Decline
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Michael Billow wrote:
> But the reason
> for their downfall is not their conduct, it is the changing
> world of technology and the fact that music can now
> be traded so easily, all over the world. Its the internet,
> nobody's fault really.
That's like saying all dynamite is bad.  Sure, suicide bombers use 
dynamite in a bad way but a road construction crew uses dynamite in a 
good way.  The internet is a thing, a tool.  It is neither good nor bad 
on its own.  It all depends upon how a person uses it.
> Its basically no different from being
> able to record a record on your cassette player in the
> 70s,
except that you get *exact* copies with no generational loss, compressed 
files not withstanding.
> except now you can share and trade with thousands
> of people from your own computer.
Oh, is *that* all?  :)  Instead of running off cassette copies in real 
time (or double speed if you didn't mind the high end loss), you can rip 
a CD once, get an exact copy, and then share it with everyone in your 
address book with one email in much less time than it took to copy an LP 
to cassette.  I'd say that this is a significant difference.
> But the music industry
> is going to have to scramble to roll with the changes.
Agreed.  Some feel that it is too late.  That remains to be seen.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Thu Jul  5 23:47:40 2007
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Date: Thu, 5 Jul 2007 16:47:38 -0700
From: "Michael Billow" <mbillow@gmail.com>
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Subject: Re: Record Industry Decline
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Bill Fox, that was obnoxious and wholly unwarranted. I never
indicated any value judgments about wether the internet was "good"
or "bad" I simply made the distinction that it was the reason why
the music industry has changed - in direct response to the previous
claim. I could go on about how inappropriate your dissection of my
post is but instead I will simply request that you kindly refrain from
attacking people in here with such a condescending tone, and if you
must then at LEAST read more carefully what your responding to
before you mis-characterize what they've said.

On 7/5/07, Bill Fox <billyfox@soundscapes.us> wrote:
>
> Michael Billow wrote:
> > But the reason
> > for their downfall is not their conduct, it is the changing
> > world of technology and the fact that music can now
> > be traded so easily, all over the world. Its the internet,
> > nobody's fault really.
> That's like saying all dynamite is bad.  Sure, suicide bombers use
> dynamite in a bad way but a road construction crew uses dynamite in a
> good way.  The internet is a thing, a tool.  It is neither good nor bad
> on its own.  It all depends upon how a person uses it.
> > Its basically no different from being
> > able to record a record on your cassette player in the
> > 70s,
> except that you get *exact* copies with no generational loss, compressed
> files not withstanding.
> > except now you can share and trade with thousands
> > of people from your own computer.
> Oh, is *that* all?  :)  Instead of running off cassette copies in real
> time (or double speed if you didn't mind the high end loss), you can rip
> a CD once, get an exact copy, and then share it with everyone in your
> address book with one email in much less time than it took to copy an LP
> to cassette.  I'd say that this is a significant difference.
> > But the music industry
> > is going to have to scramble to roll with the changes.
> Agreed.  Some feel that it is too late.  That remains to be seen.
>
> Cheers,
>
> Bill
>
>

------=_Part_32527_28832920.1183679258010
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Bill Fox, that was obnoxious and wholly unwarranted. I never<br>indicated any value judgments about wether the internet was &quot;good&quot;<br>or &quot;bad&quot; I simply made the distinction that it was the reason why<br>
the music industry has changed - in direct response to the previous <br>claim. I could go on about how inappropriate your dissection of my<br>post is but instead I will simply request that you kindly refrain from <br>attacking people in here with such a condescending tone, and if you 
<br>must then at LEAST read more carefully what your responding to<br>before you mis-characterize what they&#39;ve said.<br><br><div><span class="gmail_quote">On 7/5/07, <b class="gmail_sendername">Bill Fox</b> &lt;<a href="mailto:billyfox@soundscapes.us">
billyfox@soundscapes.us</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Michael Billow wrote:<br>&gt; But the reason<br>
&gt; for their downfall is not their conduct, it is the changing<br>&gt; world of technology and the fact that music can now<br>&gt; be traded so easily, all over the world. Its the internet,<br>&gt; nobody&#39;s fault really.
<br>That&#39;s like saying all dynamite is bad.&nbsp;&nbsp;Sure, suicide bombers use<br>dynamite in a bad way but a road construction crew uses dynamite in a<br>good way.&nbsp;&nbsp;The internet is a thing, a tool.&nbsp;&nbsp;It is neither good nor bad
<br>on its own.&nbsp;&nbsp;It all depends upon how a person uses it.<br>&gt; Its basically no different from being<br>&gt; able to record a record on your cassette player in the<br>&gt; 70s,<br>except that you get *exact* copies with no generational loss, compressed
<br>files not withstanding.<br>&gt; except now you can share and trade with thousands<br>&gt; of people from your own computer.<br>Oh, is *that* all?&nbsp;&nbsp;:)&nbsp;&nbsp;Instead of running off cassette copies in real<br>time (or double speed if you didn&#39;t mind the high end loss), you can rip
<br>a CD once, get an exact copy, and then share it with everyone in your<br>address book with one email in much less time than it took to copy an LP<br>to cassette.&nbsp;&nbsp;I&#39;d say that this is a significant difference.<br>
&gt; But the music industry<br>&gt; is going to have to scramble to roll with the changes.<br>Agreed.&nbsp;&nbsp;Some feel that it is too late.&nbsp;&nbsp;That remains to be seen.<br><br>Cheers,<br><br>Bill<br><br></blockquote></div><br>

------=_Part_32527_28832920.1183679258010--

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Subject: Re: Record Industry Decline
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Obnoxious?!


At 2007.07.05 04:47 PM, Michael Billow wrote:
>Bill Fox, that was obnoxious and wholly unwarranted. I never
>indicated any value judgments about wether the internet was "good"
>or "bad" I simply made the distinction that it was the reason why
>the music industry has changed - in direct response to the previous
>claim. I could go on about how inappropriate your dissection of my
>post is but instead I will simply request that you kindly refrain from
>attacking people in here with such a condescending tone, and if you
>must then at LEAST read more carefully what your responding to
>before you mis-characterize what they've said.
>
>On 7/5/07, Bill Fox <<mailto:billyfox@soundscapes.us> 
>billyfox@soundscapes.us> wrote:
>Michael Billow wrote:
> > But the reason
> > for their downfall is not their conduct, it is the changing
> > world of technology and the fact that music can now
> > be traded so easily, all over the world. Its the internet,
> > nobody's fault really.
>That's like saying all dynamite is bad.  Sure, suicide bombers use
>dynamite in a bad way but a road construction crew uses dynamite in a
>good way.  The internet is a thing, a tool.  It is neither good nor bad
>on its own.  It all depends upon how a person uses it.
> > Its basically no different from being
> > able to record a record on your cassette player in the
> > 70s,
>except that you get *exact* copies with no generational loss, compressed
>files not withstanding.
> > except now you can share and trade with thousands
> > of people from your own computer.
>Oh, is *that* all?  :)  Instead of running off cassette copies in real
>time (or double speed if you didn't mind the high end loss), you can rip
>a CD once, get an exact copy, and then share it with everyone in your
>address book with one email in much less time than it took to copy an LP
>to cassette.  I'd say that this is a significant difference.
> > But the music industry
> > is going to have to scramble to roll with the changes.
>Agreed.  Some feel that it is too late.  That remains to be seen.
>Cheers,
>Bill

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Date: Thu, 5 Jul 2007 16:57:25 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: Re: Record Industry Decline
To: Loopers-Delight@loopers-delight.com
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Howdy,

 Does anyone remember the big battle to notch the
frequency of CDs to disallow duplication? One more
example of record company greed.
Rig


--- Jim Goodin <jimgoodinmusic@gmail.com> wrote:

> I would concur with Bill. I'm sure there is much
> fear in the traditional
> brick and mortar industry.  Though harder to realize
> income and exact
> marketing the Internet has truely provided a
> "chance" for all who will
> enter.
> 
> Happy 4th to all on LD.
> 
> Jim
> www.jimgoodinmusic.com
> www.chinapaintingmusic.com
> 
> 
> 
> On 7/3/07, bill bigrig <billbigrig@yahoo.com> wrote:
> >
> > Howdy,
> >
> > i personally think the record companies strarted
> > screwing themselves whenthey came out with CDs at
> > double the price of LPs even though the unit
> > production cost was the same. Add to that the RIAA
> > wanting to tax blank tape and recording machines
> and
> > you can see that their own greed is the major
> factor
> > of their downfall. I think.
> > Rig
> >
> >
> > --- Richard Sales <richard@glasswing.com> wrote:
> >
> > > Yeah... GREAT article. Now, are you or are you
> > > related to Dan Ryman in
> > > Marin?
> > >
> > > richard sales
> > > glassWing farm and studio
> > > vancouver island, b.c.
> > > 800.545.6846
> > > 250.752.4816
> > > www.glassWing.com
> > > www.richardsales.com
> > > www.hayleysales.com
> > > www.blueberryfieldsfarm.com
> > > On 2-Jul-07, at 4:36 PM, ryman1960@aol.com
> wrote:
> > >
> > > > Interesting article:
> > > >
> > > >
> http://www.rollingstone.com/news/story/15137581/
> > > > the_record_industrys_decline/print
> > > >  AOL now offers free email to everyone. Find
> out
> > > more about what's
> > > > free from AOL at AOL.com.
> > >
> >
> >
> >
> >
> >
> >
>
____________________________________________________________________________________
> > Sick sense of humor? Visit Yahoo! TV's
> > Comedy with an Edge to see what's on, when.
> > http://tv.yahoo.com/collections/222
> >
> >
> 
> 
> -- 
> The Acoustic World Guitar of Jim Goodin  -
> http://www.jimgoodinmusic.com
> MySpace (solo) -
> http://www.myspace.com/jimgoodinmusic
> Chinapainting -
> http://www.chinapaintingmusic.com
> Chinapainting on My Space -
> http://www.myspace.com/chinapaintingmusic.com
> The Jim Goodin label and home for 7 other creative
> souls -
> http://www.woodandwiremusic.com
> Jim Goodin uses GHS Strings -
> http://www.ghsstrings.com and Seagull Guitars
> - http://www.seagullguitars.com, Jim Goodin is
> published by Mel Bay
> Publications, Inc. - http://www.melbay.com
> 
> Associates and friends on the web -
> Daryl Shawn -
> http://www.swanwelder.com
> Adam Werner - http://www.adamwerner.com
> John Stowell - http://www.johnstowell.com
> Matt Richards - http://www.mattrichardsmusic.net
> Michael Manring - http://www.manthing.com
> Will Ackerman - http://www.williamackerman.com
> New Land Music - http://www.newlandmusic.com
> 



      ____________________________________________________________________________________
Shape Yahoo! in your own image.  Join our Network Research Panel today!   http://surveylink.yahoo.com/gmrs/yahoo_panel_invite.asp?a=7 


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I believe that was actually DAT recorders that were to have the notch.

TH

On 7/5/07, bill bigrig <billbigrig@yahoo.com> wrote:
> Howdy,
>
>  Does anyone remember the big battle to notch the
> frequency of CDs to disallow duplication? One more
> example of record company greed.
> Rig

From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 00:28:39 2007
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On Jul 5, 2007, at 5:02 PM, Travis Hartnett wrote:
> I believe that was actually DAT recorders that were to have the notch.

When DAT machines were introduced as a consumer product, they were  
introduced with a fixed sample rate of 48k so that people could not  
make digital clones of CDs which are 44.1k. Film and TV post houses  
adopted 48k as a new pro standard (probably because the 48k only  
machines were cheaper) causing hell and confusion for people in the  
audio industry. Pro DAT machines could work at either sample rate.


Ronan Chris Murphy
www.venetowest.com (Production & mixing: King Crimson, Chucho Valdes,  
Steve Morse, Terry Bozzio, CGT...)
www.homerecordingbootcamp.com (Workshops around the world teaching  
the art and craft of recording )
www.livesofthesaints.net (The hottest ambient noise duo since Sonny &  
Cher)



>
> TH
>
> On 7/5/07, bill bigrig <billbigrig@yahoo.com> wrote:
>> Howdy,
>>
>>  Does anyone remember the big battle to notch the
>> frequency of CDs to disallow duplication? One more
>> example of record company greed.
>> Rig
>
>

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I'm going to jump in here and state that I believe the hole "perfect =
copy"
thing is a lie made up my record companies.  Few really care if their =
copy
is "perfect."  I made cassettes of records as I now make mp3s of CDs and =
90
percent of the time I don't care and I'm pretty into the sound quality =
of
things. (home is where I try to listen to things in the best quality)

My point is that the average person can't tell an mp3 from a cd from a
record from a cassette.  Record companies just want control of what ever =
you
listen to.

Mark

-----Original Message-----
From: Ronan Chris Murphy [mailto:looper@venetowest.com]=20
Sent: Thursday, July 05, 2007 5:29 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Record Industry Decline


On Jul 5, 2007, at 5:02 PM, Travis Hartnett wrote:
> I believe that was actually DAT recorders that were to have the notch.

When DAT machines were introduced as a consumer product, they were =20
introduced with a fixed sample rate of 48k so that people could not =20
make digital clones of CDs which are 44.1k. Film and TV post houses =20
adopted 48k as a new pro standard (probably because the 48k only =20
machines were cheaper) causing hell and confusion for people in the =20
audio industry. Pro DAT machines could work at either sample rate.


Ronan Chris Murphy
www.venetowest.com (Production & mixing: King Crimson, Chucho Valdes, =20
Steve Morse, Terry Bozzio, CGT...)
www.homerecordingbootcamp.com (Workshops around the world teaching =20
the art and craft of recording )
www.livesofthesaints.net (The hottest ambient noise duo since Sonny & =20
Cher)



>
> TH
>
> On 7/5/07, bill bigrig <billbigrig@yahoo.com> wrote:
>> Howdy,
>>
>>  Does anyone remember the big battle to notch the
>> frequency of CDs to disallow duplication? One more
>> example of record company greed.
>> Rig
>
>



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  I don't really see the punk anarchist DIY  thing as much as having much 
imact on sales.Who was moving enough units to compete?  Or what list of 
bands were  collectively impacting sales by the majors? I was certainly into 
ignoring the mainstream industry .  Starting in 1980 we even made our own 
instruments and of course produced our own shows etc. .Interesting to note 
the masters of DIY were the grateful dead they  built their own PA 
system,and subculture. Started their own record co and alternative 
distribution network,ie mailing list in around 73.I know alot of punks 
vociferously hated them, ( esp  ones w/ Hippie parents)but the ethos has 
significant similarities.
I was also doing radio in those days, I observed  the majors paying very 
careful attention to what was playing on college radio,watching those bands 
maybe even teasing them by  dangling possibilities the saying But you're not 
ready yet.Letting them self produce  1 or 2 or 3 records,tour behind them 
and build a following ,then when all that stuff ,was working then they'd 
offer not very good deals like 10% of the net and all expenses coming out of 
artists cut.They used the Indie and DIY scenes as farm teams.This is exactly 
the kind of practical tactical approach they didn't ,but should have used 
with napster ,if they knew what was good for them.

_________________________________________________________________
http://newlivehotmail.com

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andy butler wrote about the pirhanha bow:
"thanks Kelly, just ordered one of those.
if anyone's interested I'll report back about it (in about a month)"


lol,  we're like odd peas in a pod, Andy.
 I immediately ordered one as well.
It'll be fun to compare notes.

did you , by the way,  see my rather wordy post about Suzuki miniature bows?
They are cheap and work great on lots of instruments.

wish you were able to make the loopfestival this year.   we miss you guys!

yours,  Rick


 

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My own approach these days (having failed with the Pirhanha) is to use the
eBow -- which I'm getting better at. But even before this conversation, I
ordered gear I thought might do the sustained sound trick. My plan is to use
one of these --

http://www.pigtronix.com/products/ASDR.htm (should get mine next week)

-- or one of these (cheaper!) --

http://www.guyatone.com/Sv2.php

-- with one of these, which I already own:

http://www.sustainiac.com/model-b.htm.

The trouble with my plan is that the sustainiac is pretty random as to which
harmonic it decides to sustain. I'm pretty OK with that, but you might not
be.

I toy with getting my friend, Steve Holst, to build a gamba or apreggione
for me, but I haven't quite decided yet. (It's either that or a harp-uke. Or
something else. I've been thinking about it for a year or so now.)











On 7/5/07, RICK WALKER <looppool@cruzio.com> wrote:
>
> andy butler wrote about the pirhanha bow:
> "thanks Kelly, just ordered one of those.
> if anyone's interested I'll report back about it (in about a month)"
>
>
> lol,  we're like odd peas in a pod, Andy.
> I immediately ordered one as well.
> It'll be fun to compare notes.
>
> did you , by the way,  see my rather wordy post about Suzuki miniature
> bows?
> They are cheap and work great on lots of instruments.
>
> wish you were able to make the loopfestival this year.   we miss you guys!
>
> yours,  Rick
>
>
>
>
>

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My own approach these days (having failed with the Pirhanha) is to use the eBow -- which I&#39;m getting better at. But even before this conversation, I ordered gear I thought might do the sustained sound trick. My plan is to use one of these --
<br><br><a href="http://www.pigtronix.com/products/ASDR.htm">http://www.pigtronix.com/products/ASDR.htm</a> (should get mine next week)<br><br>-- or one of these (cheaper!) --<br><br><a href="http://www.guyatone.com/Sv2.php">
http://www.guyatone.com/Sv2.php</a><br><br>-- with one of these, which I already own:<br><br><a href="http://www.sustainiac.com/model-b.htm">http://www.sustainiac.com/model-b.htm</a>.<br><br>The trouble with my plan is that the sustainiac is pretty random as to which harmonic it decides to sustain. I&#39;m pretty OK with that, but you might not be.
<br><br>I toy with getting my friend, Steve Holst, to build a gamba or apreggione for me, but I haven&#39;t quite decided yet. (It&#39;s either that or a harp-uke. Or something else. I&#39;ve been thinking about it for a year or so now.)
<br><br><br><br><br><br><br><br><br><br><br><br><div><span class="gmail_quote">On 7/5/07, <b class="gmail_sendername">RICK WALKER</b> &lt;<a href="mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
andy butler wrote about the pirhanha bow:<br>&quot;thanks Kelly, just ordered one of those.<br>if anyone&#39;s interested I&#39;ll report back about it (in about a month)&quot;<br><br><br>lol,&nbsp;&nbsp;we&#39;re like odd peas in a pod, Andy.
<br> I immediately ordered one as well.<br>It&#39;ll be fun to compare notes.<br><br>did you , by the way,&nbsp;&nbsp;see my rather wordy post about Suzuki miniature bows?<br>They are cheap and work great on lots of instruments.<br>
<br>wish you were able to make the loopfestival this year.&nbsp;&nbsp; we miss you guys!<br><br>yours,&nbsp;&nbsp;Rick<br><br><br><br><br></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 04:23:05 2007
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Date: Thu, 5 Jul 2007 21:23:02 -0700
From: "Matt Davignon" <mattdavignon@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Record Industry Decline
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There are 3 major elements that are part of the major record labels'
declining cd sales:

1) Yes, downloads. However, many of the figures that say that cd sales
are declining are saying exactly that - cd sales are declining. Not
necessarily music sales. Vinyl sales declined in the 80's. Now cd's
are being replaced by digital files. The last "alarming" figures I saw
did not account for 'legal' album sales such as Itunes.

2) How about this major element of cd sales - They're depending on
bands like Linkin Park to be their flagship artists. The people making
these decisions are not out there listening to music to the degree
that their predecessors did. I would be adventurous enough to suggest
that the big record labels set themselves up for decline when they
started signing artists based on predictably successful genres and how
much bands kind of sound like that other band that was successful a
few years back. Now they're signing stuff a couple generations down -
this band sound like that other band that sounds like that band I once
really liked. Or this is the new band by those guys in Guns and Roses
who were big in 1989. It's almost a form of inbreeding. Major label
music now is a 4th generation cassette copy of music from 15-20 years
ago or more. Pop music had some neat stuff in 2000 or so, but since
then it's been sounding more and more inbred, with no real growth. In
a discussion of this article, several friends and I tried to think of
songs in the last 5 years that people would fondly remember 10 years
from now. We came up with 3. One of them was "My Humps". If Jimi
Hendrix was trying to put out his debut album this now, he'd never get
signed on one of the big labels. They'd think he was too weird.

3) Album-Oriented music is going away (except on indie labels). If you
buy a hit album today, you're much more likely to enjoy only the hit
singles than with older albums. They're built that way. The singles
have the talented songwriters, engineers and producers. That in itself
wouldn't mean declining cd sales - unless we live in a culture where
people can pick and choose which songs they're going to get (a la
downloading) or when compilation albums (like "Now that's what I call
Music") pool all the singles together while they're still on the
radio. If people can get all the songs they like on a comp, they're
going to buy fewer full length albums.

Frankly, I'm buying more music now than I ever have. Sites like
emusic.com encourage me to take a chance on a lot of things that I
probably wouldn't hear otherwise. Folks just need to get used to the
online music business model.

Matt Davignon

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From: James Richmond <yahoogroups@jamesrichmond.com>
Subject: Re: record industry
Date: Fri, 6 Jul 2007 01:22:01 -0400
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The record industry has always been a complete joke, from the artists  
perspective.

It used to be, you get signed and have to give away your publishing.
It is like buying a house, paying for it, paying the interest and  
when you have finished paying for it, you don't own the house, the  
bank does.

I'm energised and enthusiastic about the current state of play.
I'm cheering the decline of record companies with absolute and total  
enthusiasm.
New business models, implemented by the artist, ownership of  
publishing rights, grass roots fan base via the net.
Look at the Arctic Monkeys- bloody brilliant for a band to have that  
sort of success with no record company involvement.

Making music and living as an artist has always been a challenge-  
without getting top happy-clappy about it I think it is a terrific  
time to be in control of your own career.
It is certainly a lot of work- but putting a lot of work in is what  
it is all about.
No-one is going to knock on your door tomorrow with a record  
contract, the world doesn't owe us a living.

Typically musicians are lazy buggers anyway- it doesn't take that  
much work to stand out head and shoulder above the drek- you simply  
need to have good ideas, be focussed, have good people skills and  
recognise that some compromise is needed... and patience... lots and  
lots of patience.

Regards,

Jim Richmond

On Jul 5, 2007, at 2:17 PM, samba - wrote:

>
>  I think the record industry started it's decline by gearing it's  
> whole promo machine to producing Very expensive videos for  
> MTV ,henceforth known as emptyvideos.They stopped putting money  
> into more creative eccentricquirky acts and even dropped alot of  
> famous musicians who were making platinum record cause they were  
> dropping 100k on each video. Meanwhile MTV staretd producing more  
> feature programming designed to keep viewers tuned in rather than  
> surfing,and reduced the amount of airtime for mtvids.When napster  
> and cheap digital recording  came along the didn't adapt  
> intelligently. The tech changes are certainly an important  
> factor,but secondary to bad tactics and strategies.They could have  
> used napster to their advantage.
>
> _________________________________________________________________
> http://liveearth.msn.com
>

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http://www.newscientisttech.com/article.ns?id=dn12190&feedId=tech_rss2

_________________________________________________________________
http://liveearth.msn.com

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Recording Programs?
Date: Fri, 6 Jul 2007 08:31:37 +0200
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On 25 jun 2007, at 11.53, Stephen Goodman wrote:

> Hi folks,
>
> I'm an old, old Cool Edit Pro user, and while I've been quite happy  
> with its multitracking etc., I look around and see what everyone  
> else is using once in a while.


Hi Stephen,

Sorry about adding a post on this thread so late, but it just hit me  
that no one suggested Ardour! Probably because you wrapped up your  
query by asking "What program do you use?" and since Ardour is rather  
new not very many of us are already using it. The interesting point  
with Ardour is that it is free, an open source project for Linux and  
MacOSX.

http://ardour.org/

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Record Industry Decline
Date: Fri, 6 Jul 2007 08:55:43 +0200
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A good analysis Matt. You just forgot one aspect, the change in music  
culture and thus implemented infra-structure. Some decades ago there  
were not many main musical styles for a label A&R to master. Back  
then it was possible for a human to stay on the cutting edge with  
"Metal", "Disco", "Pop" or whatever genre, and successfully predict  
future big selling acts. Then these original genres started to  
divide, multiply into sub genres and an endless row of new genres.  
And this kept happening with an increasing speed. And as we got more  
genres the potential consumers within each genre became less and  
quite soon even too few to motivate any serious marketing attempts.

What the major labels have always been good at is to implement "mass  
manufacturing" methods on music selling. But with this new diverse  
market situation (see above) mass manufacturing is an obsolete  
concept for selling music.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)



On 6 jul 2007, at 06.23, Matt Davignon wrote:

> There are 3 major elements that are part of the major record labels'
> declining cd sales:
>
> 1) Yes, downloads. However, many of the figures that say that cd sales
> are declining are saying exactly that - cd sales are declining. Not
> necessarily music sales. Vinyl sales declined in the 80's. Now cd's
> are being replaced by digital files. The last "alarming" figures I saw
> did not account for 'legal' album sales such as Itunes.
>
> 2) How about this major element of cd sales - They're depending on
> bands like Linkin Park to be their flagship artists. The people making
> these decisions are not out there listening to music to the degree
> that their predecessors did. I would be adventurous enough to suggest
> that the big record labels set themselves up for decline when they
> started signing artists based on predictably successful genres and how
> much bands kind of sound like that other band that was successful a
> few years back. Now they're signing stuff a couple generations down -
> this band sound like that other band that sounds like that band I once
> really liked. Or this is the new band by those guys in Guns and Roses
> who were big in 1989. It's almost a form of inbreeding. Major label
> music now is a 4th generation cassette copy of music from 15-20 years
> ago or more. Pop music had some neat stuff in 2000 or so, but since
> then it's been sounding more and more inbred, with no real growth. In
> a discussion of this article, several friends and I tried to think of
> songs in the last 5 years that people would fondly remember 10 years
> from now. We came up with 3. One of them was "My Humps". If Jimi
> Hendrix was trying to put out his debut album this now, he'd never get
> signed on one of the big labels. They'd think he was too weird.
>
> 3) Album-Oriented music is going away (except on indie labels). If you
> buy a hit album today, you're much more likely to enjoy only the hit
> singles than with older albums. They're built that way. The singles
> have the talented songwriters, engineers and producers. That in itself
> wouldn't mean declining cd sales - unless we live in a culture where
> people can pick and choose which songs they're going to get (a la
> downloading) or when compilation albums (like "Now that's what I call
> Music") pool all the singles together while they're still on the
> radio. If people can get all the songs they like on a comp, they're
> going to buy fewer full length albums.
>
> Frankly, I'm buying more music now than I ever have. Sites like
> emusic.com encourage me to take a chance on a lot of things that I
> probably wouldn't hear otherwise. Folks just need to get used to the
> online music business model.
>
> Matt Davignon



From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 08:30:42 2007
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http://www.pigtronix.com/products/Phi.htm

andy butler

From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 09:29:21 2007
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Date: Fri, 6 Jul 2007 11:29:18 +0200
From: Os <os@collective.co.uk>
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On 05/07/07, Mech <mech@m3ch.net> wrote:
> CPU usage: believe it or not, Live is actually more CPU efficient
> than Rax (by about 5-10% on average, in a Powerbook G4 1.67MHz).

Live also gives you a lot of control over audio buffer size and plugin
processing buffer size, allowing you to effectively trade CPU usage
against latency/plugin responsiveness to your taste/needs.

> Now, one thing I don't remember testing on Rax was whether it had the
> slave-sync idiosyncrasies that plague Live, so that could be a point
> in Rax's favor.

Rax worked well as a sync slave, in my tests. It's all a bit academic
now though, since they killed it.

Another host that works well as a sync slave is Numerology. I think
this is a host that deserves a lot more attention, especially if you
want to get creative with MIDI alongside your audio (e.g. analogue
sequencer-style pattern generation driving loop segment playback in
Crossfade Loop Synth Effect).

Has anyone tried using a good sync slave (e.g. Numerlogy) as a ReWire
slave under Live, so the ReWire slave drives Live's tempo?


cheers,
os.

-- 
os@collective.co.uk
http://www.collective.co.uk/
http://www.myspace.com/darkroomtheband

From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 10:00:38 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: live looping with ableton live
Date: Fri, 6 Jul 2007 12:00:34 +0200
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On 6 jul 2007, at 11.29, Os wrote:

> Has anyone tried using a good sync slave (e.g. Numerlogy) as a ReWire
> slave under Live, so the ReWire slave drives Live's tempo?


Not with Numerology, since Numerology 2.0 with added ReWire support  
is still not released (soon oh soon...). But I have been using  
DrumCore by ReWire sync in Live and the timing is rock solid - no  
matter which one of the application you change the tempo in.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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looks interesting. 
the first thing i'd have to do is: 
drill a hole and connect an additional footswitch to the reverse button...

tilmann


----- Original Message ----- 
From: "andy butler" <akbutler@tiscali.co.uk>
To: "LD" <Loopers-Delight@loopers-delight.com>
Sent: Friday, July 06, 2007 10:30 AM
Subject: A new loop toy?


> http://www.pigtronix.com/products/Phi.htm
> 
> andy butler
>

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Mark wrote:

 >"My point is that the average person can't tell an mp3 from a cd from 
a record from a cassette. Record companies just want control of what 
ever you listen to.
Mark<"


I agree, and that is so sad!  (The part about the non-discerning public 
unable to tell the difference.)  I do not do mp3's at all because the 
sound quality is generally quite bad.  They say that i-tunes are better, 
but I haven't tried that yet.

While I find overall that LPs played on a good turntable generally sound 
better than CDs, there are some very good sounding CDs and I have no 
problem eating macaroni and cheese casseroles, or rice and beans so that 
I can budget to buy them.  (I've invented some great recipes for budget 
meals if anyone is interested.)  I have been purchasing more and more 
LPs lately, thanks to the greater offerings of re-issues, etc.

Regarding the copying of digital music, I have heard examples of stuff 
done in computers, and from my limited experience, they tend to have an 
even higher rate of digital glitch problems than commercially available 
CDs.  To get around the music industry's barriers to copying CDs, so 
long as a digital recorder has decent A/D converters and a good signal 
path within it, one can make an analogue to digital copy of a CD that 
sounds pretty darned close, by taking the output signals of a CD player 
and going into the line inputs of a decent CD recorder.  The HHB Burn-It 
works very well in this regard. 

This is just my opinion here and I realize that there are equally valid 
contrary opinions, but I have the greatest success in the recording of 
my own music (much of it loop-based, with DL4 and Headrush) by going to 
analogue tape first (Tascam 122 MkIII and 424 MkIII) and then 
transferring it to CD via the HHB recorder so that it can be distributed 
in CD format.  This works well when listening on a decent CD player, 
like Arcam, Rega, NAD, etc.). 

I agree with Steve Lake of ECM records on this point:  an analog 
recording mastered to LP sounds better and altogether quite different in 
character than a digital recording mastered to LP, as was typically done 
in the 1980s with the earliest of digital recordings.   What that tells 
me is that a strong determining factor of the character of a recording 
is how it originally was recorded in a studio.  Of course, MP3's seem to 
screw it up, something along the lines of multiple generation cassette 
copies of the past.

Perhaps the greatest disservice the music industry has done to the 
listener is to compress everything in the mastering process so much to 
get that boring, soul-less "wall of sound" with everything crammed in at 
+0 db that one hears in so much of the crappy rock music of today.  In 
other words, I complain about the lack of dynamic range in much of 
today's commercial music.

So as far as I'm concerned, there are lots of dimensions to this 
question of the decline of the music industry.

Cheers,
Michael

From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 11:40:41 2007
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From: "Stephen Goodman" <spgoodman@earthlight.net>
To: <Loopers-Delight@loopers-delight.com>
References: <72F881F6-0060-4C8A-9983-54AFD9562305@bernhardwagner.net> <f4c1993544ad3.467e69bd@insightbb.com> <005301c7b70e$b1dd3d40$0207a8c0@eluk1> <6DD0C343-3188-471A-B826-504B143E721D@gmail.com>
Subject: Re: Recording Programs?
Date: Fri, 6 Jul 2007 12:40:14 +0100
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Thanks Per,

But of course the uninteresting point is that Ardour is only for Mac and 
Linux.


> On 25 jun 2007, at 11.53, Stephen Goodman wrote:
>
>> Hi folks,
>>
>> I'm an old, old Cool Edit Pro user, and while I've been quite happy  with 
>> its multitracking etc., I look around and see what everyone  else is 
>> using once in a while.
>
>
> Hi Stephen,
>
> Sorry about adding a post on this thread so late, but it just hit me  that 
> no one suggested Ardour! Probably because you wrapped up your  query by 
> asking "What program do you use?" and since Ardour is rather  new not very 
> many of us are already using it. The interesting point  with Ardour is 
> that it is free, an open source project for Linux and  MacOSX.
>
> http://ardour.org/
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>
>
>
>
>
>
>
> 

From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 12:06:17 2007
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Subject: Re: Record Industry Decline - please continue offlist
From: jayrope <jrploopers@kliklak.net>
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I would appreciate this rather "flame war" type of discussion to be
continued offline or at least marked "OT" (off topic) and concentrate on
friendly looping again.

No offense of course, and thank you.

---
best greets from berlin.

jayrope
http://kliklak.net


On 06.07.2007 08:31, "Loopers-Delight-d-request@loopers-delight.com"
<Loopers-Delight-d-request@loopers-delight.com> wrote:

> Re: Record Industry Decline


From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 12:21:01 2007
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Subject: Re: Record Industry Decline
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In a message dated 7/6/2007 12:23:32 A.M. Eastern Standard Time,  
mattdavignon@gmail.com writes:

3)  Album-Oriented music is going away (except on indie labels). If you
buy a  hit album today, you're much more likely to enjoy only the hit
singles than  with older albums. They're built that way. The singles
have the talented  songwriters, engineers and producers. That in itself
wouldn't mean  declining cd sales - unless we live in a culture where
people can pick and  choose which songs they're going to get (a la
downloading) or when  compilation albums (like "Now that's what I call
Music") pool all the  singles together while they're still on the
radio. If people can get all  the songs they like on a comp, they're
going to buy fewer full length  albums.


To me, this is literally the crux of the societal evolution angle. RADIO.  
It's sad that the media has become such a common place and completely  effective 
tool of corporate business. Long ago they put a stop to giving us  free 
choices in that we (as a unsuspecting society) via their  programming are not 
allowed independent differentiations of anything, but  rather their focus became 
training us "how" to differentiate in an effort to  best suite their greed 
manifest. 
 
I personally am very happy with the current state of the music business.  
Like it was many years ago in the advent of the FM radio, the Internet has  
HELPED musicians to reclaim a more so "music first, business second"  stance.



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<DIV>
<DIV>In a message dated 7/6/2007 12:23:32 A.M. Eastern Standard Time,=20
mattdavignon@gmail.com writes:</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT=20
  style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 size=
=3D2>3)=20
  Album-Oriented music is going away (except on indie labels). If you<BR>buy=
 a=20
  hit album today, you're much more likely to enjoy only the hit<BR>singles=20=
than=20
  with older albums. They're built that way. The singles<BR>have the talente=
d=20
  songwriters, engineers and producers. That in itself<BR>wouldn't mean=20
  declining cd sales - unless we live in a culture where<BR>people can pick=20=
and=20
  choose which songs they're going to get (a la<BR>downloading) or when=20
  compilation albums (like "Now that's what I call<BR>Music") pool all the=20
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  the songs they like on a comp, they're<BR>going to buy fewer full length=20
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<DIV></DIV>
<DIV>To me, this is literally the crux of the societal evolution angle. RADI=
O.=20
It's sad that the media has become such a common place and completely=20
effective&nbsp;tool of corporate business. Long ago they put a stop to givin=
g us=20
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ut=20
rather their focus became training us "how" to differentiate in an effort to=
=20
best suite their greed manifest. </DIV>
<DIV>&nbsp;</DIV>
<DIV>I personally am very happy with the current state of the music business=
.=20
Like it was many years ago in the advent of the FM radio, the Internet has=20
HELPED musicians to reclaim a more so "music first, business second"=20
stance.</DIV></FONT><BR><BR><BR><DIV><FONT style=3D"color: black; font: norm=
al 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN-TOP: 10px">See what's free at=
 <A title=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" href=3D"http://=
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In a message dated 7/6/2007 7:36:24 A.M. Eastern Standard Time,  
msyoder2007@sbcglobal.net writes:

I agree,  and that is so sad!  (The part about the non-discerning public 
unable  to tell the difference.)  I do not do mp3's at all because the 
sound  quality is generally quite bad.  They say that i-tunes are better,  
but I haven't tried that yet.



I used to "feel" this way as I too DO NOT get into or use MP3s. The truth  is 
however that with the various newer high band width "loss less" files, you  
really cannot discern the difference between the two unless you are listening 
on  extremely high end equipment. I am somewhat of an audiophile (hobbyist 
level)  buff and it's the old 5000.00 CD player vs. 3-5000.00 turntable comparison 
test.  About 3 out of 100 REAL audiophiles can actually consistently discern 
the  difference between the two. It's all in the conversion and machine 
internals.  




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<DIV>&nbsp;=20
<DIV>
<DIV>In a message dated 7/6/2007 7:36:24 A.M. Eastern Standard Time,=20
msyoder2007@sbcglobal.net writes:</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT=20
  style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 size=
=3D2>I agree,=20
  and that is so sad!&nbsp; (The part about the non-discerning public <BR>un=
able=20
  to tell the difference.)&nbsp; I do not do mp3's at all because the <BR>so=
und=20
  quality is generally quite bad.&nbsp; They say that i-tunes are better,=20
  <BR>but I haven't tried that yet.<BR></FONT></BLOCKQUOTE></DIV>
<DIV></DIV>
<DIV>I used to "feel" this way as I too DO NOT get into or use MP3s. The tru=
th=20
is however that with the various newer high band width "loss less" files, yo=
u=20
really cannot discern the difference between the two unless you are listenin=
g on=20
extremely high end equipment. I am somewhat of an audiophile (hobbyist level=
)=20
buff and it's the old 5000.00 CD player vs. 3-5000.00 turntable comparison t=
est.=20
About 3 out of 100 REAL audiophiles can actually consistently discern the=20
difference between the two. It's all in the conversion and machine internals=
.=20
&nbsp;</DIV></DIV></FONT><BR><BR><BR><DIV><FONT style=3D"color: black; font:=
 normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN-TOP: 10px">See what's fr=
ee at <A title=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" href=3D"ht=
tp://www.aol.com?ncid=3DAOLAOF00020000000503" target=3D"_blank">AOL.com</A>.=
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From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 14:28:50 2007
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Quoting jayrope <jrploopers@kliklak.net>:

> I would appreciate this rather "flame war" type of discussion to be
> continued offline or at least marked "OT" (off topic) and concentrate on
> friendly looping again.
>
> No offense of course, and thank you.
>
> ---
> best greets from berlin.
>
> jayrope
> http://kliklak.net

Well, if this continues off list, please include my address in your  
correspondence.  I have found the comments interesting and informative.

Often times, we musicians focus on creating music and many of us (I  
count myself in this) have limited information about the business side  
of music.  Thus, this thread may be "old hat" to some people however I  
appreciate reading the insights that people have shared here.

All the best to one and all!

-- Kevin

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Theres tons of great music out there. You just have to look harder. Radio is the villian. Although, they are learning, slowly, but as there profits disappear, they will improve. I have Sirius radio and I have never listened to so much great music. Im now listening to a great tune by T Bone Burnett. Plus it has Howard. Of course the music industry sucks. I cant believe this conversation still happens. Its like talking about how the world is round. It just IS. 
-------------- Original message -------------- 
From: BreachinThePeace@aol.com 

In a message dated 7/6/2007 12:23:32 A.M. Eastern Standard Time, mattdavignon@gmail.com writes:
3) Album-Oriented music is going away (except on indie labels). If you
buy a hit album today, you're much more likely to enjoy only the hit
singles than with older albums. They're built that way. The singles
have the talented songwriters, engineers and producers. That in itself
wouldn't mean declining cd sales - unless we live in a culture where
people can pick and choose which songs they're going to get (a la
downloading) or when compilation albums (like "Now that's what I call
Music") pool all the singles together while they're still on the
radio. If people can get all the songs they like on a comp, they're
going to buy fewer full length albums.

To me, this is literally the crux of the societal evolution angle. RADIO. It's sad that the media has become such a common place and completely effective tool of corporate business. Long ago they put a stop to giving us free choices in that we (as a unsuspecting society) via their programming are not allowed independent differentiations of anything, but rather their focus became training us "how" to differentiate in an effort to best suite their greed manifest. 

I personally am very happy with the current state of the music business. Like it was many years ago in the advent of the FM radio, the Internet has HELPED musicians to reclaim a more so "music first, business second" stance.






See what's free at AOL.com. 
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<DIV>Theres tons of great music out there. You just have to look harder. Radio is the villian. Although, they are learning, slowly, but as there profits disappear, they will improve. I have Sirius radio and I have never listened to so much great music. Im now listening to a great tune by T Bone Burnett. Plus it has Howard. Of course the music industry sucks. I cant believe this conversation still happens. Its like talking about how the world is round. It just IS. </DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">-------------- Original message -------------- <BR>From: BreachinThePeace@aol.com <BR>
<META content="MSHTML 6.00.2900.2873" name=GENERATOR><FONT id=role_document face=Arial color=#000000 size=2>
<DIV>
<DIV>In a message dated 7/6/2007 12:23:32 A.M. Eastern Standard Time, mattdavignon@gmail.com writes:</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><FONT style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size=2>3) Album-Oriented music is going away (except on indie labels). If you<BR>buy a hit album today, you're much more likely to enjoy only the hit<BR>singles than with older albums. They're built that way. The singles<BR>have the talented songwriters, engineers and producers. That in itself<BR>wouldn't mean declining cd sales - unless we live in a culture where<BR>people can pick and choose which songs they're going to get (a la<BR>downloading) or when compilation albums (like "Now that's what I call<BR>Music") pool all the singles together while they're still on the<BR>radio. If people can get all the songs they like on a comp, they're<BR>going to buy fewer full length albums.</FONT></BLOCKQUOTE></DIV>
<DIV>&nbsp;</DIV>
<DIV>To me, this is literally the crux of the societal evolution angle. RADIO. It's sad that the media has become such a common place and completely effective&nbsp;tool of corporate business. Long ago they put a stop to giving us free choices in that we (as a&nbsp;unsuspecting society)&nbsp;via their programming are not allowed&nbsp;independent differentiations of anything, but rather their focus became training us "how" to differentiate in an effort to best suite their greed manifest. </DIV>
<DIV>&nbsp;</DIV>
<DIV>I personally am very happy with the current state of the music business. Like it was many years ago in the advent of the FM radio, the Internet has HELPED musicians to reclaim a more so "music first, business second" stance.</DIV></FONT><BR><BR><BR>
<DIV><FONT style="FONT: 10pt ARIAL, SAN-SERIF; COLOR: black">
<HR style="MARGIN-TOP: 10px">
See what's free at <A title=http://www.aol.com?ncid=AOLAOF00020000000503 href="http://www.aol.com/?ncid=AOLAOF00020000000503" target=_blank>AOL.com</A>. </FONT></DIV></BLOCKQUOTE></body></html>

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Subject: Re: Record Industry Decline - please continue offlist
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me to (include my address please)  breachinthepeace@aol.com



************************************** See what's free at http://www.aol.com.

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black; font: normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN-TOP: 10px">S=
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" href=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" target=3D"_blank">=
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From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 15:21:17 2007
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From: Mark Sottilaro <sine@zerocrossing.net>
Subject: Re: record industry
Date: Fri, 6 Jul 2007 08:15:46 -0700
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I couldn't agree with you more.

On Jul 5, 2007, at 10:22 PM, James Richmond wrote:

> I'm energised and enthusiastic about the current state of play.
> I'm cheering the decline of record companies with absolute and  
> total enthusiasm.
> New business models, implemented by the artist, ownership of  
> publishing rights, grass roots fan base via the net.
> Look at the Arctic Monkeys- bloody brilliant for a band to have  
> that sort of success with no record company involvement.

From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 16:01:36 2007
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Date: Fri, 6 Jul 2007 09:01:35 -0700 (PDT)
From: Paul Richards <paulrichard_rocks@yahoo.com>
Subject: OT: Re: Record Industry Decline
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I have Sirius also. Why wouldn't satellite fall into the same quandry as far as programming? I listen to 'Spa' ("new Age") and noticed that they are not very all-encompassing. They play a lot of the same/similar stuff.

   
  Regards, Paul
midifriedchicken@comcast.net wrote:
    Theres tons of great music out there. You just have to look harder. Radio is the villian. Although, they are learning, slowly, but as there profits disappear, they will improve. I have Sirius radio and I have never listened to so much great music. Im now listening to a great tune by T Bone Burnett. Plus it has Howard. Of course the music industry sucks. I cant believe this conversation still happens. Its like talking about how the world is round. It just IS. 
  -------------- Original message -------------- 
From: BreachinThePeace@aol.com 
      In a message dated 7/6/2007 12:23:32 A.M. Eastern Standard Time, mattdavignon@gmail.com writes:
  3) Album-Oriented music is going away (except on indie labels). If you
buy a hit album today, you're much more likely to enjoy only the hit
singles than with older albums. They're built that way. The singles
have the talented songwriters, engineers and producers. That in itself
wouldn't mean declining cd sales - unless we live in a culture where
people can pick and choose which songs they're going to get (a la
downloading) or when compilation albums (like "Now that's what I call
Music") pool all the singles together while they're still on the
radio. If people can get all the songs they like on a comp, they're
going to buy fewer full length albums.
   
  To me, this is literally the crux of the societal evolution angle. RADIO. It's sad that the media has become such a common place and completely effective tool of corporate business. Long ago they put a stop to giving us free choices in that we (as a unsuspecting society) via their programming are not allowed independent differentiations of anything, but rather their focus became training us "how" to differentiate in an effort to best suite their greed manifest. 
   
  I personally am very happy with the current state of the music business. Like it was many years ago in the advent of the FM radio, the Internet has HELPED musicians to reclaim a more so "music first, business second" stance.



    
---------------------------------
  See what's free at AOL.com. 


 
---------------------------------
 Get your own web address.
 Have a HUGE year through Yahoo! Small Business.
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<div>I have Sirius also. Why wouldn't satellite fall into the same quandry as far as programming? I listen to 'Spa' ("new Age") and noticed that they are not very all-encompassing. They play a lot of the same/similar stuff.<BR></div>  <div>&nbsp;</div>  <div>Regards, Paul<BR><B><I>midifriedchicken@comcast.net</I></B> wrote:</div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">  <DIV>Theres tons of great music out there. You just have to look harder. Radio is the villian. Although, they are learning, slowly, but as there profits disappear, they will improve. I have Sirius radio and I have never listened to so much great music. Im now listening to a great tune by T Bone Burnett. Plus it has Howard. Of course the music industry sucks. I cant believe this conversation still happens. Its like talking about how the world is round. It just IS. </DIV>  <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff
 2px solid">-------------- Original message -------------- <BR>From: BreachinThePeace@aol.com <BR>  <META content="MSHTML 6.00.2900.2873" name=GENERATOR><FONT id=role_document face=Arial color=#000000 size=2>  <DIV>  <DIV>In a message dated 7/6/2007 12:23:32 A.M. Eastern Standard Time, mattdavignon@gmail.com writes:</DIV>  <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><FONT style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size=2>3) Album-Oriented music is going away (except on indie labels). If you<BR>buy a hit album today, you're much more likely to enjoy only the hit<BR>singles than with older albums. They're built that way. The singles<BR>have the talented songwriters, engineers and producers. That in itself<BR>wouldn't mean declining cd sales - unless we live in a culture where<BR>people can pick and choose which songs they're going to get (a la<BR>downloading) or when compilation albums (like "Now that's what I
 call<BR>Music") pool all the singles together while they're still on the<BR>radio. If people can get all the songs they like on a comp, they're<BR>going to buy fewer full length albums.</FONT></BLOCKQUOTE></DIV>  <DIV>&nbsp;</DIV>  <DIV>To me, this is literally the crux of the societal evolution angle. RADIO. It's sad that the media has become such a common place and completely effective&nbsp;tool of corporate business. Long ago they put a stop to giving us free choices in that we (as a&nbsp;unsuspecting society)&nbsp;via their programming are not allowed&nbsp;independent differentiations of anything, but rather their focus became training us "how" to differentiate in an effort to best suite their greed manifest. </DIV>  <DIV>&nbsp;</DIV>  <DIV>I personally am very happy with the current state of the music business. Like it was many years ago in the advent of the FM radio, the Internet has HELPED musicians to reclaim a more so "music first, business second"
 stance.</DIV></FONT><BR><BR><BR>  <DIV><FONT style="FONT: 10pt ARIAL, SAN-SERIF; COLOR: black">  <HR style="MARGIN-TOP: 10px">  See what's free at <A title=http://www.aol.com?ncid=AOLAOF00020000000503 href="http://www.aol.com/?ncid=AOLAOF00020000000503" target=_blank>AOL.com</A>. </FONT></DIV></BLOCKQUOTE></BLOCKQUOTE><BR><p>&#32;

<hr size=1>
<a href="http://us.rd.yahoo.com/evt=49678/*http://smallbusiness.yahoo.com/domains/?p=BESTDEAL"> Get your own web address.</a><br> Have a HUGE year through <a href="
http://us.rd.yahoo.com/evt=49678/*http://smallbusiness.yahoo.com/domains/?p=BESTDEAL">Yahoo! Small Business.</a>
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From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 17:35:45 2007
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Per,

> Sorry about adding a post on this thread so late, but it just hit me 
> that no one suggested Ardour! 

There was a rather amusing thread on Ardour and Linux musicmaking over 
on Analogue Industries a few days ago:

http://www.analogindustries.com/blog/entry.jsp?msgid=1182708669579


    Ian

From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 17:51:56 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Recording Programs?
Date: Fri, 6 Jul 2007 19:51:51 +0200
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>> Sorry about adding a post on this thread so late, but it just hit  
>> me that no one suggested Ardour!


On 6 jul 2007, at 19.35, Ian Petersen wrote:
> Per,
>
> There was a rather amusing thread on Ardour and Linux musicmaking  
> over on Analogue Industries a few days ago:
> http://www.analogindustries.com/blog/entry.jsp?msgid=1182708669579
>
>    Ian


Oh, that was a long thread! Linux users must have a lot of free  
time ;-))  Besides, the original poster said in a later post that he  
is interested only in applications that run under Windows. Myself I'm  
more than happy with recording and producing in Logic.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: no loopage here
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On Jul 3, 2007, at 11:16 PM, Michael Peters wrote:

> http://video.google.de/videoplay?docid=3344948192478887654&hl=de
>
> no loops involved here, but some of you might enjoy it anyway :-)
> This is a 17 minute video from a 2004 gig with Tonlabor (sound  
> lab), showing
> several very scientific experiments with sound (that's why we have  
> to wear
> goggles)
> This is me in the middle


Fun!
The opening minutes reminded me of a funny Daily Show bit about a  
journalist testing a "gaydar".

What is that long blocky instrument with buttons you are playing  
starting around the 7 min. mark?

Nice evolution of the tonal flavor.
:-)

cheers

BobC



http://tinyurl.com/yt8f8j
http://www.dailymotion.com/yapruder/video/4149057
http://www.youtube.com/watch?v=-30Z5-Lwyag

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From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 19:26:46 2007
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As the suits have attenuated the choices available in mainstream popular 
music there has been an incredible flourishing of music produced. In 1975 I 
was doing radio and playing as much ethnic stuff as I could get,a typical 
record store would have maybe 5 or 6 albums in their International section 
,something celtic,maybe something Greek or Spanish ,maybe a Belly Dance for 
your Husband record and some Polka or German Beer Hall Songs,maybe an Edith 
Piaff record.I used to order Nonesuch stuff whenever I could come up with 
the money,and comb used record stores ,thrift stores and borrow tapes from  
the university library. These days you can get hundreds of  new World Music 
recordings a year,and from every culture on the planet. that's just one 
category.Amoeba recrods in SF must ahev 10,000 electronic selctions

_________________________________________________________________
http://imagine-windowslive.com/hotmail/?locale=en-us&ocid=TXT_TAGHM_migration_HM_mini_2G_0507

From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 19:34:19 2007
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Subject: A/B listening tests
Date: Fri, 06 Jul 2007 12:34:12 -0700
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There used to be a lot of musicians saying digital didn't sound as good as 
analog ,and a engineers saying no one could tell the difference in A/B 
tests.I read a bit in Mix ,or Recording Engineer mag in the early 90s about 
some Japanese engineers  measuring brain wave responses to both analog and 
digital.Turned out after about 20 minutes of analog the brain halves went 
into a mode of Entrainmentwhich the digital never aroused. I suspect higher 
sampling rates would make a difference ,but haven't seen any further 
research on the matter.

_________________________________________________________________
Don't get caught with egg on your face. Play Chicktionary!  
http://club.live.com/chicktionary.aspx?icid=chick_hotmailtextlink2

From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 20:13:18 2007
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In a message dated 7/6/2007 3:34:28 P.M. Eastern Standard Time,  
sambacomet@hotmail.com writes:

There  used to be a lot of musicians saying digital didn't sound as good as  
analog ,and a engineers saying no one could tell the difference in A/B  
tests.I read a bit in Mix ,or Recording Engineer mag in the early 90s  about 
some Japanese engineers  measuring brain wave responses to both  analog and 
digital.Turned out after about 20 minutes of analog the brain  halves went 
into a mode of Entrainmentwhich the digital never aroused. I  suspect higher 
sampling rates would make a difference ,but haven't seen  any further 
research on the matter.



There are quite a few binaural beat cds out there  now.Very interesting, 
thanks for bringing that up. I knew nothing about Brain  Wave Sync.



************************************** See what's free at http://www.aol.com.

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<DIV>In a message dated 7/6/2007 3:34:28 P.M. Eastern Standard Time,=20
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<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT=20
  style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 size=
=3D2>There=20
  used to be a lot of musicians saying digital didn't sound as good as=20
  <BR>analog ,and a engineers saying no one could tell the difference in A/B=
=20
  <BR>tests.I read a bit in Mix ,or Recording Engineer mag in the early 90s=20
  about <BR>some Japanese engineers&nbsp; measuring brain wave responses to=20=
both=20
  analog and <BR>digital.Turned out after about 20 minutes of analog the bra=
in=20
  halves went <BR>into a mode of Entrainmentwhich the digital never aroused.=
 I=20
  suspect higher <BR>sampling rates would make a difference ,but haven't see=
n=20
  any further <BR>research on the matter.<BR></FONT></BLOCKQUOTE></DIV>
<DIV></DIV>
<DIV>There are quite a few b<SPAN class=3Dmw-headline>inaural beat cds out t=
here=20
now.Very interesting, thanks for bringing that up. I knew nothing about Brai=
n=20
Wave Sync.</SPAN></DIV></FONT><BR><BR><BR><DIV><FONT style=3D"color: black;=20=
font: normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN-TOP: 10px">See what=
's free at <A title=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" href=
=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" target=3D"_blank">AOL.co=
m</A>. </FONT></DIV></BODY></HTML>

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To: Loopers-Delight@loopers-delight.com
From: Rev Fever <revfever@ubergadget.com>
Subject: Pinhas / Eventide Harmonizer
Date: Fri, 6 Jul 2007 13:18:48 -0700
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I got to experience the recent Richard Pinhas Trio gig in Seattle.   
It was a very lovely and ENCHANTING set!

I also got to speak with him a little before the gig and presented  
him with an early solo LP by him to sign,
and along w/ the signature,he also quickly drew a rough and funny  
little cartoon of IRAN WITH an AMERICAN MISSILE HEADING FOR IT!

HAR!

It was funny and insightful how he took an opportunity to make a  
visual "commentary" on the current state of the USA
under the current psychotic and extremely corrupt  BushCo regime. I  
found it very amusing that he did this,
and it is something I will view as a RARE little treasure for YEARS!   
I could also tell that he knew I would be amused by him doing that.

LOOPAGE CONTENT:

He seemed to be only using some(?) Eventide Harmonizer with his  
guitar to do some AMAZING loopings and more,
and I could only get a little close to it to try to see which model  
it was? I am not sure if he was using anything else?
It was dark-ish on the stage and I felt I had no business going onto  
to the stage to a closer look, but I do wanna know which one it was?

The best I can describe it as is that it was black, about 14 or so  
inches long, and about 7 or so inches tall,
and was not a rack mount unit, and had what appeared to be gold(?)  
lettering on it, and had a small LCD screen, a knob,
  and 2 rows of white / square buttons.

I did some fishing around on the web for Eventide Harmonizers and all  
I could find visually were ones that had 4 (and shorter) rows of buttons
and appeared to be less tall than what he had.

Any clues as to which model this one might have been? I did not get a  
2nd chance to speak with Pinhas and ask.

The laptop artist was also great and was also doing some great  
looping at times as well, and the drummer (from Magma) was equally as  
brilliant!

-Rev. Fever

From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 20:31:47 2007
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Subject: Re: A/B listening tests
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i am in joke-mode, so please forgive me:

have you heard, that japanese engineers said "love" to a drop of water under 
a microscope and the molecule structure looked nice and when they said 
"hitler" to the drop, it looked really ugly?

for further in depth study: http://www.ghchealth.com/water-purification

what happens to your brainwaves if you listen to techno on an LP?
the music was made entirely digital, but the LP is analogue, right?
how will your brainwaves cope with that conflict?
aren't most of our loopers digital?


i once overheard a guy saying that his music sounded better if produced in 
hannover (his hometown) then in berlin. because berlin's electricity is 
generated in old fashioned coal-burning plants and hannover's juice is 
nuclear, therefore "cleaner"!
(my wild guess is: in berlin he calls for a pizza, but the food in hannover 
is probably mum's? food has a large effect on mixing...)

smooth looping - tilmann

----- Original Message ----- 
From: "samba -" <sambacomet@hotmail.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, July 06, 2007 9:34 PM
Subject: A/B listening tests


> There used to be a lot of musicians saying digital didn't sound as good as 
> analog ,and a engineers saying no one could tell the difference in A/B 
> tests.I read a bit in Mix ,or Recording Engineer mag in the early 90s 
> about some Japanese engineers  measuring brain wave responses to both 
> analog and digital.Turned out after about 20 minutes of analog the brain 
> halves went into a mode of Entrainmentwhich the digital never aroused. I 
> suspect higher sampling rates would make a difference ,but haven't seen 
> any further research on the matter.
>
> _________________________________________________________________
> Don't get caught with egg on your face. Play Chicktionary! 
> http://club.live.com/chicktionary.aspx?icid=chick_hotmailtextlink2
> 

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"I knew nothing about Brain Wave Sync"

Thats because you use the Boomerang. 
See, we RC50 users are all over that shit. 

MFC



 -------------- Original message ----------------------
From: BreachinThePeace@aol.com
>  
> In a message dated 7/6/2007 3:34:28 P.M. Eastern Standard Time,  
> sambacomet@hotmail.com writes:
> 
> There  used to be a lot of musicians saying digital didn't sound as good as  
> analog ,and a engineers saying no one could tell the difference in A/B  
> tests.I read a bit in Mix ,or Recording Engineer mag in the early 90s  about 
> some Japanese engineers  measuring brain wave responses to both  analog and 
> digital.Turned out after about 20 minutes of analog the brain  halves went 
> into a mode of Entrainmentwhich the digital never aroused. I  suspect higher 
> sampling rates would make a difference ,but haven't seen  any further 
> research on the matter.
> 
> 
> 
> There are quite a few binaural beat cds out there  now.Very interesting, 
> thanks for bringing that up. I knew nothing about Brain  Wave Sync.
> 
> 
> 
> ************************************** See what's free at http://www.aol.com.



--NextPart_Webmail_9m3u9jl4l_29967_1183754680_0
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From:    BreachinThePeace@aol.com
To:    Loopers-Delight@loopers-delight.com
Subject:    Re:OT: A/B listening tests
Date:    Fri, 6 Jul 2007 20:13:19 +0000
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<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; charset=3DUS-ASCII">
<META content=3D"MSHTML 6.00.2900.2873" name=3DGENERATOR></HEAD>
<BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY:=20=
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<DIV>
<DIV>In a message dated 7/6/2007 3:34:28 P.M. Eastern Standard Time,=20
sambacomet@hotmail.com writes:</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT=20
  style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 size=
=3D2>There=20
  used to be a lot of musicians saying digital didn't sound as good as=20
  <BR>analog ,and a engineers saying no one could tell the difference in A/B=
=20
  <BR>tests.I read a bit in Mix ,or Recording Engineer mag in the early 90s=20
  about <BR>some Japanese engineers&nbsp; measuring brain wave responses to=20=
both=20
  analog and <BR>digital.Turned out after about 20 minutes of analog the bra=
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  suspect higher <BR>sampling rates would make a difference ,but haven't see=
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  any further <BR>research on the matter.<BR></FONT></BLOCKQUOTE></DIV>
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<DIV>There are quite a few b<SPAN class=3Dmw-headline>inaural beat cds out t=
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now.Very interesting, thanks for bringing that up. I knew nothing about Brai=
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Wave Sync.</SPAN></DIV></FONT><BR><BR><BR><DIV><FONT style=3D"color: black;=20=
font: normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN-TOP: 10px">See what=
's free at <A title=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" href=
=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" target=3D"_blank">AOL.co=
m</A>. </FONT></DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 20:58:31 2007
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Date: Fri, 6 Jul 2007 13:58:29 -0700
From: "Matt Davignon" <mattdavignon@gmail.com>
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Oh yeah - I forgot that element. Now all the radio stations are owned
by just a few companies (Clearchannel being the biggie.) Which means
that playlists are much more standardized than they used to be. Less
variety means less "survival of the fittest", which in turn lowers
quality and gradually lowers the need to get the new cd.

Wasn't there once a time when radio playlists were more regional?

There's a fairly recent development in this in the last 5 years or so
too - radio stations without dj's. They just throw a larger-than usual
playlist into a central computer, and feed that playlist to the
'variety' station in each city. The biggest one in San Francisco has
the motto "70's, 80's, 90's, whatever we feel like". They should be
sued for false advertising - "we" implies humans and "feel" implies
emotions!

Matt



On 7/6/07, BreachinThePeace@aol.com <BreachinThePeace@aol.com> was all:
>
> To me, this is literally the crux of the societal evolution angle. RADIO.
> It's sad that the media has become such a common place and completely
> effective tool of corporate business. Long ago they put a stop to giving us
> free choices in that we (as a unsuspecting society) via their programming
> are not allowed independent differentiations of anything, but rather their
> focus became training us "how" to differentiate in an effort to best suite
> their greed manifest.
>
> I personally am very happy with the current state of the music business.
> Like it was many years ago in the advent of the FM radio, the Internet has
> HELPED musicians to reclaim a more so "music first, business second" stance.
>
>
> ________________________________
> See what's free at AOL.com.

From Loopers-Delight-request@loopers-delight.com  Fri Jul  6 23:12:35 2007
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Date: Sat, 7 Jul 2007 00:12:29 +0100
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Hello, I am a newbee to looping since last weekend, but so far i am enjoying
using my new Akai E3 looping pedal.
Just wondering if anyone here can advise me on the following question.

I also own a Roland pk5  13 note Midi pedal. I would normally use it to
trigger my midi backing module made by Ketron . I dont use midi files but
rather sequences which i change manually by using my feet on the PK5 and
play guitar live
 My question is this --Is there any way i could incorporate this pedal
(PK5)  into my looping setup? Not being able to change keys is frustrating
for me so far with the Akai and this pedal can do all of that and more.
  Probably a silly question I know but i hear there are some nice clever
people on here and it might be worth a shot
Thanks in advance
KC

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<div><br clear="all"><br>Hello, I am a newbee to looping since last weekend, but so far i am enjoying using my new Akai E3 looping pedal. </div>
<div>Just wondering if anyone here can advise me on the following question.</div>
<div>&nbsp;</div>
<div>I also own a Roland pk5&nbsp; 13 note Midi pedal. I would normally use it to trigger my midi backing module made by Ketron . I dont use midi files but rather sequences which i change manually by using my feet on the PK5 and play guitar live 
</div>
<div>&nbsp;My question is this --Is there any way i could incorporate this pedal&nbsp; (PK5) &nbsp;into my looping setup? Not being able to change keys is frustrating for me so far with the Akai and this pedal can do all of that and more.
</div>
<div>&nbsp; Probably a silly question I know but i hear there are some nice clever people on here and it might be worth a shot</div>
<div>Thanks in advance </div>
<div>KC</div>

------=_Part_115871_24835222.1183763549846--

From Loopers-Delight-request@loopers-delight.com  Sat Jul  7 00:31:53 2007
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From: "Stephen Goodman" <spgoodman@earthlight.net>
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Subject: Re: A/B listening tests
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----- Original Message ----- 
From: "samba -" <sambacomet@hotmail.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, 6 July, 2007 20:34 PM
Subject: A/B listening tests


> There used to be a lot of musicians saying digital didn't sound as good as 
> analog ,and a engineers saying no one could tell the difference in A/B 
> tests.I read a bit in Mix ,or Recording Engineer mag in the early 90s 
> about some Japanese engineers  measuring brain wave responses to both 
> analog and digital.Turned out after about 20 minutes of analog the brain 
> halves went into a mode of Entrainmentwhich the digital never aroused. I 
> suspect higher sampling rates would make a difference ,but haven't seen 
> any further research on the matter.

I suspect that our brains are always filling in the gaps where stimulus 
doesn't otherwise exist.  An extreme example is what happens inside a 
sensory deprivation tank, hallucinations, visions, so forth.  A more 
ordinary example is good old black-and-white movies.  A more creative 
person - someone who enjoys being so especially, I think - might experience 
good vibes while watching an old film that are perhaps more caused by 
subconscious fulfillment on this level.  Consequently a less creative person 
might only perceive the film as an old black-and-white film, and could even 
find themselves overly bored with it altogether, or the absence of color an 
annoyance.

I suppose 'what one hears' so requires accurate description to be understood 
at all, but what if a digital recording supplies less hole-filled content, 
thus depriving the creative brain of its fill-in-the-gaps fun-and-games?  Is 
this a good thing?

Given the nature of things like practice, training, repetition, and so on 
when it comes to exercise or brain function, perhaps it's not, if the above 
is true.

Since I use a combination of digital and analog I must be relatively safe... 
:)
Stephen Goodman
*
* Cartoons about DVDs and Stuff
* http://www.earthlight.net/HiddenTrack
* The Loop Of The Week since 1996!
* http://www.earthlight.net/Studios 

From Loopers-Delight-request@loopers-delight.com  Sat Jul  7 03:29:16 2007
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  Unfortunately NPR is a corporate shill now too.Some independent stations I 
like at least at times are. KFJC Los Altos CA. At times they play very 
strange music,as does KZSU at Stanford. And the  inimitable 
WFMU,<http://www.wfmu.org/>

_________________________________________________________________
Local listings, incredible imagery, and driving directions - all in one 
place! http://maps.live.com/?wip=69&FORM=MGAC01

From Loopers-Delight-request@loopers-delight.com  Sat Jul  7 04:31:46 2007
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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: Record Industry Decline ( Radio )
Date: Fri, 6 Jul 2007 21:31:37 -0700
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As a former radio DJ veteran from ages ago with 5 & 1/2 years of  
experience to my name,
I can irrefutably say that radio in America, as it is now, SUCKS, and  
has done so since at least the early 80's.

I do not bother with it anymore and have not done so for YEARS, but I  
am aware of HOW BAD it is,
because I often, and INVOLUNTARILY, get exposed to it, and KNOW that  
it is complete crap now.
At least previously, it was maybe 50 / 50 between crap and some good  
stuff.  Now it is hopeless.

Aside from some public and / or a tiny few grassroots radio station  
efforts that are even left anymore (such as KBOO 90.7FM here in  
Portland,OR),
best to just FORGET about mainstream radio in the USA today, and the  
future, due to the corps(es) CONTROL of the over all air waves,
which by the way, here in America, were ORIGINALLY MEANT to be OWNED  
by the CITIZENS  of the USA!
If in doubt about that, check yer history books, and also there was  
no FCC until much later.

THAT idea did not LAST very long due to certain powerful powers-that- 
be seeing HUGE future profits by TAKING OVER the air waves
with the help of their well-paid political stooges in "our" gov't.   
Same crap still goes on today and the majority of sheeple just  
quietly go along with it.

So, just kiss radio GOOD BYE for it EVER coming back to being  
anything even remotely good anymore, at least in the USA.  Ain't  
gonna happen!

(same for American TV too, which I have stayed away from for almost  
20 years now, and LOVE it!   BOOKS are MUCH BETTER! )

Thank Gaia for the web, since now there are PLENTY of GOOD radio  
ALTERNATIVES that can now be found!
What is on the web is the ONLY way I listen to any radio anymore to  
find shows that play truly interesting and kool music.

I am also gearing up to reviving my former show from years ago, Radio  
Soiree (with the host, the Martian Neon Creature) as a podcast,
but have some bugs to overcome and some other obstacles to leap over  
before I start doing that.    Eventually....

-Rev. Fever


On Jul 6, 2007, at 1:58 PM, Matt Davignon wrote:

> Oh yeah - I forgot that element. Now all the radio stations are owned
> by just a few companies (Clearchannel being the biggie.) Which means
> that playlists are much more standardized than they used to be. Less
> variety means less "survival of the fittest", which in turn lowers
> quality and gradually lowers the need to get the new cd.
>
> Wasn't there once a time when radio playlists were more regional?
>
> There's a fairly recent development in this in the last 5 years or so
> too - radio stations without dj's. They just throw a larger-than usual
> playlist into a central computer, and feed that playlist to the
> 'variety' station in each city. The biggest one in San Francisco has
> the motto "70's, 80's, 90's, whatever we feel like". They should be
> sued for false advertising - "we" implies humans and "feel" implies
> emotions!
>
> Matt
>
>
>
> On 7/6/07, BreachinThePeace@aol.com <BreachinThePeace@aol.com> was  
> all:
>>
>> To me, this is literally the crux of the societal evolution angle.  
>> RADIO.
>> It's sad that the media has become such a common place and completely
>> effective tool of corporate business. Long ago they put a stop to  
>> giving us
>> free choices in that we (as a unsuspecting society) via their  
>> programming
>> are not allowed independent differentiations of anything, but  
>> rather their
>> focus became training us "how" to differentiate in an effort to  
>> best suite
>> their greed manifest.
>>
>> I personally am very happy with the current state of the music  
>> business.
>> Like it was many years ago in the advent of the FM radio, the  
>> Internet has
>> HELPED musicians to reclaim a more so "music first, business  
>> second" stance.
>>
>>
>> ________________________________
>> See what's free at AOL.com.
>

From Loopers-Delight-request@loopers-delight.com  Sat Jul  7 04:34:59 2007
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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: nonaligned radio
Date: Fri, 6 Jul 2007 21:34:51 -0700
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On Jul 6, 2007, at 8:29 PM, samba - wrote:

> Unfortunately NPR is a corporate shill now too.

And, has been for some time now.  Look at a LOT of the "sponsors" for  
NPR.  Too many corps(es).
Some people have long called NPR "National Petroleum Radio", and for  
good reasons.
It ain't the 70's anymore...

>  And the  inimitable WFMU,<http://www.wfmu.org/>

Indeed. It should be KGOD!. Er...maybe not, but ya know what I mean,  
I think. :-)

-Rev. Fever

From Loopers-Delight-request@loopers-delight.com  Sat Jul  7 07:09:01 2007
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> What is that long blocky instrument with buttons 
> you are playing starting around the 7 min. mark?

a Hohner Guitaret
http://www.vintageaudioberlin.de/vabgalerien/kurioses/guitaret

-Michael 
www.michaelpeters.de


From Loopers-Delight-request@loopers-delight.com  Sat Jul  7 08:39:19 2007
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http://sfbay.craigslist.org/eby/msg/368381672.html

_________________________________________________________________
Need a brain boost? Recharge with a stimulating game. Play now!  
http://club.live.com/home.aspx?icid=club_hotmailtextlink1

From Loopers-Delight-request@loopers-delight.com  Sat Jul  7 10:41:05 2007
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Check out my old hometown station http://wrek.org/  possibly first on the 
web and still going strong.

Jeff

----- Original Message ----- 
From: "samba -" <sambacomet@hotmail.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, July 06, 2007 11:29 PM
Subject: nonaligned radio


>
>  Unfortunately NPR is a corporate shill now too.Some independent stations 
> I like at least at times are. KFJC Los Altos CA. At times they play very 
> strange music,as does KZSU at Stanford. And the  inimitable 
> WFMU,<http://www.wfmu.org/>
>
> _________________________________________________________________
> Local listings, incredible imagery, and driving directions - all in one 
> place! http://maps.live.com/?wip=69&FORM=MGAC01
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 
> 269.10.1/889 - Release Date: 7/6/2007 8:00 PM
>
> 

From Loopers-Delight-request@loopers-delight.com  Sat Jul  7 10:49:23 2007
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Subject: Re: Record Industry Decline ( Radio )
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I just noticed this http://www.savenetradio.org/ .... scary stuff

Jeff




----- Original Message ----- 
From: "Rev Fever" <revfever@ubergadget.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Saturday, July 07, 2007 12:31 AM
Subject: Re: Record Industry Decline ( Radio )


> 
> Thank Gaia for the web, since now there are PLENTY of GOOD radio  
> ALTERNATIVES that can now be found!
> What is on the web is the ONLY way I listen to any radio anymore to  
> find shows that play truly interesting and kool music.
> 
> I am also gearing up to reviving my former show from years ago, Radio  
> Soiree (with the host, the Martian Neon Creature) as a podcast,
> but have some bugs to overcome and some other obstacles to leap over  
> before I start doing that.    Eventually....
> 
> -Rev. Fever
> 
> 
>

From Loopers-Delight-request@loopers-delight.com  Sat Jul  7 11:59:18 2007
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Subject: RE: nonaligned radio
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I just took a look. It's playing Jack Bruce's Rope Ladder to the Moon. How
disgustingly corporate. :-) 

Cool. I've bookmarked it.

And there's always Pandora. What they need to do (according to analogy) is
to exit "original Yahoo mode" (editors involved in every categorization) and
go to full Web 2.0/Google mode (automated classification of music according
to their "genome" schema - not an easy task) so they can really scale.

-----Original Message-----
From: Jeff Duke [mailto:echohead@embarqmail.com] 
Sent: Saturday, July 07, 2007 6:41 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: nonaligned radio

Check out my old hometown station http://wrek.org/  possibly first on the 
web and still going strong.

Jeff



From Loopers-Delight-request@loopers-delight.com  Sat Jul  7 13:23:59 2007
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Date: Sat, 7 Jul 2007 06:23:56 -0700 (PDT)
From: Tim Nelson <psychle62@yahoo.com>
Subject: Re: piranha bow  (was:bows for guitars)
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Ha, so did I. Seems like a very small company; I
wonder if he's scratching his head over where a
one-day spike in his sales may have come from.

I may still only use this on my bow-modified LP Jr,
though, since Per's comment about the rosin mucking up
your strings is right on target...

-t-

--- RICK WALKER <looppool@cruzio.com> wrote:

> andy butler wrote about the pirhanha bow:
> "thanks Kelly, just ordered one of those.
> if anyone's interested I'll report back about it (in
> about a month)"
> 
> 
> lol,  we're like odd peas in a pod, Andy.
>  I immediately ordered one as well.
> It'll be fun to compare notes.

http://www.myspace.com/nimbletunes
http://cdbaby.com/all/timnelson


      ____________________________________________________________________________________
Shape Yahoo! in your own image.  Join our Network Research Panel today!   http://surveylink.yahoo.com/gmrs/yahoo_panel_invite.asp?a=7 


From Loopers-Delight-request@loopers-delight.com  Sat Jul  7 13:39:41 2007
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On Sat, 7 Jul 2007, Tim Nelson wrote:

> Ha, so did I. Seems like a very small company; I
> wonder if he's scratching his head over where a
> one-day spike in his sales may have come from.

I did the same, Tim. The last time I looked at the guy's site a year or so 
ago, they had only mail-based orders in place. Given the discussion this 
week, I looked and now they've added paypal. So he got another sale 
yesterday :).

See how it does. We'll have lots of opinions, I'm sure.

Steve B   Subscape Annex   http://www.subscapeannex.com/

From Loopers-Delight-request@loopers-delight.com  Sat Jul  7 17:53:16 2007
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From: Rev Fever <revfever@ubergadget.com>
Subject: OT:  777 !!!
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--Apple-Mail-14--634841305
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Happy 777 !!!

Today is the 7th day, of the 7th month, of the 7th year, which ONLY  
happens ONCE, every ONE THOUSAND YEARS!

So celebrate!  Hurray!

-Rev. Fever
--Apple-Mail-14--634841305
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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; "><FONT class=3D"Apple-style-span" =
size=3D"6"><SPAN class=3D"Apple-style-span" style=3D"font-size: =
22px;"><B>Happy 777 !!!=A0</B></SPAN></FONT><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Today is the 7th day, of =
the 7th month, of the 7th year, which ONLY happens ONCE, every ONE =
THOUSAND YEARS!<DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>So =
celebrate!=A0 Hurray!</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>-Rev. =
Fever</DIV></DIV></BODY></HTML>=

--Apple-Mail-14--634841305--

From Loopers-Delight-request@loopers-delight.com  Sat Jul  7 18:15:20 2007
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Date: Sat, 07 Jul 2007 18:15:18 +0000
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--NextPart_Webmail_9m3u9jl4l_13750_1183832118_0
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Didn't happen last year on the 6th of June?

-------------- Original message -------------- 
From: Rev Fever <revfever@ubergadget.com> 
Happy 777 !!! 


Today is the 7th day, of the 7th month, of the 7th year, which ONLY happens ONCE, every ONE THOUSAND YEARS!


So celebrate! Hurray!


-Rev. Fever
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<html><body>
<DIV>Didn't happen last year on the 6th of June?</DIV>
<DIV>&nbsp;</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">-------------- Original message -------------- <BR>From: Rev Fever &lt;revfever@ubergadget.com&gt; <BR><FONT class=Apple-style-span size=6><SPAN class=Apple-style-span style="FONT-SIZE: 22px"><B>Happy 777 !!! </B></SPAN></FONT>
<DIV><BR class=khtml-block-placeholder></DIV>
<DIV>Today is the 7th day, of the 7th month, of the 7th year, which ONLY happens ONCE, every ONE THOUSAND YEARS!
<DIV><BR class=khtml-block-placeholder></DIV>
<DIV>So celebrate! Hurray!</DIV>
<DIV><BR class=khtml-block-placeholder></DIV>
<DIV>-Rev. Fever</DIV></DIV></BLOCKQUOTE></body></html>

--NextPart_Webmail_9m3u9jl4l_13750_1183832118_0--

From Loopers-Delight-request@loopers-delight.com  Sat Jul  7 18:20:27 2007
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>
>  -------------- Original message --------------
>
>     From: Rev Fever <revfever@ubergadget.com>
>     *Happy 777 !!! *
>
>     Today is the 7th day, of the 7th month, of the 7th year, which
>     ONLY happens ONCE, every ONE THOUSAND YEARS!
>

midifriedchicken@comcast.net wrote:

 > Didn't happen last year on the 6th of June?

No, that was 6th day, of the 6th month, of the 6th year. The Dali Lamas 
birthday.

-- 
* David Beardsley
* microtonal guitar
* http://biink.com/db
* http://biink.com/poole


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------=_Part_117406_3163517.1183855037511
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July 7, 1907 was 1000 years ago?


On 7/7/07, David Beardsley <db@biink.com> wrote:
>
> >
> >  -------------- Original message --------------
> >
> >     From: Rev Fever <revfever@ubergadget.com>
> >     *Happy 777 !!! *
> >
> >     Today is the 7th day, of the 7th month, of the 7th year, which
> >     ONLY happens ONCE, every ONE THOUSAND YEARS!
> >
>
> midifriedchicken@comcast.net wrote:
>
> > Didn't happen last year on the 6th of June?
>
> No, that was 6th day, of the 6th month, of the 6th year. The Dali Lamas
> birthday.
>
> --
> * David Beardsley
> * microtonal guitar
> * http://biink.com/db
> * http://biink.com/poole
>
>
>

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July 7, 1907 was 1000 years ago?<br><br><br><div><span class="gmail_quote">On 7/7/07, <b class="gmail_sendername">David Beardsley</b> &lt;<a href="mailto:db@biink.com">db@biink.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
&gt;<br>&gt;&nbsp;&nbsp;-------------- Original message --------------<br>&gt;<br>&gt;&nbsp;&nbsp;&nbsp;&nbsp; From: Rev Fever &lt;<a href="mailto:revfever@ubergadget.com">revfever@ubergadget.com</a>&gt;<br>&gt;&nbsp;&nbsp;&nbsp;&nbsp; *Happy 777 !!! *<br>&gt;<br>&gt;&nbsp;&nbsp;&nbsp;&nbsp; Today is the 7th day, of the 7th month, of the 7th year, which
<br>&gt;&nbsp;&nbsp;&nbsp;&nbsp; ONLY happens ONCE, every ONE THOUSAND YEARS!<br>&gt;<br><br><a href="mailto:midifriedchicken@comcast.net">midifriedchicken@comcast.net</a> wrote:<br><br> &gt; Didn&#39;t happen last year on the 6th of June?<br>
<br>No, that was 6th day, of the 6th month, of the 6th year. The Dali Lamas<br>birthday.<br><br>--<br>* David Beardsley<br>* microtonal guitar<br>* <a href="http://biink.com/db">http://biink.com/db</a><br>* <a href="http://biink.com/poole">
http://biink.com/poole</a><br><br><br></blockquote></div><br>

------=_Part_117406_3163517.1183855037511--

From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 00:50:01 2007
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Date: Sat, 07 Jul 2007 18:51:55 -0700
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Uhh..yeah and hey..really the only TRUE 7/7/7 was 2000 years ago.  Not 
like it had any special meaning anyway.  It's..ya know...just another 
day.  Who said the numbers of months had any significance except to ID 
which day it is compared to some other day, correlating events and all 
that to a time where everyone can be there at the same time :-) -Bob

Doug Cox wrote:

> July 7, 1907 was 1000 years ago?
>
>
> On 7/7/07, *David Beardsley* <db@biink.com <mailto:db@biink.com>> wrote:
>
>     >
>     >  -------------- Original message --------------
>     >
>     >     From: Rev Fever <revfever@ubergadget.com
>     <mailto:revfever@ubergadget.com>>
>     >     *Happy 777 !!! *
>     >
>     >     Today is the 7th day, of the 7th month, of the 7th year, which
>     >     ONLY happens ONCE, every ONE THOUSAND YEARS!
>     >
>
>     midifriedchicken@comcast.net <mailto:midifriedchicken@comcast.net>
>     wrote:
>
>     > Didn't happen last year on the 6th of June?
>
>     No, that was 6th day, of the 6th month, of the 6th year. The Dali
>     Lamas
>     birthday.
>
>     --
>     * David Beardsley
>     * microtonal guitar
>     * http://biink.com/db
>     * http://biink.com/poole
>
>
>

From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 02:15:49 2007
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Date: Sat, 7 Jul 2007 19:15:47 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: Re: Record Industry Decline ( Radio )
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Howdy,

 You mean KINK isn't good anymore? I haven't been able
to hear it for 7 years since I moved east of the
maountains, but i used to LOVE that station,
especially 'Lights out".
Rig


--- Rev Fever <revfever@ubergadget.com> wrote:

> As a former radio DJ veteran from ages ago with 5 &
> 1/2 years of  
> experience to my name,
> I can irrefutably say that radio in America, as it
> is now, SUCKS, and  
> has done so since at least the early 80's.
> 
> I do not bother with it anymore and have not done so
> for YEARS, but I  
> am aware of HOW BAD it is,
> because I often, and INVOLUNTARILY, get exposed to
> it, and KNOW that  
> it is complete crap now.
> At least previously, it was maybe 50 / 50 between
> crap and some good  
> stuff.  Now it is hopeless.
> 
> Aside from some public and / or a tiny few
> grassroots radio station  
> efforts that are even left anymore (such as KBOO
> 90.7FM here in  
> Portland,OR),
> best to just FORGET about mainstream radio in the
> USA today, and the  
> future, due to the corps(es) CONTROL of the over all
> air waves,
> which by the way, here in America, were ORIGINALLY
> MEANT to be OWNED  
> by the CITIZENS  of the USA!
> If in doubt about that, check yer history books, and
> also there was  
> no FCC until much later.
> 
> THAT idea did not LAST very long due to certain
> powerful powers-that- 
> be seeing HUGE future profits by TAKING OVER the air
> waves
> with the help of their well-paid political stooges
> in "our" gov't.   
> Same crap still goes on today and the majority of
> sheeple just  
> quietly go along with it.
> 
> So, just kiss radio GOOD BYE for it EVER coming back
> to being  
> anything even remotely good anymore, at least in the
> USA.  Ain't  
> gonna happen!
> 
> (same for American TV too, which I have stayed away
> from for almost  
> 20 years now, and LOVE it!   BOOKS are MUCH BETTER!
> )
> 
> Thank Gaia for the web, since now there are PLENTY
> of GOOD radio  
> ALTERNATIVES that can now be found!
> What is on the web is the ONLY way I listen to any
> radio anymore to  
> find shows that play truly interesting and kool
> music.
> 
> I am also gearing up to reviving my former show from
> years ago, Radio  
> Soiree (with the host, the Martian Neon Creature) as
> a podcast,
> but have some bugs to overcome and some other
> obstacles to leap over  
> before I start doing that.    Eventually....
> 
> -Rev. Fever
> 
> 
> On Jul 6, 2007, at 1:58 PM, Matt Davignon wrote:
> 
> > Oh yeah - I forgot that element. Now all the radio
> stations are owned
> > by just a few companies (Clearchannel being the
> biggie.) Which means
> > that playlists are much more standardized than
> they used to be. Less
> > variety means less "survival of the fittest",
> which in turn lowers
> > quality and gradually lowers the need to get the
> new cd.
> >
> > Wasn't there once a time when radio playlists were
> more regional?
> >
> > There's a fairly recent development in this in the
> last 5 years or so
> > too - radio stations without dj's. They just throw
> a larger-than usual
> > playlist into a central computer, and feed that
> playlist to the
> > 'variety' station in each city. The biggest one in
> San Francisco has
> > the motto "70's, 80's, 90's, whatever we feel
> like". They should be
> > sued for false advertising - "we" implies humans
> and "feel" implies
> > emotions!
> >
> > Matt
> >
> >
> >
> > On 7/6/07, BreachinThePeace@aol.com
> <BreachinThePeace@aol.com> was  
> > all:
> >>
> >> To me, this is literally the crux of the societal
> evolution angle.  
> >> RADIO.
> >> It's sad that the media has become such a common
> place and completely
> >> effective tool of corporate business. Long ago
> they put a stop to  
> >> giving us
> >> free choices in that we (as a unsuspecting
> society) via their  
> >> programming
> >> are not allowed independent differentiations of
> anything, but  
> >> rather their
> >> focus became training us "how" to differentiate
> in an effort to  
> >> best suite
> >> their greed manifest.
> >>
> >> I personally am very happy with the current state
> of the music  
> >> business.
> >> Like it was many years ago in the advent of the
> FM radio, the  
> >> Internet has
> >> HELPED musicians to reclaim a more so "music
> first, business  
> >> second" stance.
> >>
> >>
> >> ________________________________
> >> See what's free at AOL.com.
> >
> 
> 



       
____________________________________________________________________________________
Be a better Heartthrob. Get better relationship answers from someone who knows. Yahoo! Answers - Check it out. 
http://answers.yahoo.com/dir/?link=list&sid=396545433

From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 03:17:17 2007
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Date: Sat, 7 Jul 2007 23:17:00 -0400 (EDT)
Subject: Re: Studio recording - breaking patterns - ideas?
From: "p koniuto" <peter@RedSunSoundroom.com>
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David,

Just catching up on some e-mail, so this may be a bit
late...

For one, i'll chime in and cheer on your studio efforts
to date.  I *really* enjoy all three records of yours i have
(two from UNDO and one from Super-Cannes).  Many people with
whom i have shared your music have really been knocked out
with it.

So, bravo!  Go into your next recording session knowing
listeners of diverse walks of life are charged by your music.

Second, i can offer that i believe most of us go into the
studio thinking, at least on some level, we are doing
something for posterity's sake, that this should last, it
should speak to generations, it is carved in stone, it's what
we are leaving the world.

However much or little truth to any of that there may be,
LEAVE IT AT THE THE STUDIO DOOR WHEN YOU WALK IN.

It's not easy, for many of us are paying a good chunk to record,
or at the very least, making ourselves vulnerable within that
moment of creation (the very definition of artist, to me)--it
costs us, one way or another, and we feel we need a lasting
return on our investment.

At the risk of sounding like i am preaching the Buddhist doctrine,
i say embrace the *impermancence* of what you are doing when you
go in to record.  "Shiver!--the Record button is on!"  Forget
about it already.  It's NOT going to capture who you are and what
you do no matter what, it'll only be a snapshot, so accept that
and have fun.  Ever seen a still image of log rollers?--it's quite
a different thing in motion, especially when you're doing the
rolling.  That's being the artist, and the best an audience can
expect from a recording is that still image.  Roll on anyway!
The "still image" you leave behind will be better for it.

Third, if you are particularly worried about repeating certain
patterns, i encourage you to immerse yourself in music very
foreign to your own but that speaks to you just before recording.
Bring it into the studio even.  I saw Terry Bozzio do this with
a field recording of Senegalese tribal drummers.  He couldn't
possibly replicate what they were doing, but it put him in a
different place, it threw him in the deep end, if you will.
Personally, i've done it with Steve Reich recordings, Thai
classical music, the latest in Top 40 slick pop.  Try Judy
Garland, play it on 10.

I've blathered on...

Let me say just one other thing: it's GREAT NEWS to hear you
are heading back into the studio, David!  Let us all know when
you feel you have something new to share.

Best,
Peter

______________________________
Peter Koniuto
Creative Recordist - Composer
Red Sun Soundroom
Niskayuna, NY

COMING SOON!
Pseudophone's "Reach"
A free EP from Negative Sound Institute

http://www.RedSunSoundroom.com
peter AT RedSunSoundroom.com
______________________________


>     On Jun 30, 2007, at 2:55 AM, David Kirkdorffer wrote:
>
>
>       Hi -
>
>
>
>
>       I'm going into studio next weekend to record.  Over the years I've
> fallen
>
>       into patterns.  I'd like to try something different.
>
>
>
>
>       Past efforts can be heard here: http://www.myspace.com/undomusic
>
>
>
>
>       And this is a great community for sharing ideas.  What are some
> concepts or
>
>       strategies you've used to break out of your patterns?
>
>
>
>
>       Thanks in advance for your thoughts.
>
>
>
>
>       David
>
>
>

From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 04:04:28 2007
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   I did some stuff on KBOO summer of '78. I did Radio Esoterica on KBVR  
the OSU station,in Corvallis on and off between  '75 and 82 or 3. I was 
never a student-my version of pirate radio was to just take over a slot.No 
-one ever thought to ask if I was a student. I'd been around when people did 
that at WGTU in DC,the Georgetown U station. There are a number of Micro 
pirate stations  I knew some people  in the 90s who broadcast with this 
little tiny 15 watt transmitters,and they'd get several people around the 
SF/Berkely /Oakland doing it simultaneoulsy ,which made them almost 
impossible to catch ,cause you have to triangulate to locate a signal 
source. Years ago I knew someone who would broadcast from a van-a moving 
signal is also hard to locate. Berkely and Santa Cruz have Free radio 
stations that have been going for years.Periodically the FCC siezes their 
equip,but they get some more and continue-maybe change broadcast freq.
   There are actually fairly cheap freqs on AM radio in  many area. I've 
been picking up tis statioin that broadcasts in Hindi,Urdu ,Punjabi mostly 
talk ,but they play a lot of Filmi and Indian Pop some of which is very 
cool. Very low broadcats standards they constantly cut things off  and jump 
around , volume changes radically.Radio Hamasafer I pick up a Chinese AM 
station too,I just listen to the sound of the language,like it's music it's 
probably  all ads ,I can't even tell.

_________________________________________________________________
http://liveearth.msn.com

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JUVPRgo=
--------------030604020402020607030208--

From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 04:16:03 2007
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Subject: re: 777
Date: Sat, 07 Jul 2007 21:15:57 -0700
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The gregorian calndar-like the 12ET tuning system tries to force the world 
to fit into equal units. Why 12 tones months inches? maybe because there are 
actually 13 moons (the root of the word month) in a solar year, . Here's a 
list of other calendar systems. <http://www.kelsung.com/calendar.htm>

_________________________________________________________________
http://im.live.com/messenger/im/home/?source=hmtextlinkjuly07

From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 04:20:48 2007
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From: Rev Fever <revfever@ubergadget.com>
Subject: Fripp & Eno 1973 / BBC / Peel
Date: Sat, 7 Jul 2007 21:20:45 -0700
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--Apple-Mail-5--597184530
Content-Transfer-Encoding: 7bit
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	charset=US-ASCII;
	delsp=yes;
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You will need to request that these 2 files be sent to you, since the  
last time I checked, they are no longer up at this site.
Details to do so are given at the site. Scroll down for the address.  
Whoever manages this site is very accommodating and reasonably fast  
about doing so.
Also, rare submissions to this site are encouraged.  Enjoy!

-Rev. Fever


'We continue our fascination of the late, great British broadcaster  
John Peel with another excellent show from the archives. This time  
the collaboration of two sonic visionaries in 1973 that produced the  
often talked about album No Pussyfooting that was designed to  
showcase tape-echo and delay techniques to the mass pop audience.  
Here, the gentlemen offered two tracks exclusively for Peel's Top  
Gear show.'

http://music.allofmp3.com/mcatalog.shtml?group=448&albref=14
--Apple-Mail-5--597184530
Content-Transfer-Encoding: quoted-printable
Content-Type: text/html;
	charset=ISO-8859-1

<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; "><DIV>You will need to request =
that these 2 files be sent to you, since the last time I checked, they =
are no longer up at this site.</DIV><DIV>Details to do so are given at =
the site. Scroll down for the address. Whoever manages this site is very =
accommodating and reasonably fast about doing so.=A0</DIV><DIV>Also, =
rare submissions to this site are encouraged.=A0 Enjoy!</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>-Rev. Fever=A0</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>'<FONT =
class=3D"Apple-style-span" face=3D"Times New Roman" size=3D"4"><SPAN =
class=3D"Apple-style-span" style=3D"font-size: 16px;"><B>We continue our =
fascination of the late, great British broadcaster John Peel with =
another excellent show from the archives. This time the collaboration of =
two sonic visionaries in 1973 that produced the often talked about album =
No Pussyfooting that was designed to showcase tape-echo and delay =
techniques to the mass pop audience. Here, the gentlemen offered two =
tracks exclusively for Peel's Top Gear =
show.'</B></SPAN></FONT></DIV><DIV><FONT class=3D"Apple-style-span" =
face=3D"Times New Roman" size=3D"4"><SPAN class=3D"Apple-style-span" =
style=3D"font-size: 16px;"><B><BR =
class=3D"khtml-block-placeholder"></B></SPAN></FONT></DIV><DIV><A =
href=3D"http://music.allofmp3.com/mcatalog.shtml?group=3D448&albref=3D14">=
http://music.allofmp3.com/mcatalog.shtml?group=3D448&amp;albref=3D14</A></=
DIV></BODY></HTML>=

--Apple-Mail-5--597184530--

From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 04:24:54 2007
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  I did some stuff on KBOO summer of '78. I did Radio Esoterica on KBVR  the 
OSU station,in Corvallis on and off between  '75 and 82 or 3. I was never a 
student-my version of pirate radio was to just take over a slot.No -one ever 
thought to ask if I was a student. I'd been around when people did that at 
WGTU in DC,the Georgetown U station. There are a number of Micro pirate 
stations  I knew some people  in the 90s who broadcast with this little tiny 
15 watt transmitters,and they'd get several people around the SF/Berkely 
/Oakland doing it simultaneoulsy ,which made them almost impossible to catch 
,cause you have to triangulate to locate a signal source. Years ago I knew 
someone who would broadcast from a van-a moving signal is also hard to 
locate. Berkely and Santa Cruz have Free radio stations that have been going 
for years.Periodically the FCC siezes their equip,but they get some more and 
continue-maybe change broadcast freq.
  There are actually fairly cheap freqs on AM radio in  many area. I've been 
picking up tis statioin that broadcasts in Hindi,Urdu ,Punjabi mostly talk 
,but they play a lot of Filmi and Indian Pop some of which is very cool. 
Very low broadcats standards they constantly cut things off  and jump around 
, volume changes radically.Radio Hamasafer I pick up a Chinese AM station 
too,I just listen to the sound of the language,like it's music it's probably 
  all ads ,I can't even tell.

_________________________________________________________________
Don't get caught with egg on your face. Play Chicktionary!  
http://club.live.com/chicktionary.aspx?icid=chick_hotmailtextlink2

From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 09:47:07 2007
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Date: Sun, 08 Jul 2007 11:47:03 +0200
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Subject: Re: randomness
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Krispen Hartung schrieb:
> Heck, someone (not me, but a real max guru) could write a patch that 
> forced you to play non-diatonicially, by analying the frequencies of 
> your input and shutting you down if they followed a particular diatonic 
> pattern - scales, etc. That would be hilarious...a max mentor patch to 
> train someone how not to play inside. You get rated and scored based on 
> what you play.

I'd not shut you down, but retune it to a even more avoidable note 
randomly, you'd gain points if you repeat that note to make it right, 
you'd loose the points again if you play that note more than 3 times in 
a given period... If you gain enough points, you will be retuned to a 
gigantic chord representing the score. If you play too good, the 
computer will jealously take over and play by itself ignoring whatever 
you put in...

Just dreaming new pieces...

Stefan

-- 
Stefan Tiedje------------x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()--------www.ccmix.com


From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 14:25:34 2007
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Date: Sun, 8 Jul 2007 07:25:33 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: online radio stations
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i love this station to chill out
http://www.lounge-radio.com/index.php?option=com_frontpage&Itemid=1
cheers
Luis



--- Matt Davignon <mattdavignon@gmail.com> wrote:

> Oh yeah - I forgot that element. Now all the radio
> stations are owned
> by just a few companies (Clearchannel being the
> biggie.) Which means
> that playlists are much more standardized than they
> used to be. Less
> variety means less "survival of the fittest", which
> in turn lowers
> quality and gradually lowers the need to get the new
> cd.
> 
> Wasn't there once a time when radio playlists were
> more regional?
> 
> There's a fairly recent development in this in the
> last 5 years or so
> too - radio stations without dj's. They just throw a
> larger-than usual
> playlist into a central computer, and feed that
> playlist to the
> 'variety' station in each city. The biggest one in
> San Francisco has
> the motto "70's, 80's, 90's, whatever we feel like".
> They should be
> sued for false advertising - "we" implies humans and
> "feel" implies
> emotions!
> 
> Matt
> 
> 
> 
> On 7/6/07, BreachinThePeace@aol.com
> <BreachinThePeace@aol.com> was all:
> >
> > To me, this is literally the crux of the societal
> evolution angle. RADIO.
> > It's sad that the media has become such a common
> place and completely
> > effective tool of corporate business. Long ago
> they put a stop to giving us
> > free choices in that we (as a unsuspecting
> society) via their programming
> > are not allowed independent differentiations of
> anything, but rather their
> > focus became training us "how" to differentiate in
> an effort to best suite
> > their greed manifest.
> >
> > I personally am very happy with the current state
> of the music business.
> > Like it was many years ago in the advent of the FM
> radio, the Internet has
> > HELPED musicians to reclaim a more so "music
> first, business second" stance.
> >
> >
> > ________________________________
> > See what's free at AOL.com.
> 
> 


www.myspace.com/luisangulocom


       
____________________________________________________________________________________
Looking for a deal? Find great prices on flights and hotels with Yahoo! FareChase.
http://farechase.yahoo.com/

From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 14:59:38 2007
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Date: Sun, 8 Jul 2007 07:59:35 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: bows for guitars
To: Loopers-Delight@loopers-delight.com
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thank you all for the wonderful thread information
some amazing links and gadgets i wasnt aware of!
cheers
Luis

--- andy butler <akbutler@tiscali.co.uk> wrote:

> hi Luis.
> 
> The basic problems are 
> 1) the body of the guitar gets in the way
> 2) the bridge for a bowable instrument really needs
> to be curved, so you can
> access individual strings ( so the fretboard needs
> to be curved too) 
> 
> so the only good solutions I know are
> 
> 1) a custom built instrument
> 2) ebow ;-)
> 3) there's a technique I sometimes used for bass
> which would work with guitar, only works
>   for the two outside strings and not that easy to
> co-ordinate, but I can share that if you like.
> 
> http://www.myspace.com/bernhardguenter
> has a custom instrument.
> 
> andy butler
> 
> L.A. Angulo wrote:
> > Hi Gang,
> > id like to start experimenting with bows which
> work
> > better for guitars and can you spare some
> techniques
> > string gage etc.?Although Jimmy page has been an
> > inspiration i didnt find his bowing technique
> > particulary exciting,any other artists out there?
> > thanx!
> > Luis
> > 
> > www.myspace.com/luisangulocom
> > 
> > 
> >        
> >
>
____________________________________________________________________________________
> > Yahoo! oneSearch: Finally, mobile search 
> > that gives answers, not web links. 
> >
>
http://mobile.yahoo.com/mobileweb/onesearch?refer=1ONXIC
> > 
> > 
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Luggage? GPS? Comic books? 
Check out fitting gifts for grads at Yahoo! Search
http://search.yahoo.com/search?fr=oni_on_mail&p=graduation+gifts&cs=bz

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From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 15:56:56 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: online radio stations
Date: Sun, 8 Jul 2007 17:56:51 +0200
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On 8 jul 2007, at 16.25, L.A. Angulo wrote:

> i love this station to chill out
> http://www.lounge-radio.com/index.php?option=com_frontpage&Itemid=1
> cheers
> Luis

Thanks. Interesting! My own long time love is http://somafm.com/

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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From: James Richmond <yahoogroups@jamesrichmond.com>
Subject: Re: Studio recording - breaking patterns - ideas?
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On Jul 7, 2007, at 11:17 PM, p koniuto wrote:

> Second, i can offer that i believe most of us go into the
> studio thinking, at least on some level, we are doing
> something for posterity's sake, that this should last, it
> should speak to generations, it is carved in stone, it's what
> we are leaving the world.

I'm quite surprised by this.

I have to say that when I am recording the idea that anyone will care  
about what I am doing is the last thing from my mind.
Depending on whether it is a personal project or session work my  
thoughts usually range from "How am I going to make this sound huge?"  
to "How am I going to make this suck less than it does?" - I've never  
thought about  the idea of a 'legacy'.

Wouldn't that seem a bit presumptuous and maybe a bit naff?
You are right though- if one was thinking these thoughts it would  
absolutely affect the work.

I've occassionaly worked with the odd person who can be best  
described as wanna-bee auteur- these people are usually more trouble  
than they are worth and best avoided, unless the money is right.
I would rather an easier life, myself.

Regards,

Jim Richmond

Currently positioned next to a farting bulldog.
Green Village, NJ
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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; "><DIV><DIV>On Jul 7, 2007, at =
11:17 PM, p koniuto wrote:</DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite"><P =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><FONT face=3D"Helvetica" =
size=3D"3" style=3D"font: 12.0px Helvetica">Second, i can offer that i =
believe most of us go into the</FONT></P> <P style=3D"margin: 0.0px =
0.0px 0.0px 0.0px"><FONT face=3D"Helvetica" size=3D"3" style=3D"font: =
12.0px Helvetica">studio thinking, at least on some level, we are =
doing</FONT></P> <P style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><FONT =
face=3D"Helvetica" size=3D"3" style=3D"font: 12.0px Helvetica">something =
for posterity's sake, that this should last, it</FONT></P> <P =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><FONT face=3D"Helvetica" =
size=3D"3" style=3D"font: 12.0px Helvetica">should speak to generations, =
it is carved in stone, it's what</FONT></P> <P style=3D"margin: 0.0px =
0.0px 0.0px 0.0px"><FONT face=3D"Helvetica" size=3D"3" style=3D"font: =
12.0px Helvetica">we are leaving the world.</FONT></P> =
</BLOCKQUOTE></DIV><BR><DIV>I'm quite surprised by this.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>I have to say that when I =
am recording the idea that anyone will care about what I am doing is the =
last thing from my mind.</DIV><DIV>Depending=A0on whether it is a =
personal project or session work my thoughts usually range from "How am =
I going to make this sound huge?" to "How am I going to make this suck =
less than it does?" - I've never thought about=A0 the idea of a =
'legacy'.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Wouldn't that seem a bit =
presumptuous and maybe a bit naff?</DIV><DIV>You are right though- if =
one was thinking these thoughts it would absolutely affect the =
work.</DIV><DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>I've =
occassionaly worked with the odd person who can be best described =
as=A0wanna-bee auteur- these people are usually more trouble than they =
are worth and best avoided, unless the money is right.</DIV><DIV>I would =
rather an easier life, myself.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Regards,=A0</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Jim Richmond</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Currently positioned next =
to a farting bulldog.</DIV><DIV>Green Village, NJ</DIV></BODY></HTML>=

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From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 16:17:49 2007
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From: Mark Sottilaro <sine@zerocrossing.net>
Subject: Re: A/B listening tests
Date: Sun, 8 Jul 2007 09:12:15 -0700
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If I had received this letter via the post on parchment written in  
india ink, I might take it seriously, but as it is (all digital and  
shit) all I get from reading it is "Mark, you SUCK."

I love you,

Mark

On Jul 6, 2007, at 1:31 PM, Tilmann Dehnhard wrote:

> i am in joke-mode, so please forgive me:
>
> have you heard, that japanese engineers said "love" to a drop of  
> water under a microscope and the molecule structure looked nice and  
> when they said "hitler" to the drop, it looked really ugly?
>
> for further in depth study: http://www.ghchealth.com/water- 
> purification
>
> what happens to your brainwaves if you listen to techno on an LP?
> the music was made entirely digital, but the LP is analogue, right?
> how will your brainwaves cope with that conflict?
> aren't most of our loopers digital?
>
>
> i once overheard a guy saying that his music sounded better if  
> produced in hannover (his hometown) then in berlin. because  
> berlin's electricity is generated in old fashioned coal-burning  
> plants and hannover's juice is nuclear, therefore "cleaner"!
> (my wild guess is: in berlin he calls for a pizza, but the food in  
> hannover is probably mum's? food has a large effect on mixing...)
>
> smooth looping - tilmann
>
> ----- Original Message ----- From: "samba -" <sambacomet@hotmail.com>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Friday, July 06, 2007 9:34 PM
> Subject: A/B listening tests
>
>
>> There used to be a lot of musicians saying digital didn't sound as  
>> good as analog ,and a engineers saying no one could tell the  
>> difference in A/B tests.I read a bit in Mix ,or Recording Engineer  
>> mag in the early 90s about some Japanese engineers  measuring  
>> brain wave responses to both analog and digital.Turned out after  
>> about 20 minutes of analog the brain halves went into a mode of  
>> Entrainmentwhich the digital never aroused. I suspect higher  
>> sampling rates would make a difference ,but haven't seen any  
>> further research on the matter.
>>
>> _________________________________________________________________
>> Don't get caught with egg on your face. Play Chicktionary! http:// 
>> club.live.com/chicktionary.aspx?icid=chick_hotmailtextlink2
>

From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 16:51:03 2007
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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: A/B listening tests
Date: Sun, 8 Jul 2007 09:50:59 -0700
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See also:

http://en.wikipedia.org/wiki/Brainwave_synchronization

Enjoy.
-Rev. Fever


>> ----- Original Message ----- From: "samba -" <sambacomet@hotmail.com>
>> To: <Loopers-Delight@loopers-delight.com>
>> Sent: Friday, July 06, 2007 9:34 PM
>> Subject: A/B listening tests
>>
>>> There used to be a lot of musicians saying digital didn't sound  
>>> as good as analog ,and a engineers saying no one could tell the  
>>> difference in A/B tests.I read a bit in Mix ,or Recording  
>>> Engineer mag in the early 90s about some Japanese engineers   
>>> measuring brain wave responses to both analog and digital.Turned  
>>> out after about 20 minutes of analog the brain halves went into a  
>>> mode of Entrainment which the digital never aroused. I suspect  
>>> higher sampling rates would make a difference ,but haven't seen  
>>> any further research on the matter.

From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 18:25:24 2007
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From: "Krispen Hartung" <khartung@cableone.net>
To: Loopers-Delight@loopers-delight.com
References: <07999BBF-8882-4DA8-BEE8-1B8F1A7DC18B@kenaxis.com> <51AE7036-B05C-460F-A6C7-1ED849A9BF9E@gmail.com> <045c01c7b673$b8e750d0$9db1ec0f@americas.hpqcorp.net> <4690B297.6080504@addcom.de>
Subject: Re: randomness
Date: Sun, 8 Jul 2007 12:25:18 -0600
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Sound fun!

----- Original Message ----- 
Sent: Sunday, July 08, 2007 3:47 AM
Subject: Re: randomness


> Krispen Hartung schrieb:
>> Heck, someone (not me, but a real max guru) could write a patch that 
>> forced you to play non-diatonicially, by analying the frequencies of 
>> your input and shutting you down if they followed a particular diatonic 
>> pattern - scales, etc. That would be hilarious...a max mentor patch to 
>> train someone how not to play inside. You get rated and scored based on 
>> what you play.
> 
> I'd not shut you down, but retune it to a even more avoidable note 
> randomly, you'd gain points if you repeat that note to make it right, 
> you'd loose the points again if you play that note more than 3 times in 
> a given period... If you gain enough points, you will be retuned to a 
> gigantic chord representing the score. If you play too good, the 
> computer will jealously take over and play by itself ignoring whatever 
> you put in...
> 
> Just dreaming new pieces...
> 
> Stefan
> 
> -- 
> Stefan Tiedje------------x-------
> --_____-----------|--------------
> --(_|_ ----|\-----|-----()-------
> -- _|_)----|-----()--------------
> ----------()--------www.ccmix.com
> 
> 
>

From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 20:12:11 2007
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Mark Sottilaro schrieb:
> Ah, that's a beautiful dream...  but like the dream where I'm flying to 
> a house where naked women are making me waffles, it's never going to 
> happen.

But it should be possible with intel Macs, they share the same 
processor. Sooner or later somebody will make a wrapper... Maybe by 
trashing the original GUI, because that will use windows calls...

In the end, that's what dreams are about: want you to make it happen...

I could imagine that vst dlls could run with wine on Macintels. All the 
plugzilla stuff is doing that as far as I know on Linux basis. Its the 
same kind of problem, not sure if its easy to set up...

Stefan

-- 
Stefan Tiedje------------x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()--------www.ccmix.com


From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 20:40:10 2007
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From: Luca Bonvini <lucabonvini@free.fr>
Subject: Re: .dll windows vst's in osX?
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BTW does anybody was successful in having mobius working on>  
XP>vmware fusion>macbook?  would it be possible or the virtual  
machine creates too much gap? Thanks, Luca

On 08/lug/07, at 22:12, Stefan Tiedje wrote:

> Mark Sottilaro schrieb:
>> Ah, that's a beautiful dream...  but like the dream where I'm  
>> flying to a house where naked women are making me waffles, it's  
>> never going to happen.
>
> But it should be possible with intel Macs, they share the same  
> processor. Sooner or later somebody will make a wrapper... Maybe by  
> trashing the original GUI, because that will use windows calls...
>
> In the end, that's what dreams are about: want you to make it  
> happen...
>
> I could imagine that vst dlls could run with wine on Macintels. All  
> the plugzilla stuff is doing that as far as I know on Linux basis.  
> Its the same kind of problem, not sure if its easy to set up...
>
> Stefan
>
> -- 
> Stefan Tiedje------------x-------
> --_____-----------|--------------
> --(_|_ ----|\-----|-----()-------
> -- _|_)----|-----()--------------
> ----------()--------www.ccmix.com
>
>
>

From Loopers-Delight-request@loopers-delight.com  Sun Jul  8 20:40:18 2007
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From: "Tilmann Dehnhard" <tilmann@dehnhard.com>
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Subject: Re: A/B listening tests
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wow.
i hope i haven't stepped on anybody else's toes, too...
mark (and above all: samba) please accept my apologies if i have overplayed 
it this time.
i am really glad to be in this list and i appreciate the work and the 
seriousness of the participating members.
the night i wrote my message i had had some really good wine and just typed 
away for fun.
hence the starting line ending with "please forgive me".

yes, i was mocking, but i didn't mean my words to sting, didn't mean to dis 
or vibe anybody.
i'll be a little more careful from now on.

peace - tilmann


----- Original Message ----- 
From: "Mark Sottilaro" <sine@zerocrossing.net>
To: <Loopers-Delight@loopers-delight.com>
Sent: Sunday, July 08, 2007 6:12 PM
Subject: Re: A/B listening tests


> If I had received this letter via the post on parchment written in  india 
> ink, I might take it seriously, but as it is (all digital and  shit) all I 
> get from reading it is "Mark, you SUCK."
>
> I love you,
>
> Mark
>
> On Jul 6, 2007, at 1:31 PM, Tilmann Dehnhard wrote:
>
>> i am in joke-mode, so please forgive me:
>>
>> have you heard, that japanese engineers said "love" to a drop of  water 
>> under a microscope and the molecule structure looked nice and  when they 
>> said "hitler" to the drop, it looked really ugly?
>>
>> for further in depth study: http://www.ghchealth.com/water- purification
>>
>> what happens to your brainwaves if you listen to techno on an LP?
>> the music was made entirely digital, but the LP is analogue, right?
>> how will your brainwaves cope with that conflict?
>> aren't most of our loopers digital?
>>
>>
>> i once overheard a guy saying that his music sounded better if  produced 
>> in hannover (his hometown) then in berlin. because  berlin's electricity 
>> is generated in old fashioned coal-burning  plants and hannover's juice 
>> is nuclear, therefore "cleaner"!
>> (my wild guess is: in berlin he calls for a pizza, but the food in 
>> hannover is probably mum's? food has a large effect on mixing...)
>>
>> smooth looping - tilmann
>>
>> ----- Original Message ----- From: "samba -" <sambacomet@hotmail.com>
>> To: <Loopers-Delight@loopers-delight.com>
>> Sent: Friday, July 06, 2007 9:34 PM
>> Subject: A/B listening tests
>>
>>
>>> There used to be a lot of musicians saying digital didn't sound as  good 
>>> as analog ,and a engineers saying no one could tell the  difference in 
>>> A/B tests.I read a bit in Mix ,or Recording Engineer  mag in the early 
>>> 90s about some Japanese engineers  measuring  brain wave responses to 
>>> both analog and digital.Turned out after  about 20 minutes of analog the 
>>> brain halves went into a mode of  Entrainmentwhich the digital never 
>>> aroused. I suspect higher  sampling rates would make a difference ,but 
>>> haven't seen any  further research on the matter.
>>>
>>> _________________________________________________________________
>>> Don't get caught with egg on your face. Play Chicktionary! http:// 
>>> club.live.com/chicktionary.aspx?icid=chick_hotmailtextlink2
>>
> 

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Date: Sun, 8 Jul 2007 17:40:06 -0700 (PDT)
From: scott hansen <evanpeewee@yahoo.com>
Subject: HsAcNoStEtN late posts, thanks, signing off..
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just wanted to say a real quick thanks to all for the posts & info i've gotten from this list....had a change in status, and finding that i've gone from checking email
  once a week to hardly never....so i'm signing off...
   
  have been listening to dt's PREZENS loads lately and have been enjoying it.
  also been listening to the fripp/eno release from 2 yrs ago (can't remember the name to
  save my life).
  one little odd listening is i found a compilation cd of lee renaldo's called "east jesus", it
  has odds and ends from his 80's releases, in the liner notes it says he uses tape loops on a number of things, interesting to hear the repeating bits going...its mostly guitar noise, atonal, but interesting ...
   
  i just finished building my new guitar and i'm trying to get used to it (still needs work), so thats taken up a lot of my time lately.
  my future plans is to try to update some songs to my myspace site-want to do some of my acoustic singer-songwriter things -they are short songs, and have some acoustic looping bridge 2 songs together...not sure when i'll get to that....but its on my mind....
   
  my setup (A LATE POST)-gtr--rocktron silver dragon--zoom g2--digitech rp150--boss dd20--to either digital recorder or my marshall 10w amp....mostly use the dd20 for short looping or the rp150 if i want to do mangly time stretching w/ lots of digital sound...not great but works, about the only thing i miss is my reverse options from my old dod d12, but i'm surviving...
  happy looping,
  s---
  www.myspace.com/scotthansen
   

       
---------------------------------
Ready for the edge of your seat? Check out tonight's top picks on Yahoo! TV. 
--0-1197954495-1183941606=:480
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<div>just wanted to say a real quick thanks to all for the posts &amp; info i've gotten from this list....had a change in status, and finding that i've gone from checking email</div>  <div>once a week to hardly never....so i'm signing off...</div>  <div>&nbsp;</div>  <div>have been listening to dt's PREZENS loads lately and have been enjoying it.</div>  <div>also been listening to the fripp/eno release from 2 yrs ago (can't remember the name to</div>  <div>save my life).</div>  <div>one little odd listening is i found a compilation cd of lee renaldo's called "east jesus", it</div>  <div>has odds and ends from his 80's releases, in the liner notes it says he uses tape loops on a number of things, interesting to hear the repeating bits going...its mostly guitar noise, atonal, but interesting ...</div>  <div>&nbsp;</div>  <div>i just finished building my new guitar and i'm trying to get used to it (still needs work), so thats taken up a lot of my time lately.</div>  <div>my
 future plans is to try to update some songs to my myspace site-want to do some of my acoustic singer-songwriter things -they are short songs, and have some acoustic looping bridge 2 songs together...not sure when i'll get to that....but its on my mind....</div>  <div>&nbsp;</div>  <div>my setup (A LATE POST)-gtr--rocktron silver dragon--zoom g2--digitech rp150--boss dd20--to either digital recorder or my marshall 10w amp....mostly use the dd20 for short looping or the rp150 if i want to do mangly time stretching w/ lots of digital sound...not great but works, about the only thing i miss is my reverse options from my old dod d12, but i'm surviving...</div>  <div>happy looping,</div>  <div>s---</div>  <div>www.myspace.com/scotthansen</div>  <div>&nbsp;</div><p>&#32;
      <hr size=1>Ready for the edge of your seat? 
<a href="http://us.rd.yahoo.com/evt=48220/*http://tv.yahoo.com/">Check out tonight's top picks</a> on Yahoo! TV. 


--0-1197954495-1183941606=:480--

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 01:42:55 2007
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From: Mark Sottilaro <sine@zerocrossing.net>
Subject: Re: A/B listening tests
Date: Sun, 8 Jul 2007 18:37:21 -0700
To: Tilmann Dehnhard <tilmann@dehnhard.com>,
	Loopers-Delight@loopers-delight.com
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Why do you still insist on hurting me with your pointy digital words!?

Dude, I was totally being sarcastic as you were.  I love your post.   
Screw careful, go for it.

Mark

On Jul 8, 2007, at 1:40 PM, Tilmann Dehnhard wrote:

> wow.
> i hope i haven't stepped on anybody else's toes, too...
> mark (and above all: samba) please accept my apologies if i have  
> overplayed it this time.
> i am really glad to be in this list and i appreciate the work and  
> the seriousness of the participating members.
> the night i wrote my message i had had some really good wine and  
> just typed away for fun.
> hence the starting line ending with "please forgive me".
>
> yes, i was mocking, but i didn't mean my words to sting, didn't  
> mean to dis or vibe anybody.
> i'll be a little more careful from now on.
>
> peace - tilmann
>
>
> ----- Original Message ----- From: "Mark Sottilaro"  
> <sine@zerocrossing.net>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Sunday, July 08, 2007 6:12 PM
> Subject: Re: A/B listening tests
>
>
>> If I had received this letter via the post on parchment written  
>> in  india ink, I might take it seriously, but as it is (all  
>> digital and  shit) all I get from reading it is "Mark, you SUCK."
>>
>> I love you,
>>
>> Mark
>>
>> On Jul 6, 2007, at 1:31 PM, Tilmann Dehnhard wrote:
>>
>>> i am in joke-mode, so please forgive me:
>>>
>>> have you heard, that japanese engineers said "love" to a drop of   
>>> water under a microscope and the molecule structure looked nice  
>>> and  when they said "hitler" to the drop, it looked really ugly?
>>>
>>> for further in depth study: http://www.ghchealth.com/water-  
>>> purification
>>>
>>> what happens to your brainwaves if you listen to techno on an LP?
>>> the music was made entirely digital, but the LP is analogue, right?
>>> how will your brainwaves cope with that conflict?
>>> aren't most of our loopers digital?
>>>
>>>
>>> i once overheard a guy saying that his music sounded better if   
>>> produced in hannover (his hometown) then in berlin. because   
>>> berlin's electricity is generated in old fashioned coal-burning   
>>> plants and hannover's juice is nuclear, therefore "cleaner"!
>>> (my wild guess is: in berlin he calls for a pizza, but the food  
>>> in hannover is probably mum's? food has a large effect on mixing...)
>>>
>>> smooth looping - tilmann
>>>
>>> ----- Original Message ----- From: "samba -"  
>>> <sambacomet@hotmail.com>
>>> To: <Loopers-Delight@loopers-delight.com>
>>> Sent: Friday, July 06, 2007 9:34 PM
>>> Subject: A/B listening tests
>>>
>>>
>>>> There used to be a lot of musicians saying digital didn't sound  
>>>> as  good as analog ,and a engineers saying no one could tell  
>>>> the  difference in A/B tests.I read a bit in Mix ,or Recording  
>>>> Engineer  mag in the early 90s about some Japanese engineers   
>>>> measuring  brain wave responses to both analog and  
>>>> digital.Turned out after  about 20 minutes of analog the brain  
>>>> halves went into a mode of  Entrainmentwhich the digital never  
>>>> aroused. I suspect higher  sampling rates would make a  
>>>> difference ,but haven't seen any  further research on the matter.
>>>>
>>>> _________________________________________________________________
>>>> Don't get caught with egg on your face. Play Chicktionary!  
>>>> http:// club.live.com/chicktionary.aspx?icid=chick_hotmailtextlink2
>>>
>

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 02:11:21 2007
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More today with my improvisational live-looping tuba project Ouroboros.

Two sets sampled today:

(Track names my fault. All tracks recorded live, all source audio 
live-sampled tuba, no post-processing or layering other than cleaning 
noise using SoundSoap.)

http://www.subscapeannex.com/tuba/didjwalk.mp3
didjwalk - 19min43sec. Only non-looping effect used was the Moogerfooger 
MF-105B Bass MuRF.

http://www.subscapeannex.com/tuba/whales_event_horizon.mp3
Whales at the Event Horizon - 15min01sec. There's a couple of volume peaks 
in the first minute that headphones might not be advisable for.

best,
Steve B
Subscape Annex  http://www.subscapeannex.com/
Ouroboros       http://www.subscapeannex.com/ouroboros/

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 03:46:04 2007
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Michael Billow wrote:
> Bill Fox, that was obnoxious and wholly unwarranted. I never
> indicated any value judgments about wether the internet was "good"
> or "bad" I simply made the distinction that it was the reason why
> the music industry has changed - in direct response to the previous
> claim. I could go on about how inappropriate your dissection of my
> post is but instead I will simply request that you kindly refrain from
> attacking people in here with such a condescending tone, and if you
> must then at LEAST read more carefully what your responding to
> before you mis-characterize what they've said.
Obnoxious?  Well, if you think so, then perhaps I was.  But just because 
I tore into your points of discussion doesn't mean it was a personal 
attack against *you*.  Grow a skin, man,

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 04:02:44 2007
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midifriedchicken@comcast.net wrote:
> Theres tons of great music out there. You just have to look harder. 
> Radio is the villian.
I agree with you.  However, I hope that you'll consider putting a 
qualifier in that statement: *Commercial* radio.  As the host of a show 
on a non-commercial station that plays non-mainstream music and 
regularly features the playing of entire albums, I would hope that I 
don't qualify as one of those sorts of villains.   ;-)

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 04:14:54 2007
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samba - wrote:
> There used to be a lot of musicians saying digital didn't sound as 
> good as
> analog ,and a engineers saying no one could tell the difference in A/B
> tests.
Speaking of A/B testing, according to what I've read, the difference 
between 16 and 24 bit digital can be heard much more easily than the 
difference between 44.1kHz and 192kHz.  So it isn't the sample frequency 
but the bit resolution of each sample.  Plus, the more linear the AD and 
DA conversions are, the more transparent the process becomes.  Bit depth 
and conversion linearity seem to far outstrip sample frequency at 
obtaining audible quality improvements.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 04:23:27 2007
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Matt Davignon wrote:
> Wasn't there once a time when radio playlists were more regional? 
Once upon a time, that was true.  That was how local bands became 
regional bands became national bands.  As more and more radio stations 
picked up on an act, the bigger the act got.  (That the slow path as 
opposed to being "discovered.")  Now Clear Channel is the McDonald's of 
radio.  Each hamburger tastes exactly alike no matter where it's served.

These days, a radio station won't play anything except:
1. bands that the corporate office tells them to play.
2. bands that can tell them what other stations are playing their 
music.  Of course that's none because getting that first station to play 
your music without being able to say...  Well, you know it's Catch 22.

Cheers,

Bill

From info@chaseonline.chase.com  Mon Jul  9 04:25:13 2007
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<p class="text2"><img src="http://www.chase.com/ccpmweb/shared/image/chaseNewlogo.gif" width="138" height="27"></p>
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From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 04:35:49 2007
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samba - wrote:
> Unfortunately NPR is a corporate shill now too.Some independent 
> stations I like at least at times are. KFJC Los Altos CA. At times 
> they play very strange music,as does KZSU at Stanford. And the  
> inimitable WFMU,<http://www.wfmu.org/>
This is a common misunderstanding.  NPR doesn't own any stations.  They 
sell their product to "affiliate" stations.  AFAIK it's mostly (all?) 
news and talk, etc., not music programs.  Please correct me if I'm 
wrong.  It is up to the individual stations to decide how corporate vs. 
how off the wall/adventurous they wish to be with their music 
programming.  If the stations where I volunteer are any indication, most 
of the music programming you hear on non-commercial FM stations are 
locally produced; syndicated shows like Echoes and HoS not withstanding.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 04:41:22 2007
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From: Bill Fox <billyfox@soundscapes.us>
Subject: Save Net Radio
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Jeff Duke wrote:
> I just noticed this http://www.savenetradio.org/ .... scary stuff 
Oh my goodness. Where have you been? I linked to that website long ago. 
Here's a post I saw recently that might be of interest to some of our LD 
community.

Cheers,

Bill


> From: http://www.savenetradio.org/about/myths_and_facts.html
>
> A recent decision by the Copyright Royalty Board (CRB) that increases
> the royalties owed by Internet webcasters pay to play music by between
> 300 and 1200% has jeopardized the future of Internet Radio.  This
> decision will affect millions of Americans who enjoy the unparalleled
> radio diversity that is only available on the Internet; and hundreds
> of thousands of artists who depend on Net radio to reach new fans, and
> thousands of webcasters whose livelihood depends on their ability to
> play music for their listeners.
>
> MYTH:  Broadcast radio, satellite radio and Internet Radio pay the
> same amount of royalties to creators of music, or pay proportionate
> relative to the size of their businesses.
>
> FACT:  The smallest medium – Internet radio – pays the most royalties;
> and under the new CRB royalty scheme the smallest webcasters will pay
> the highest relative royalties in amounts shockingly disproportionate
> to their revenue. 
>
>     * Broadcast radio, an industry with $20 billion in annual revenue,
> is exempt and pays no performance royalties to record companies or
> recording artists.
>     * Satellite radio, which has approximately $2 billion in annual
> revenue pays between 3 and 7% of revenue in sound recording
> performance royalties. 
>     * The six largest Internet-only radio services anticipate combined
> revenue of only $37.5 million in 2006, but will pay a whopping 47% (or
> $17.6 million) in sound recording performance royalties under the new
> CRB ruling.  In 2008 combined revenues will total only $73.6 million,
> but royalties will be 58% or $42.4 million.
>     * Small Internet radio services are essentially bankrupted by the
> CRB ruling, with most anticipating royalty obligations equaling or
> exceeding total revenue. 
>
>  
> MYTH:  Internet Radio isn't really that big anyway.  Most people still
> listen to traditional FM radio.
>
> FACT:  At some point every day more than 7 million Americans are
> listening to Internet radio.  Studies by Arbitron and Bridge Ratings
> conclude that between 50 and 70 million Americans listen to Internet
> radio every month, and about 20 percent of 18-34 year olds listen to
> Internet radio every week. 
>
>  
> MYTH:  If Internet Radio is so big the higher royalty rates should be
> affordable. 
>
> FACT:  Internet radio is a relatively new industry with advertising
> models still developing.  Some services rely on banner ads; others are
> selling traditional audio ads; and still others rely on sponsorships.
>  The vast majority of Webcasters will not be able to generate enough
> advertising revenue to pay their new, higher royalty fees.
>
>  
> MYTH:  The webcasters' previous royalty rate was too low and needed to
> be increased to ensure that artists and record companies are paid fairly.
>
> FACT:  Bankrupting the Internet radio industry will not benefit
> artists or record companies, as total industry royalties will
> diminish.  Moreover, the demise of Internet radio will be particularly
> harmful to independent artists and record labels whose music is rarely
> played on broadcast radio.  The American Association of Independent
> Music reports that less than 10% of terrestrial radio performances are
> independent music but more than 37% of non-terrestrial radio is
> independent music.  This benefits artists, labels and music fans.
>
> When Congress provided webcasters a guaranteed "statutory license" to
> perform sound recordings, Congress intended that Internet radio would
> flourish as a competitive medium offering diverse programming and
> paying a royalty.  Tripling webcasters royalties undermines all these
> goals. 
>
>  
> MYTH:  Big webcasters can afford these royalties and they will each
> offer hundreds or thousands of channels, so what's the big deal?
>
> FACT: The CRB royalty is so high that even the biggest Internet-only
> radio services – including Yahoo, AOL, MTV and RealNetworks – will pay
> a combined 50+ percent of their revenue for only this single royalty.
> The only way to make a profitable, scalable business will be to
> attract the largest audience and advertisers while reducing overhead
> and innovation. The result will be "mass appeal" Internet radio
> programming that will look much more like today's broadcast radio,
> rather than the diverse programming that exemplifies today's Internet
> radio.
>
>  
> MYTH:  The rate is only increasing from 7/100 of a penny per song
> streamed to 19/100 of a penny per song streamed over a 5-year period. 
>
> FACT:  Nearly tripling the per-song royalty rate is only the first
> insult. 
>
>     * No Revenue-based Royalty Option.  Prior to this decision all
> small webcasters and some large webcasters had the choice of paying
> royalties based on a percentage of their revenue that typically
> equaled 10-12%.  But the CRB decision did not offer a revenue-based
> royalty option for any webcasters. 
>     * Retroactive Impact.  The CRB decision is effective as of January
> 2006, so if it actually becomes effective for only one day its impact
> will be immediate as the past due royalties alone will be enough to
> bankrupt virtually all small and mid-sized webcasters.
>     * Per Station Minimum.  The CRB piled on even more, by imposing a
> $500 per channel minimum royalty that for many services will far
> exceed the annual royalties that would otherwise be due even after the
> CRB decision.  One advantage of Internet radio is that it is not
> limited by spectrum capacity or bandwidth capacity, which enables
> several services literally to offer 10,000 or 100,000 stations and
> more.  By penalizing this innovation and creativity the CRB further
> ensures that Internet radio will become less creative, less dynamic,
> less of an opportunity for non-mainstream artists and genres, and will
> look more like broadcast radio in the future.

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 04:45:18 2007
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Subject: Re: online radio stations
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Per Boysen wrote:
> On 8 jul 2007, at 16.25, L.A. Angulo wrote:
>> i love this station to chill out
>> http://www.lounge-radio.com/index.php?option=com_frontpage&Itemid=1
> Thanks. Interesting! My own long time love is http://somafm.com/ 
http://stillstream.com is a good one.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 05:30:42 2007
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So true, frequency response in the average adult just isn't good  
enough to hear the extra hz, but dynamic range is another story

Mark

Sent from my iPhone

On Jul 8, 2007, at 9:14 PM, Bill Fox <billyfox@soundscapes.us> wrote:

> samba - wrote:
>> There used to be a lot of musicians saying digital didn't sound as  
>> good as
>> analog ,and a engineers saying no one could tell the difference in  
>> A/B
>> tests.
> Speaking of A/B testing, according to what I've read, the difference  
> between 16 and 24 bit digital can be heard much more easily than the  
> difference between 44.1kHz and 192kHz.  So it isn't the sample  
> frequency but the bit resolution of each sample.  Plus, the more  
> linear the AD and DA conversions are, the more transparent the  
> process becomes.  Bit depth and conversion linearity seem to far  
> outstrip sample frequency at obtaining audible quality improvements.
>
> Cheers,
>
> Bill
>

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 06:42:47 2007
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  I've worked at several NPR stations over the years,and been familair with 
them from the start of All things consideredand CPB. Sure there are still 
locally originated shows on local stations some of which are excellent,but 
NPR doesn't have to won anything to be corporate shills. There is still 
local choice ,but there's ben an  organized push for expansion and lot's of 
pressure on locals to compete harder for the money to pay for increasingy 
expensive ( and increasingly watered down ) NPR satelite feeds.Check out how 
much of their news repoprting involves interviewing journalisists from 
commercial media. Check out how often they interview someone about whatever 
hollywood movie is getting the big PR push.,how often they report on things 
from Televisions,and play soundclips from corporate commercials,embedded 
into supposed news reporting.
  As the cost of NPR programming to local affiliates has gone way up,they 
push their affiliates to do station ID breaks every 8 or 10 minutes-(the old 
school major network model) and all the affiliates do these breaks at the 
same time They all do their fund drives at the same time.They are encouraged 
to compete for listeners with other station in local markets in ways 
coordinated by NPR.  The guy who used to head Voice of America headed Corp 
for Pubic Broadcasting.I could go into more detail,but that's probably 
enough. I still salute the people who do music programming on these stations 
because they love the music.
 > Unfortunately NPR is a corporate shill now too.
This is a common misunderstanding.  NPR doesn't own any stations.  They
sell their product to "affiliate" stations.  AFAIK it's mostly (all?)
news and talk, etc., not music programs.  Please correct me if I'm
wrong.  It is up to the individual stations to decide how corporate vs.
how off the wall/adventurous they wish to be with their music
programming.  If the stations where I volunteer are any indication, most
of the music programming you hear on non-commercial FM stations are
locally produced; syndicated shows like Echoes and HoS not withstanding.

_________________________________________________________________
Don't get caught with egg on your face. Play Chicktionary!  
http://club.live.com/chicktionary.aspx?icid=chick_hotmailtextlink2

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 07:36:47 2007
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Date: Mon, 9 Jul 2007 00:36:44 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: online radio stations
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yes my first chillout love!

--- Per Boysen <perboysen@gmail.com> wrote:

> On 8 jul 2007, at 16.25, L.A. Angulo wrote:
> 
> > i love this station to chill out
> >
>
http://www.lounge-radio.com/index.php?option=com_frontpage&Itemid=1
> > cheers
> > Luis
> 
> Thanks. Interesting! My own long time love is
> http://somafm.com/
> 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> 
> 
> 
> 
> 


www.myspace.com/luisangulocom


       
____________________________________________________________________________________
Pinpoint customers who are looking for what you sell. 
http://searchmarketing.yahoo.com/

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BreachinThePeace@aol.com schrieb:
> There is one KILLER advantageous feature that Vista offers however. USB 
> Plug n play virtual RAM. Now *that* smokes! Can you imagine a laptop 
> with 2 gig of maxed ram becoming a 4 or 6 gig system in an instant? An 
> elephant ain't the only beasty in the local jungle soon destined to 
> never forget.     

This isn't an advantageous feature, the Mac OS can do this since years, 
but its something to avoid under any circumstances. As soon the OS start 
swapping, you're in trouble performance wise...

And real RAM is cheaper than Vista nowadays... I run my Ondes 
Memoreilles happily with 768 MB of RAM without swapping, I stick 9*90 
seconds of loops into it... (It's OS X though, not XP)
I'll even wait to buy more RAM till I really need it, probably with the 
next computer...

Stefan

-- 
Stefan Tiedje------------x-------
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kkissinger@kevinkissinger.com schrieb:
> http://kevinkissinger.com/threeleggedrace.shtml
> 
> Hope you enjoy this track. 

I certainly did, wonderful composition. Could make it to a loopers 
classic. I wonder if you have some ways to notate the construction of 
the loops, this piece seems to be somthing which could be played by 
other sustained instruments as well...

I am always astonished how close a theremin can be to the expression of 
a violin. I guess its much harder to play, as there is no physical 
feedback at all, only the sound.

Stefan

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: A/B listening tests
Date: Mon, 9 Jul 2007 11:56:23 +0200
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On 9 jul 2007, at 06.14, Bill Fox wrote:

> Speaking of A/B testing, according to what I've read, the  
> difference between 16 and 24 bit digital can be heard much more  
> easily than the difference between 44.1kHz and 192kHz.  So it isn't  
> the sample frequency but the bit resolution of each sample.  Plus,  
> the more linear the AD and DA conversions are, the more transparent  
> the process becomes.  Bit depth and conversion linearity seem to  
> far outstrip sample frequency at obtaining audible quality  
> improvements.


I can second this statement.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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From: Per Boysen <perboysen@gmail.com>
Subject: Re: A/B listening tests
Date: Mon, 9 Jul 2007 11:59:46 +0200
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On 9 jul 2007, at 07.30, Mark Sottilaro wrote:

> Sent from my iPhone


  U Bastid!!!!  ;-)

Greetings from Sweden
Per Boysen
(sent with "shift-cmnd-d")




From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 10:28:51 2007
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Subject: Re: Record Industry Decline
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From: "Bill Fox" <billyfox@soundscapes.us>
> Matt Davignon wrote:
>> Wasn't there once a time when radio playlists were more regional?
> Once upon a time, that was true.  That was how local bands became regional 
> bands became national bands.  As more and more radio stations picked up on 
> an act, the bigger the act got.  (That the slow path as opposed to being 
> "discovered.")  Now Clear Channel is the McDonald's of radio.  Each 
> hamburger tastes exactly alike no matter where it's served.
>
> These days, a radio station won't play anything except:
> 1. bands that the corporate office tells them to play.
> 2. bands that can tell them what other stations are playing their music. 
> Of course that's none because getting that first station to play your 
> music without being able to say...  Well, you know it's Catch 22.
>

Sounds a bit like the selectively-locked doors that the games business 
sometimes seem to have on their open positions.  An exec with an unnamed 
company once told me, "The best way to get a job in the games business is to 
have a job elsewhere in the games business."

Hopefully this path to disaster via stagnation won't be followed too long...
Stephen Goodman
*
* Cartoons about DVDs and Stuff
* http://www.earthlight.net/HiddenTrack
* The Loop Of The Week since 1996!
* http://www.earthlight.net/Studios 

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 11:30:18 2007
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Stephen Goodman wrote:
>> These days, a radio station won't play anything except:
>> 1. bands that the corporate office tells them to play.
>> 2. bands that can tell them what other stations are playing their 
>> music. Of course that's none because getting that first station to 
>> play your music without being able to say...  Well, you know it's 
>> Catch 22.
> Sounds a bit like the selectively-locked doors that the games business 
> sometimes seem to have on their open positions.  An exec with an 
> unnamed company once told me, "The best way to get a job in the games 
> business is to have a job elsewhere in the games business."  Hopefully 
> this path to disaster via stagnation won't be followed too long...
Unfortunately, stagnation has been in place for far too long.  
Otherwise, this discussion wouldn't sustain itself for very long.

It takes brave people to buck the system.  Bands wanting airplay do it 
all the time.  Ultimately, it might be a matter of will a band wear down 
a Program Director (or Games Personnel Director!) rather than that PD 
being brave.  My friend is a big Spock's Beard fan.  When V was 
released, Greg spoke to the local rock station's PD.  When Greg asked 
the PD if he would play any Spock's Beard, the PD asked, "What other 
stations are playing them?"  (This is an exact quote.)  PDs are not 
hired to have original thoughts.  My question is, if PDs can't decide 
for themselves what to put on the playlist (because the corporation 
dictates that), what is there left that a PD is supposed to do that 
would attract any music lover to the position?

Of course, many loopers aren't even playing mainstream music making it 
even harder to get airplay.  First, you have to find a station that has 
a specialty program that plays your genre of music...

Cheers,

Bill

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-------------------------------1183982529
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In a message dated 7/6/2007 4:45:03 P.M. Eastern Standard Time,  
midifriedchicken@comcast.net writes:

Thats  because you use the Boomerang. 
See, we RC50 users are all over that shit.  

MFC



Just for the record my midi fried friend, I do not currently use the  
Boomerang. I do use the RC50 when not relying Mobius. I just think it  (RC50) was a 
majorly poor planed & premature commercial  release and the Boomerang's 
efficiency per original design comparisons  blows it away. The Boomerang was just too 
noisy and had to be retired for the  most part. I definitely made that clear 
in previous posts. You can bet your  bottom bean however that when Gen.3 of 
the Rang becomes available, like ELP once  said, I'll be there, I'll be there, 
we'll be there! 
 
I am certain if you are one of those Neanderthal old  school musical 
instrument toting knuckle draggers like myself, the RC50 has  enough useless bells and 
whistles to please even the most discriminating back  engineers. For 
instance, like someone said, the quantize and "stretch" controls  sound worse than 
anything I have ever heard that claim to provide those  functions. The guide, 
well...come on!
 
As I have also stated in the past, I LOVE it's clean and accurate straight  
up signal sample ability. 



************************************** See what's free at http://www.aol.com.

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<BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY:=20=
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bottomMargin=3D7 leftMargin=3D7 topMargin=3D7 rightMargin=3D7><FONT id=3Drol=
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<DIV>
<DIV>In a message dated 7/6/2007 4:45:03 P.M. Eastern Standard Time,=20
midifriedchicken@comcast.net writes:</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT=20
  style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 size=
=3D2>Thats=20
  because you use the Boomerang. <BR>See, we RC50 users are all over that sh=
it.=20
  <BR><BR>MFC<BR></FONT></BLOCKQUOTE></DIV>
<DIV></DIV>
<DIV>Just for the record my midi fried friend, I do not currently use the=20
Boomerang.&nbsp;I do use the RC50 when not relying Mobius. I just think it=20
(RC50)&nbsp;was a majorly poor planed &amp; premature commercial=20
release&nbsp;and the Boomerang's efficiency per original design comparisons=20
blows it away. The Boomerang was just too noisy and had to be retired for th=
e=20
most part. I definitely made that clear in previous posts.&nbsp;You can bet=20=
your=20
bottom bean however that when Gen.3 of the Rang becomes available, like ELP=20=
once=20
said, I'll be there, I'll be there, we'll be there!&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>I am certain if you are one of those Neanderthal&nbsp;old=20
school&nbsp;musical instrument toting knuckle draggers like myself, the RC50=
 has=20
enough useless bells and whistles to please even the most discriminating bac=
k=20
engineers. For instance, like someone said, the quantize and "stretch" contr=
ols=20
sound worse than anything I have ever heard that claim to provide those=20
functions. The guide, well...come on!</DIV>
<DIV>&nbsp;</DIV>
<DIV>As I have also stated in the past, I LOVE it's clean and accurate strai=
ght=20
up&nbsp;signal sample ability. </DIV></FONT></FONT><BR><BR><BR><DIV><FONT st=
yle=3D"color: black; font: normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGI=
N-TOP: 10px">See what's free at <A title=3D"http://www.aol.com?ncid=3DAOLAOF=
00020000000503" href=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" targ=
et=3D"_blank">AOL.com</A>. </FONT></DIV></BODY></HTML>

-------------------------------1183982529--

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 12:45:01 2007
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Subject: RE: A/B listening tests
Date: Mon, 9 Jul 2007 13:44:49 +0100
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from http://en.wikipedia.org/wiki/Brainwave_synchronization  :

>>The fixed, constant frequency of the synchronization...<<

please.... you're kidding us, right?

this kind of language-mangling does the semi-serious scientific research
into these phenomena absolutely no good at all.

[semi-jocose mode on]

I have my own theory regarding the perception of analogue & digital
audio, & it's more to do with these same super-low frequencies than
bit-depth or high-frequency response.
=20
(I'd point out that no less an audio authority than rupert neve himself
conducted blind listening tests which determined that his test subjects
could reliably tell apart a sine wave & a square wave at 9kHz. if you do
the maths.....)

anyway.=20
my theory posits that the reproduction of the audio is where the
differences creep in, & so it doesn't have much bearing on the outcome
if one's source material was recorded on an edirol flash recorder or
noah's walkman; it's to do with audio fingerprinting & tiny variations
in the timing of the various remembered/anticipated elements.=20

your brain anticipates a reasonably predictable procession of sounds,
according to what you remember (or expect, if the audio is new to you).=20

but because of the elasticity of the medium & of the mechanism (tape,
vinyl), analogue reproduction causes or allows perturbations in this
procession &.... well, you could call it "super-slow wow" if you wanted.
it's low-frequency modulation, anyway.
=20
I suppose the end result is analogous (no pun intended) with playing
along with human musicians instead of against a drum machine. the brain
finds itself exercised, not unpleasantly, by these perturbations, & can
be disappointed if they are absent.=20

this is why, when you replace a cherished vinyl LP with the remastered
digital version, you quickly get jaded & never play the album again.=20
this leads to the whole unscientific "digital sucks" argument, when in
fact there is science in there to be had if only someone with more time
than me would get in there after it.=20

it also explains why my drummer made the transition to digital audio
more comfortably than I did.

I use super-slow LFOs in my digital rompler synth modules to make them
sound nicer.

so. I blame quartz. :-) now I'm off to see if I can modify a cd player
to run off a non-quartz oscillator which I will bend out of a radio.

d.

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-------------------------------1183985365
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In a message dated 7/9/2007 4:44:30 A.M. Eastern Standard Time,  
Stefan-Tiedje@addcom.de writes:

This  isn't an advantageous feature, the Mac OS can do this since years, 
but its  something to avoid under any circumstances. As soon the OS start 
swapping,  you're in trouble performance wise...

And real RAM is cheaper than  Vista nowadays... I run my Ondes 
Memoreilles happily with 768 MB of RAM  without swapping, I stick 9*90 
seconds of loops into it... (It's OS X  though, not XP)
I'll even wait to buy more RAM till I really need it,  probably with the 
next  computer...

Stefan



Just so you know, I use PCs exclusively but am one of the rare  individuals 
that honestly believes that Macs are superior machines hardware wise  but are 
the lesser of the two as far as software is concerned. I wonder out of  sheer 
curiosity if Mac more or less traded it's virtual ram ideology for the  PC's 
processor aptitude? It would have seemed to be a poor trade in hindsight if  
this were so.
 
 To me, this has always been kind of a "no brainer".Comparatively  speaking, 
in our first column we have Macintosh made, produced &  designed exclusively 
by who? Macintosh. In our second column we have the  PC. Made & configuatively 
designed by everyone and their brother. If I were  Einstein, which column 
would seem to yield the most consistent quality per  functional dependability? As 
far as your minimal RAM is concerned, 768 MB is a  joke if you plan on using 
multiple plug ins. Ain't gonna happen. Different  strokes I guess...  



************************************** See what's free at http://www.aol.com.

-------------------------------1183985365
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; charset=3DUS-ASCII">
<META content=3D"MSHTML 6.00.2900.2873" name=3DGENERATOR></HEAD>
<BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY:=20=
Arial"=20
bottomMargin=3D7 leftMargin=3D7 topMargin=3D7 rightMargin=3D7><FONT id=3Drol=
e_document=20
face=3DArial color=3D#000000 size=3D2>
<DIV>
<DIV>In a message dated 7/9/2007 4:44:30 A.M. Eastern Standard Time,=20
Stefan-Tiedje@addcom.de writes:</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT=20
  style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 size=
=3D2>This=20
  isn't an advantageous feature, the Mac OS can do this since years, <BR>but=
 its=20
  something to avoid under any circumstances. As soon the OS start <BR>swapp=
ing,=20
  you're in trouble performance wise...<BR><BR>And real RAM is cheaper than=20
  Vista nowadays... I run my Ondes <BR>Memoreilles happily with 768 MB of RA=
M=20
  without swapping, I stick 9*90 <BR>seconds of loops into it... (It's OS X=20
  though, not XP)<BR>I'll even wait to buy more RAM till I really need it,=20
  probably with the <BR>next=20
computer...<BR><BR>Stefan<BR></FONT></BLOCKQUOTE></DIV>
<DIV></DIV>
<DIV>&nbsp;Just so you know, I use PCs exclusively but am one of the rare=20
individuals that honestly believes that Macs are superior machines hardware=20=
wise=20
but are the lesser of the two as far as software is concerned. I wonder out=20=
of=20
sheer curiosity if Mac more or less traded it's virtual ram ideology for the=
=20
PC's processor aptitude? It would have seemed to be a poor trade in hindsigh=
t if=20
this were so.</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;To me, this has always been kind of a "no brainer".Comparatively=20
speaking, in our first column we have Macintosh made, produced&nbsp;&amp;=20
designed&nbsp;exclusively by who? Macintosh. In our second column we have th=
e=20
PC. Made &amp; configuatively designed by everyone and their brother. If I w=
ere=20
Einstein, which column would seem to yield the most consistent quality per=20
functional dependability? As far as your minimal RAM is concerned, 768 MB is=
 a=20
joke if you plan on using multiple plug ins. Ain't gonna happen. Different=20
strokes I guess...&nbsp;&nbsp;</DIV></FONT><BR><BR><BR><DIV><FONT style=3D"c=
olor: black; font: normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN-TOP: 1=
0px">See what's free at <A title=3D"http://www.aol.com?ncid=3DAOLAOF00020000=
000503" href=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" target=3D"_b=
lank">AOL.com</A>. </FONT></DIV></BODY></HTML>

-------------------------------1183985365--

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 13:11:34 2007
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Subject: RE: Fripp & Eno 1973 / BBC / Peel
Date: Mon, 9 Jul 2007 14:11:31 +0100
Message-ID: <1BB076E4C332F9469148F41725F17A7204134A35@MTVNE-EXCLUST02.mtvne.ad.viacom.com>
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Thread-Topic: Fripp & Eno 1973 / BBC / Peel
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References: <7607CF9A-3950-4363-93A5-978D2E4533D7@ubergadget.com>
From: "Goddard, Duncan" <goddard.duncan@mtvne.com>
To: <Loopers-Delight@loopers-delight.com>
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related anecdote from ex-BBC staffer:
=20
>>Oddly enough, I have a cassette of this complete Top Gear show, I
wonder if this is where these guys got it from..Very notable for the
fact that Baldy Bri and Bob did special versions of `Heavenly Music
Corp' and `Swastika Girls' for the show, not at Maida Vale but at Eno's
gaff (in Maida Vale funnily enough)=20

Peel and Walters received the tape `tail out' and broadcast it like
that. No-one noticed except Eno who had to call the BBC and tell them
his music was being played out backwards.<<


________________________________

From: Rev Fever [mailto:revfever@ubergadget.com]=20
Sent: Sunday, July 08, 2007 5:21 AM
To: Loopers-Delight@loopers-delight.com
Subject: Fripp & Eno 1973 / BBC / Peel


You will need to request that these 2 files be sent to you, since the
last time I checked, they are no longer up at this site.
Details to do so are given at the site. Scroll down for the address.
Whoever manages this site is very accommodating and reasonably fast
about doing so.=20
Also, rare submissions to this site are encouraged.  Enjoy!

-Rev. Fever=20


'We continue our fascination of the late, great British broadcaster John
Peel with another excellent show from the archives. This time the
collaboration of two sonic visionaries in 1973 that produced the often
talked about album No Pussyfooting that was designed to showcase
tape-echo and delay techniques to the mass pop audience. Here, the
gentlemen offered two tracks exclusively for Peel's Top Gear show.'


http://music.allofmp3.com/mcatalog.shtml?group=3D448&albref=3D14

------_=_NextPart_001_01C7C22A.AB68BCAE
Content-Type: text/html;
	charset="us-ascii"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Dus-ascii">
<META content=3D"MSHTML 6.00.2900.3132" name=3DGENERATOR></HEAD>
<BODY=20
style=3D"WORD-WRAP: break-word; khtml-nbsp-mode: space; =
khtml-line-break: after-white-space">
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN class=3D641430913-09072007>related anecdote from =
ex-BBC=20
staffer:</SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN =
class=3D641430913-09072007></SPAN></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN class=3D641430913-09072007>&gt;&gt;<SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">Oddly enough, =
I have a=20
cassette of this complete Top Gear show, I wonder if this is where these =
guys=20
got it from..</SPAN><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">Very notable =
for the=20
fact that Baldy Bri and Bob did special versions of `Heavenly Music =
Corp&#8217; and=20
`Swastika Girls&#8217; for the show, not at Maida Vale but at =
Eno&#8217;s gaff<SPAN=20
class=3D641430913-09072007> </SPAN></SPAN><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">(in Maida =
Vale funnily=20
enough)</SPAN>
<P class=3DMsoNormal><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial"></SPAN><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">Peel and =
Walters=20
received the tape `tail out&#8217; and broadcast it like that. No-one =
noticed except=20
Eno who had to call the BBC and tell them his music was being played out =

backwards.<SPAN=20
class=3D641430913-09072007>&lt;&lt;</SPAN></SPAN></P></SPAN></FONT></DIV>=
<BR>
<DIV class=3DOutlookMessageHeader lang=3Den-us dir=3Dltr align=3Dleft>
<HR tabIndex=3D-1>
<FONT face=3DTahoma size=3D2><B>From:</B> Rev Fever =
[mailto:revfever@ubergadget.com]=20
<BR><B>Sent:</B> Sunday, July 08, 2007 5:21 AM<BR><B>To:</B>=20
Loopers-Delight@loopers-delight.com<BR><B>Subject:</B> Fripp &amp; Eno =
1973 /=20
BBC / Peel<BR></FONT><BR></DIV>
<DIV></DIV>
<DIV>You will need to request that these 2 files be sent to you, since =
the last=20
time I checked, they are no longer up at this site.</DIV>
<DIV>Details to do so are given at the site. Scroll down for the =
address.=20
Whoever manages this site is very accommodating and reasonably fast =
about doing=20
so.&nbsp;</DIV>
<DIV>Also, rare submissions to this site are encouraged.&nbsp; =
Enjoy!</DIV>
<DIV><BR class=3Dkhtml-block-placeholder></DIV>
<DIV>-Rev. Fever&nbsp;</DIV>
<DIV><BR class=3Dkhtml-block-placeholder></DIV>
<DIV><BR class=3Dkhtml-block-placeholder></DIV>
<DIV>'<FONT class=3DApple-style-span face=3D"Times New Roman" =
size=3D4><SPAN=20
class=3DApple-style-span style=3D"FONT-SIZE: 16px"><B>We continue our =
fascination of=20
the late, great British broadcaster John Peel with another excellent =
show from=20
the archives. This time the collaboration of two sonic visionaries in =
1973 that=20
produced the often talked about album No Pussyfooting that was designed =
to=20
showcase tape-echo and delay techniques to the mass pop audience. Here, =
the=20
gentlemen offered two tracks exclusively for Peel's Top Gear=20
show.'</B></SPAN></FONT></DIV>
<DIV><FONT class=3DApple-style-span face=3D"Times New Roman" =
size=3D4><SPAN=20
class=3DApple-style-span style=3D"FONT-SIZE: 16px"><B><BR=20
class=3Dkhtml-block-placeholder></B></SPAN></FONT></DIV>
<DIV><A=20
href=3D"http://music.allofmp3.com/mcatalog.shtml?group=3D448&amp;albref=3D=
14">http://music.allofmp3.com/mcatalog.shtml?group=3D448&amp;albref=3D14<=
/A></DIV></BODY></HTML>

------_=_NextPart_001_01C7C22A.AB68BCAE--

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 13:15:54 2007
Return-Path: <Loopers-Delight-request@loopers-delight.com>
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	id DDF973C073; Mon,  9 Jul 2007 13:15:54 +0000 (UTC)
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References: <7607CF9A-3950-4363-93A5-978D2E4533D7@ubergadget.com> <1BB076E4C332F9469148F41725F17A7204134A35@MTVNE-EXCLUST02.mtvne.ad.viacom.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Fripp & Eno 1973 / BBC / Peel
Date: Mon, 09 Jul 2007 09:15:43 -0400
In-Reply-To: <1BB076E4C332F9469148F41725F17A7204134A35@MTVNE-EXCLUST02.mtvne.ad.viacom.com>
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----------MB_8C9904263C4D551_1160_A46_WEBMAIL-MB10.sysops.aol.com
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Content-Type: text/plain; charset="utf-8"

This link doesn't work for me.=C2=A0 Does anyone know of a problem with the=20=
site?

Harry


Harry Weinberg, Esq.
Law Offices of Harry Weinberg
11 Beach Street - 8th Floor
New York, N.Y. 10013
(212) 989-2908


-----Original Message-----
From: Goddard, Duncan <goddard.duncan@mtvne.com>
To: Loopers-Delight@loopers-delight.com
Sent: Mon, 9 Jul 2007 9:11 am
Subject: RE: Fripp & Eno 1973 / BBC / Peel



related anecdote from ex-BBC staffer:

=C2=A0

>>Oddly enough, I have a cassette of this complete Top Gear show, I wonder i=
f this is where these guys got it from..Very notable for the fact that Baldy=
 Bri and Bob did special versions of `Heavenly Music Corp=E2=80=99 and `Swas=
tika Girls=E2=80=99 for the show, not at Maida Vale but at Eno=E2=80=99s gaf=
f (in Maida Vale funnily enough)=20
Peel and Walters received the tape `tail out=E2=80=99 and broadcast it like=20=
that. No-one noticed except Eno who had to call the BBC and tell them his mu=
sic was being played out backwards.<<



From: Rev Fever [mailto:revfever@ubergadget.com]=20
Sent: Sunday, July 08, 2007 5:21 AM
To: Loopers-Delight@loopers-delight.com
Subject: Fripp & Eno 1973 / BBC / Peel





You will need to request that these 2 files be sent to you, since the last t=
ime I checked, they are no longer up at this site.

Details to do so are given at the site. Scroll down for the address. Whoever=
 manages this site is very accommodating and reasonably fast about doing so.=
=C2=A0

Also, rare submissions to this site are encouraged.=C2=A0 Enjoy!




-Rev. Fever=C2=A0







'We continue our fascination of the late, great British broadcaster John Pee=
l with another excellent show from the archives. This time the collaboration=
 of two sonic visionaries in 1973 that produced the often talked about album=
 No Pussyfooting that was designed to showcase tape-echo and delay technique=
s to the mass pop audience. Here, the gentlemen offered two tracks exclusive=
ly for Peel's Top Gear show.'




http://music.allofmp3.com/mcatalog.shtml?group=3D448&albref=3D14


________________________________________________________________________
AOL now offers free email to everyone.  Find out more about what's free from=
 AOL at AOL.com.

----------MB_8C9904263C4D551_1160_A46_WEBMAIL-MB10.sysops.aol.com
Content-Transfer-Encoding: quoted-printable
Content-Type: text/html; charset="utf-8"

This link doesn't work for me.&nbsp; Does anyone know of a problem with the=20=
site?<br>
<br>
Harry<br>
<br>


<div style=3D"CLEAR: both">Harry Weinberg, Esq.<br>
Law Offices of Harry Weinberg<br>
11 Beach Street - 8th Floor<br>
New York, N.Y. 10013<br>
(212) 989-2908</div>
<br>
<br>
-----Original Message-----<br>
From: Goddard, Duncan &lt;goddard.duncan@mtvne.com&gt;<br>
To: Loopers-Delight@loopers-delight.com<br>
Sent: Mon, 9 Jul 2007 9:11 am<br>
Subject: RE: Fripp &amp; Eno 1973 / BBC / Peel<br>
<br>


<div id=3DAOLMsgPart_2_488ddc3f-7acc-4e7b-8c19-b09956f94f00>

<div dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium" color=
=3D#0000ff><SPAN class=3D641430913-09072007>related anecdote from ex-BBC sta=
ffer:</SPAN></FONT></div>


<div dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium" color=
=3D#0000ff><SPAN class=3D641430913-09072007></SPAN></FONT>&nbsp;</div>


<div dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium" color=
=3D#0000ff><SPAN class=3D641430913-09072007>&gt;&gt;<SPAN style=3D"FONT-SIZE=
: 10pt; COLOR: navy; FONT-FAMILY: Arial">Oddly enough, I have a cassette of=20=
this complete Top Gear show, I wonder if this is where these guys got it fro=
m..</SPAN><SPAN style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">V=
ery notable for the fact that Baldy Bri and Bob did special versions of `Hea=
venly Music Corp=E2=80=99 and `Swastika Girls=E2=80=99 for the show, not at=20=
Maida Vale but at Eno=E2=80=99s gaff<SPAN class=3D641430913-09072007> </SPAN=
></SPAN><SPAN style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">(in=
 Maida Vale funnily enough)</SPAN>=20

<div class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAM=
ILY: Arial"></SPAN><SPAN style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY:=
 Arial">Peel and Walters received the tape `tail out=E2=80=99 and broadcast=20=
it like that. No-one noticed except Eno who had to call the BBC and tell the=
m his music was being played out backwards.<SPAN class=3D641430913-09072007>=
&lt;&lt;</SPAN></SPAN></div>
</SPAN></FONT></div>
<br>


<div class=3DOutlookMessageHeader lang=3Den-us dir=3Dltr align=3Dleft>
<HR>
<FONT face=3DTahoma size=3D2><B>From:</B> Rev Fever [<A href=3D"mailto:revfe=
ver@ubergadget.com?">mailto:revfever@ubergadget.com</A>] <br>
<B>Sent:</B> Sunday, July 08, 2007 5:21 AM<br>
<B>To:</B> <A href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-De=
light@loopers-delight.com</A><br>
<B>Subject:</B> Fripp &amp; Eno 1973 / BBC / Peel<br>
</FONT><br>
</div>


<div></div>


<div>You will need to request that these 2 files be sent to you, since the l=
ast time I checked, they are no longer up at this site.</div>


<div>Details to do so are given at the site. Scroll down for the address. Wh=
oever manages this site is very accommodating and reasonably fast about doin=
g so.&nbsp;</div>


<div>Also, rare submissions to this site are encouraged.&nbsp; Enjoy!</div>


<div><BR class=3Dkhtml-block-placeholder></div>


<div>-Rev. Fever&nbsp;</div>


<div><BR class=3Dkhtml-block-placeholder></div>


<div><BR class=3Dkhtml-block-placeholder></div>


<div>'<FONT class=3DApple-style-span face=3D"Times New Roman" size=3D4><SPAN=
 class=3DApple-style-span style=3D"FONT-SIZE: 16px"><B>We continue our fasci=
nation of the late, great British broadcaster John Peel with another excelle=
nt show from the archives. This time the collaboration of two sonic visionar=
ies in 1973 that produced the often talked about album No Pussyfooting that=20=
was designed to showcase tape-echo and delay techniques to the mass pop audi=
ence. Here, the gentlemen offered two tracks exclusively for Peel's Top Gear=
 show.'</B></SPAN></FONT></div>


<div><FONT class=3DApple-style-span face=3D"Times New Roman" size=3D4><SPAN=20=
class=3DApple-style-span style=3D"FONT-SIZE: 16px"><B><BR class=3Dkhtml-bloc=
k-placeholder></B></SPAN></FONT></div>


<div><A href=3D"http://music.allofmp3.com/mcatalog.shtml?group=3D448&amp;alb=
ref=3D14" target=3D_blank>http://music.allofmp3.com/mcatalog.shtml?group=3D4=
48&amp;albref=3D14</A></div>
</div>
<!-- end of AOLMsgPart_2_488ddc3f-7acc-4e7b-8c19-b09956f94f00 --><div class=
=3D"AOLPromoFooter">
<hr style=3D"margin-top:10px;" />
AOL now offers free email to everyone.  Find out more about what's free from=
 AOL at <a href=3D"http://www.aol.com?ncid=3DAOLAOF00020000000437" target=
=3D"_blank"><b>AOL.com</b></a>.<br />
</div>

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From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 14:02:46 2007
Return-Path: <Loopers-Delight-request@loopers-delight.com>
X-Original-To: looparc@loopers-delight.com
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Received: by arsenic.violacea.com (Postfix, from userid 1004)
	id 4416E3C079; Mon,  9 Jul 2007 14:02:46 +0000 (UTC)
Old-Return-Path: <paulrichard_rocks@yahoo.com>
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Date: Mon, 9 Jul 2007 07:02:43 -0700 (PDT)
From: Paul Richards <paulrichard_rocks@yahoo.com>
Subject: Re: Record Industry Decline
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Who cares what radio stations are playing anyway? I don't. Even the radio stations that play jazz &/or classical seem to fit their song selections into 'pop" categories within the genre. Satellite radio is a cut above FM and they appear to have a much wider palette than FM stations. But, even there, the jazz selections seem to try to appeal to some undefined mass (like a McDonalds hamburger).
   
  Mostly, I listen to my jazz/rock/et al collection. Frankly, I almost never hear anything from the current day rock genre (or alternative) that warrants listening (to me anyway- not to say it doesn't appeal to someone). 
   
  Maybe I have a nilhilist attitude but I really don't care whether any of my stuff ever is played on the radio. I enjoy listening to it and that's all that matters. Those that need public approbation (or want to make a lot of $$$) suffer from the current poor radio condition. I do sympathize.
   
  

Bill Fox <billyfox@soundscapes.us> wrote:
  Stephen Goodman wrote:
>> These days, a radio station won't play anything except:
>> 1. bands that the corporate office tells them to play.
>> 2. bands that can tell them what other stations are playing their 
>> music. Of course that's none because getting that first station to 
>> play your music without being able to say... Well, you know it's 
>> Catch 22.
> Sounds a bit like the selectively-locked doors that the games business 
> sometimes seem to have on their open positions. An exec with an 
> unnamed company once told me, "The best way to get a job in the games 
> business is to have a job elsewhere in the games business." Hopefully 
> this path to disaster via stagnation won't be followed too long...
Unfortunately, stagnation has been in place for far too long. 
Otherwise, this discussion wouldn't sustain itself for very long.

It takes brave people to buck the system. Bands wanting airplay do it 
all the time. Ultimately, it might be a matter of will a band wear down 
a Program Director (or Games Personnel Director!) rather than that PD 
being brave. My friend is a big Spock's Beard fan. When V was 
released, Greg spoke to the local rock station's PD. When Greg asked 
the PD if he would play any Spock's Beard, the PD asked, "What other 
stations are playing them?" (This is an exact quote.) PDs are not 
hired to have original thoughts. My question is, if PDs can't decide 
for themselves what to put on the playlist (because the corporation 
dictates that), what is there left that a PD is supposed to do that 
would attract any music lover to the position?

Of course, many loopers aren't even playing mainstream music making it 
even harder to get airplay. First, you have to find a station that has 
a specialty program that plays your genre of music...

Cheers,

Bill



       
---------------------------------
Get the free Yahoo! toolbar and rest assured with the added security of spyware protection. 
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<div>Who cares what radio stations are playing anyway? I don't. Even the radio stations that play jazz &amp;/or classical seem to fit their song selections into 'pop" categories within the genre. Satellite radio is a cut above FM and they appear to have a much wider palette than FM stations. But, even there, the jazz selections seem to try to appeal to some undefined mass (like a McDonalds hamburger).</div>  <div>&nbsp;</div>  <div>Mostly, I listen to my jazz/rock/et al collection. Frankly, I almost never hear anything from the current day rock genre (or alternative) that warrants listening (to me anyway- not to say it doesn't appeal to someone). </div>  <div>&nbsp;</div>  <div>Maybe I have a nilhilist attitude but I really don't care whether any of my stuff ever is played on the radio. I enjoy listening to it and that's all that matters. Those that need public approbation (or want to make a lot of $$$) suffer from the current poor radio condition. I do sympathize.</div> 
 <div>&nbsp;</div>  <div><BR><BR><B><I>Bill Fox &lt;billyfox@soundscapes.us&gt;</I></B> wrote:</div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">Stephen Goodman wrote:<BR>&gt;&gt; These days, a radio station won't play anything except:<BR>&gt;&gt; 1. bands that the corporate office tells them to play.<BR>&gt;&gt; 2. bands that can tell them what other stations are playing their <BR>&gt;&gt; music. Of course that's none because getting that first station to <BR>&gt;&gt; play your music without being able to say... Well, you know it's <BR>&gt;&gt; Catch 22.<BR>&gt; Sounds a bit like the selectively-locked doors that the games business <BR>&gt; sometimes seem to have on their open positions. An exec with an <BR>&gt; unnamed company once told me, "The best way to get a job in the games <BR>&gt; business is to have a job elsewhere in the games business." Hopefully <BR>&gt; this path to disaster via stagnation won't be
 followed too long...<BR>Unfortunately, stagnation has been in place for far too long. <BR>Otherwise, this discussion wouldn't sustain itself for very long.<BR><BR>It takes brave people to buck the system. Bands wanting airplay do it <BR>all the time. Ultimately, it might be a matter of will a band wear down <BR>a Program Director (or Games Personnel Director!) rather than that PD <BR>being brave. My friend is a big Spock's Beard fan. When V was <BR>released, Greg spoke to the local rock station's PD. When Greg asked <BR>the PD if he would play any Spock's Beard, the PD asked, "What other <BR>stations are playing them?" (This is an exact quote.) PDs are not <BR>hired to have original thoughts. My question is, if PDs can't decide <BR>for themselves what to put on the playlist (because the corporation <BR>dictates that), what is there left that a PD is supposed to do that <BR>would attract any music lover to the position?<BR><BR>Of course, many loopers aren't even playing
 mainstream music making it <BR>even harder to get airplay. First, you have to find a station that has <BR>a specialty program that plays your genre of music...<BR><BR>Cheers,<BR><BR>Bill<BR><BR></BLOCKQUOTE><BR><p>&#32;
      <hr size=1><a href="http://us.rd.yahoo.com/evt=48226/*http://new.toolbar.yahoo.com/toolbar/features/norton/index.php">Get the free Yahoo! toolbar</a> and rest assured with the added security of spyware protection.
 
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From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 14:19:52 2007
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Date: Mon, 09 Jul 2007 09:19:48 -0500
From: kkissinger@kevinkissinger.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: New looping work
References: <20070703082355.dci622q48w4ko44o@69.89.21.76>
	<4691F891.6020509@addcom.de>
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Quoting Stefan Tiedje <Stefan-Tiedje@addcom.de>:

> kkissinger@kevinkissinger.com schrieb:
>> http://kevinkissinger.com/threeleggedrace.shtml
>>
>> Hope you enjoy this track.
>
> I certainly did, wonderful composition. Could make it to a loopers
> classic. I wonder if you have some ways to notate the construction of
> the loops, this piece seems to be somthing which could be played by
> other sustained instruments as well...

Thank you for the compliment!

To answer your question, the notes are written out and the loop =20
parameters are stored in my computer (the work uses four seperate =20
loops).  Thus, it would be possible to notate the loop construction.  =20
If you are suggesting that other folks would enjoy performing this =20
work, then I'd consider notating the loop construction, etc.

The work requires a range of over five octaves.  So, depending on the =20
instrument, might need a pitch-shifter to hit some of the lowest notes.
>
> I am always astonished how close a theremin can be to the expression of
> a violin. I guess its much harder to play, as there is no physical
> feedback at all, only the sound.

Well, my guess is that the violin is harder to play simply because, =20
from what I know about it, it takes a lot of practice just to get =20
anything but a "squeak" out of a violin.

The primary difficulty of the theremin is intonation and it takes some =20
time to get used to playing it.

-- Kevin

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 15:48:25 2007
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Date: Mon,  9 Jul 2007 11:48:22 -0400
From: phaslem@wightman.ca
To: Loopers-Delight@loopers-delight.com
Subject: Re: Fripp & Eno 1973 / BBC / Peel
References: <7607CF9A-3950-4363-93A5-978D2E4533D7@ubergadget.com>
	<1BB076E4C332F9469148F41725F17A7204134A35@MTVNE-EXCLUST02.mtvne.ad.viacom.com>
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The RIAA has successfully put them out of business. Seems they were =20
selling music too cheap and the record companies weren't getting their =20
slice.

Paul





Quoting harryesq@aol.com:

> This link doesn't work for me.=C2=A0 Does anyone know of a problem with th=
e site?
>
> Harry
>
>
> Harry Weinberg, Esq.
> Law Offices of Harry Weinberg
> 11 Beach Street - 8th Floor
> New York, N.Y. 10013
> (212) 989-2908
> From: Rev Fever [mailto:revfever@ubergadget.com]
> Sent: Sunday, July 08, 2007 5:21 AM
> To: Loopers-Delight@loopers-delight.com
> Subject: Fripp & Eno 1973 / BBC / Peel
>
>
>
>
>
> You will need to request that these 2 files be sent to you, since  =20
> the last time I checked, they are no longer up at this site.
>
> Details to do so are given at the site. Scroll down for the address. =20
>  Whoever manages this site is very accommodating and reasonably fast =20
>  about doing so.=C2=A0
>
> Also, rare submissions to this site are encouraged.=C2=A0 Enjoy!
>
>
>
>
> -Rev. Fever=C2=A0
>
>
>
>
>
>
>
> 'We continue our fascination of the late, great British broadcaster  =20
> John Peel with another excellent show from the archives. This time  =20
> the collaboration of two sonic visionaries in 1973 that produced the =20
>  often talked about album No Pussyfooting that was designed to  =20
> showcase tape-echo and delay techniques to the mass pop audience.  =20
> Here, the gentlemen offered two tracks exclusively for Peel's Top  =20
> Gear show.'
>
>
>
>
> http://music.allofmp3.com/mcatalog.shtml?group=3D448&albref=3D14
>
>
> ________________________________________________________________________
> AOL now offers free email to everyone.  Find out more about what's  =20
> free from AOL at AOL.com.
>


From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 16:12:58 2007
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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: Fripp & Eno 1973 / BBC / Peel
Date: Mon, 9 Jul 2007 09:12:52 -0700
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--Apple-Mail-4--468057200
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Now this is weird.

This site must be experiencing some difficulties, or whatever,  
because I tested the link out *before* I sent it, just to be sure,
and it went straight it, and it is also where I clipped the quote. I  
also tried to go the home URL and the same thing happened.

( Enter "Twilight Zone" theme music here....:-) )

-Rev. Fever

On Jul 9, 2007, at 6:15 AM, harryesq@aol.com wrote:

> This link doesn't work for me.  Does anyone know of a problem with  
> the site?
>
> Harry
>
> Harry Weinberg, Esq.
> Law Offices of Harry Weinberg
> 11 Beach Street - 8th Floor
> New York, N.Y. 10013
> (212) 989-2908
>
>
> From: Rev Fever [mailto:revfever@ubergadget.com]
> Sent: Sunday, July 08, 2007 5:21 AM
> To: Loopers-Delight@loopers-delight.com
> Subject: Fripp & Eno 1973 / BBC / Peel
>
> You will need to request that these 2 files be sent to you, since  
> the last time I checked, they are no longer up at this site.
> Details to do so are given at the site. Scroll down for the  
> address. Whoever manages this site is very accommodating and  
> reasonably fast about doing so.
> Also, rare submissions to this site are encouraged.  Enjoy!
>
> -Rev. Fever
>
>
> 'We continue our fascination of the late, great British broadcaster  
> John Peel with another excellent show from the archives. This time  
> the collaboration of two sonic visionaries in 1973 that produced  
> the often talked about album No Pussyfooting that was designed to  
> showcase tape-echo and delay techniques to the mass pop audience.  
> Here, the gentlemen offered two tracks exclusively for Peel's Top  
> Gear show.'

http://music.allofmp3.com/mcatalog.shtml?group=448&albref=14
--Apple-Mail-4--468057200
Content-Transfer-Encoding: quoted-printable
Content-Type: text/html;
	charset=ISO-8859-1

<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">Now this is weird.=A0<DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>This site must be =
experiencing some difficulties, or whatever, because I tested the link =
out *before* I sent it, just to be sure,=A0</DIV><DIV>and it went =
straight it, and it is also where I clipped the quote.=A0I also tried to =
go the home URL and the same thing happened. =A0 =A0</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>( Enter "Twilight Zone" =
theme music here....:-) )</DIV><DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>-Rev. =
Fever</DIV><DIV><BR><DIV><DIV>On Jul 9, 2007, at 6:15 AM, <A =
href=3D"mailto:harryesq@aol.com">harryesq@aol.com</A> wrote:</DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite">This link =
doesn't work for me.=A0 Does anyone know of a problem with the site?<BR> =
<BR> Harry<BR> <BR> <DIV style=3D"CLEAR: both">Harry Weinberg, Esq.<BR> =
Law Offices of Harry Weinberg<BR> 11 Beach Street - 8th Floor<BR> New =
York, N.Y. 10013<BR> (212) 989-2908</DIV> <BR><DIV =
id=3D"AOLMsgPart_2_488ddc3f-7acc-4e7b-8c19-b09956f94f00"><BR> <DIV =
class=3D"OutlookMessageHeader" lang=3D"en-us" dir=3D"ltr" align=3D"left"> =
<HR> <FONT face=3D"Tahoma" size=3D"2"><B>From:</B> Rev Fever [<A =
href=3D"mailto:revfever@ubergadget.com?">mailto:revfever@ubergadget.com</A=
>] <BR> <B>Sent:</B> Sunday, July 08, 2007 5:21 AM<BR> <B>To:</B> <A =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@looper=
s-delight.com</A><BR> <B>Subject:</B> Fripp &amp; Eno 1973 / BBC / =
Peel<BR> </FONT><BR> </DIV> <DIV></DIV> <DIV>You will need to request =
that these 2 files be sent to you, since the last time I checked, they =
are no longer up at this site.</DIV> <DIV>Details to do so are given at =
the site. Scroll down for the address. Whoever manages this site is very =
accommodating and reasonably fast about doing so.=A0</DIV> <DIV>Also, =
rare submissions to this site are encouraged.=A0 Enjoy!</DIV> <DIV><BR =
class=3D"khtml-block-placeholder"></DIV> <DIV>-Rev. Fever=A0</DIV> =
<DIV><BR class=3D"khtml-block-placeholder"></DIV> <DIV><BR =
class=3D"khtml-block-placeholder"></DIV> <DIV>'<FONT =
class=3D"Apple-style-span" face=3D"Times New Roman" size=3D"4"><SPAN =
class=3D"Apple-style-span" style=3D"FONT-SIZE: 16px"><B>We continue our =
fascination of the late, great British broadcaster John Peel with =
another excellent show from the archives. This time the collaboration of =
two sonic visionaries in 1973 that produced the often talked about album =
No Pussyfooting that was designed to showcase tape-echo and delay =
techniques to the mass pop audience. Here, the gentlemen offered two =
tracks exclusively for Peel's Top Gear =
show.'</B></SPAN></FONT></DIV></DIV></BLOCKQUOTE><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><FONT class=3D"Apple-style-span" =
color=3D"#0033DF"><SPAN class=3D"Apple-style-span" =
style=3D"text-decoration: underline;"><A =
href=3D"http://music.allofmp3.com/mcatalog.shtml?group=3D448&albref=3D14">=
http://music.allofmp3.com/mcatalog.shtml?group=3D448&amp;albref=3D14</A></=
SPAN></FONT></DIV></DIV></DIV></BODY></HTML>=

--Apple-Mail-4--468057200--

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 16:39:34 2007
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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: Fripp & Eno 1973 / BBC / Peel /RIAA
Date: Mon, 9 Jul 2007 09:39:31 -0700
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On Jul 9, 2007, at 8:48 AM, phaslem@wightman.ca wrote:

> The RIAA has successfully put them out of business. Seems they were  
> selling music too cheap and the record companies weren't getting  
> their slice.

Where did you hear this? To my knowledge, there were no sales. I  
thought it was only free downloads, as far as I knew,
and I had visited that site several times. Did I miss something?

And, if that is true, then it must have happened *right after* I sent  
out the URL to the list.
If this is the case, then hmmm....Synchronism can sometimes also work  
in weird, and not always pleasant ways...:-)

The RIAA.   What a bunch of thugs and vicious brown shirts.

Years ago, I knew of a restaurant in Dallas TX that had a guy who  
played PIANO in there for the soft and smooth entertainment of the  
diners,
and he played well known songs from sheet music.  Well, one day, the  
RIAA showed up and FINED the restaurant since the place was not
PAYING the royalties to have that guy play those tunes on the  
piano!!  This resulted in the place NO MORE having a piano player
and the guy LOST his JOB, which very likely was NOT some high wage  
job to begin with, and was supplemented by any tips he managed to get.
So, that poor guy was quickly and suddenly unemployed.   Welcome to  
Corporate World.

"Just doin' our job, ma'am". (RIAA, with a Dragnet's  Sgt Joe Friday  
voice)

-Rev. Fever


From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 16:42:55 2007
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Subject: RE: Fripp & Eno 1973 / BBC / Peel
Date: Mon, 9 Jul 2007 17:42:44 +0100
Message-ID: <1BB076E4C332F9469148F41725F17A7204134BD2@MTVNE-EXCLUST02.mtvne.ad.viacom.com>
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 & as a lawyer, harry, surely you can understand their position! :-)

contact me off-list if you're still pining for it, though I understand =
from my correspondent that the pieces differ only slightly from the =
released versions.

d.

-----Original Message-----
From: phaslem@wightman.ca [mailto:phaslem@wightman.ca]=20
Sent: Monday, July 09, 2007 4:48 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Fripp & Eno 1973 / BBC / Peel

The RIAA has successfully put them out of business. Seems they were =
selling music too cheap and the record companies weren't getting their =
slice.

Paul





Quoting harryesq@aol.com:

> This link doesn't work for me.=A0 Does anyone know of a problem with =
the site?
>
> Harry
>
>
> Harry Weinberg, Esq.
> Law Offices of Harry Weinberg
> 11 Beach Street - 8th Floor
> New York, N.Y. 10013
> (212) 989-2908
> From: Rev Fever [mailto:revfever@ubergadget.com]
> Sent: Sunday, July 08, 2007 5:21 AM
> To: Loopers-Delight@loopers-delight.com
> Subject: Fripp & Eno 1973 / BBC / Peel
>
>
>
>
>
> You will need to request that these 2 files be sent to you, since  =20
> the last time I checked, they are no longer up at this site.
>
> Details to do so are given at the site. Scroll down for the address. =20
>  Whoever manages this site is very accommodating and reasonably fast =20
> about doing so.
>
> Also, rare submissions to this site are encouraged.=A0 Enjoy!
>
>
>
>
> -Rev. Fever
>
>
>
>
>
>
>
> 'We continue our fascination of the late, great British broadcaster  =20
> John Peel with another excellent show from the archives. This time  =20
> the collaboration of two sonic visionaries in 1973 that produced the =20
>  often talked about album No Pussyfooting that was designed to  =20
> showcase tape-echo and delay techniques to the mass pop audience.  =20
> Here, the gentlemen offered two tracks exclusively for Peel's Top  =20
> Gear show.'
>
>
>
>
> http://music.allofmp3.com/mcatalog.shtml?group=3D448&albref=3D14
>
>
> =
________________________________________________________________________
> AOL now offers free email to everyone.  Find out more about what's  =20
> free from AOL at AOL.com.
>

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 16:56:31 2007
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Subject: Re: Fripp & Eno 1973 / BBC / Peel
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Goddard:
 
I certainly understand their position from a legal point of view, but, as I  
sit amidst my 8000 cds, 11,000 lps, and thousands of legally downloaded mp3s, 
I  still fail to understand the logic.  I know that I am not the typical  
consumer, as I (obviously) consume music at a more rabid pace than most,  but 
isn't there something to the notion that people who are exposed to music  (old or 
new) will be more apt to go out and purchase that music (whether in mp3,  cd 
or other format)?  I guess this doesn't apply to mainstream mega-artists  but, 
as seen from the "decline of the record industry" article, thread and other  
evidence, whatever they are doing doesn't seem to be working.  So why not  try 
the non-logical, outside the box path.  Sort of like what emusic did  during 
its first few years of existence - 19.95 per month, unlimited downloading  of 
freely copy-able files.  Are they losing money now?
 
Harry  Weinberg, Esq.
Law Offices of Harry Weinberg
11 Beach Street - 8th  Floor
New York, N.Y. 10013
(212)  989-2908



************************************** See what's free at http://www.aol.com.

-------------------------------1184000181
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; charset=3DUS-ASCII">
<META content=3D"MSHTML 6.00.5730.11" name=3DGENERATOR></HEAD>
<BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY:=20=
Arial"=20
bottomMargin=3D7 leftMargin=3D7 topMargin=3D7 rightMargin=3D7><FONT id=3Drol=
e_document=20
face=3DArial color=3D#000000 size=3D2>
<DIV>Goddard:</DIV>
<DIV>&nbsp;</DIV>
<DIV>I certainly understand their position from a legal point of view, but,=20=
as I=20
sit amidst my 8000 cds, 11,000 lps, and thousands of legally downloaded mp3s=
, I=20
still fail to understand the logic.&nbsp; I know that I am not the typical=20
consumer, as I (obviously) consume music&nbsp;at a more rabid pace than most=
,=20
but isn't there something to the notion that people who are exposed to music=
=20
(old or new) will be more apt to go out and purchase that music (whether in=20=
mp3,=20
cd or other format)?&nbsp; I guess this doesn't apply to mainstream mega-art=
ists=20
but, as seen from the "decline of the record industry" article, thread and o=
ther=20
evidence, whatever they are doing doesn't seem to be working.&nbsp; So why n=
ot=20
try the non-logical, outside the box path.&nbsp; Sort of like what emusic di=
d=20
during its first few years of existence - 19.95 per month, unlimited downloa=
ding=20
of freely copy-able files.&nbsp; Are they losing money now?</DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT lang=3D0 face=3DArial size=3D2 FAMILY=3D"SANSSERIF" PTSIZE=3D"10"=
>Harry=20
Weinberg, Esq.<BR>Law Offices of Harry Weinberg<BR>11 Beach Street - 8th=20
Floor<BR>New York, N.Y. 10013<BR>(212)=20
989-2908</FONT></DIV></FONT><BR><BR><BR><DIV><FONT style=3D"color: black; fo=
nt: normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN-TOP: 10px">See what's=
 free at <A title=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" href=
=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" target=3D"_blank">AOL.co=
m</A>. </FONT></DIV></BODY></HTML>

-------------------------------1184000181--

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 16:59:13 2007
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References: <8C9904263C4D551-1160-50E@WEBMAIL-MB10.sysops.aol.com>
Subject: RE: Fripp & Eno 1973 - BBC - Peel
Date: Mon, 9 Jul 2007 18:59:08 +0200
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> This link doesn't work for me.  Does anyone know of a problem with the
site? 
 

there's really no need to download anything - the files are identical to the
two sides of "No Pussyfooting", only that they're backwards  :-)  
 
Try this one if you don't believe me:
 
http://fadesinslowly.blogspot.com/2007/04/robert-frip-brian-eno-top-gear.htm
l
 
 
-Michael

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	charset="US-ASCII"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Dus-ascii">
<META content=3D"MSHTML 6.00.5700.7" name=3DGENERATOR></HEAD>
<BODY>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D515025716-09072007>&gt; =
</SPAN>This link=20
doesn't work for me.&nbsp; Does anyone know of a problem with the =
site?<SPAN=20
class=3D515025716-09072007><FONT face=3DArial =
size=3D2>&nbsp;</FONT></SPAN></DIV>
<DIV dir=3Dltr align=3Dleft><SPAN =
class=3D515025716-09072007></SPAN>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D515025716-09072007><FONT =
face=3DArial=20
size=3D2><BR>there's really no need to download anything - the files are =
identical=20
to the two sides of "No Pussyfooting",&nbsp;only that they're =
backwards&nbsp;=20
:-)&nbsp; </FONT></SPAN></DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D515025716-09072007><FONT =
face=3DArial=20
size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D515025716-09072007><FONT =
face=3DArial=20
size=3D2>Try this one if you don't believe me:</FONT></SPAN></DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D515025716-09072007><FONT =
face=3DArial=20
size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D515025716-09072007>
<DIV dir=3Dltr align=3Dleft><SPAN><FONT face=3DArial size=3D2><A=20
title=3Dhttp://fadesinslowly.blogspot.com/2007/04/robert-frip-brian-eno-t=
op-gear.html=20
onclick=3D"return top.js.OpenExtLink(window,event,this)"=20
href=3D"http://fadesinslowly.blogspot.com/2007/04/robert-frip-brian-eno-t=
op-gear.html"=20
target=3D_blank>http://fadesinslowly.blogspot.com/2007/04/robert-frip-bri=
an-eno-top-gear.html</A></FONT></SPAN></DIV>
<DIV dir=3Dltr align=3Dleft>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial =
size=3D2></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D515025716-09072007><FONT =
face=3DArial=20
size=3D2>-Michael</FONT></SPAN></SPAN></DIV></DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 17:17:16 2007
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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: Fripp & Eno 1973 - BBC - Peel
Date: Mon, 9 Jul 2007 10:17:13 -0700
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On Jul 9, 2007, at 9:59 AM, Michael Peters wrote:
>
> there's really no need to download anything - the files are  
> identical to the two sides of "No Pussyfooting", only that they're  
> backwards  :-)

"Remixed" versions!   (snicker)

-Rev. Fever

>  Try this one if you don't believe me:
>  http://fadesinslowly.blogspot.com/2007/04/robert-frip-brian-eno- 
> top-gear.html
>
>  -Michael


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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; "><BR><DIV><DIV>On Jul 9, 2007, at =
9:59 AM, Michael Peters wrote:</DIV><BLOCKQUOTE type=3D"cite"><DIV =
dir=3D"ltr" align=3D"left"><SPAN class=3D"515025716-09072007"><FONT =
face=3D"Arial" size=3D"2"><BR>there's really no need to download =
anything - the files are identical to the two sides of "No =
Pussyfooting",=A0only that they're backwards=A0 =
:-)=A0<BR></FONT></SPAN></DIV></BLOCKQUOTE><DIV><BR =
class=3D"khtml-block-placeholder"></DIV>"Remixed" versions!=A0 =
=A0(snicker)</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>-Rev. =
Fever</DIV><DIV><BR><BLOCKQUOTE type=3D"cite"><DIV dir=3D"ltr" =
align=3D"left"><SPAN class=3D"515025716-09072007"><FONT face=3D"Arial" =
size=3D"2"> </FONT></SPAN></DIV> <DIV dir=3D"ltr" align=3D"left"><SPAN =
class=3D"515025716-09072007"><FONT face=3D"Arial" =
size=3D"2"></FONT></SPAN>=A0<SPAN class=3D"515025716-09072007"><FONT =
class=3D"Apple-style-span" face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-size: 10px;">Try this one if =
you don't believe me:</SPAN></FONT></SPAN></DIV> <DIV dir=3D"ltr" =
align=3D"left"><SPAN class=3D"515025716-09072007"><FONT face=3D"Arial" =
size=3D"2"></FONT></SPAN>=A0<SPAN style=3D""><A =
title=3D"http://fadesinslowly.blogspot.com/2007/04/robert-frip-brian-eno-t=
op-gear.html" onclick=3D"return top.js.OpenExtLink(window,event,this)" =
href=3D"http://fadesinslowly.blogspot.com/2007/04/robert-frip-brian-eno-to=
p-gear.html" target=3D"_blank"><FONT class=3D"Apple-style-span" =
face=3D"Arial" size=3D"2"><SPAN class=3D"Apple-style-span" =
style=3D"font-size: =
10px;">http://fadesinslowly.blogspot.com/2007/04/robert-frip-brian-eno-top=
-gear.html</SPAN></FONT></A></SPAN></DIV><DIV dir=3D"ltr" =
align=3D"left"><SPAN class=3D"515025716-09072007"><DIV dir=3D"ltr" =
align=3D"left"><SPAN></SPAN></DIV> <DIV dir=3D"ltr" align=3D"left">=A0</DI=
V> <DIV dir=3D"ltr" align=3D"left"><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0<SPAN class=3D"515025716-09072007"><FONT =
class=3D"Apple-style-span" face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-size: =
10px;">-Michael</SPAN></FONT></SPAN></DIV></SPAN></DIV></BLOCKQUOTE></DIV>=
<BR></BODY></HTML>=

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From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 17:47:38 2007
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Awa-yeah motherfuckah!  Nothing like reading LD at a caf=E9 on my pretty =
new
toy.  I can't wait until someone hacks it to run audio apps. ;)

Somewhat on topic, if anyone caught my performance at Loopfest 2k, I =
think I
had my girlfriend call my cellphone and held it to my strings for crazy =
call
effects.  I've also experimented with the cell latency to call a phone =
near
me and get cool delay loop effects.

Totally OT, it's the best phone I've ever used (my wife is a smartphone
junky and has owned a lot of them) Since it was providence that my old
company was canceling my service (how dare them stop paying for my =
cellphone
after I quit!) on the day the iPhone came out, I went and met with my =
wife
who was already on line for one at our local Apple store.

It would be nearly perfect for my needs (though not perfect) if they =
didn't
do a shitty move and make the headphone jack non standard and then not =
have
adaptors available to sell (yet)

When I get Live running Augustusloop on it I'll let ya'll know. ;)

Mark

-----Original Message-----
From: Per Boysen [mailto:perboysen@gmail.com]=20
Sent: Monday, July 09, 2007 3:00 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: A/B listening tests

On 9 jul 2007, at 07.30, Mark Sottilaro wrote:

> Sent from my iPhone


  U Bastid!!!!  ;-)

Greetings from Sweden
Per Boysen
(sent with "shift-cmnd-d")






From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 18:35:02 2007
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Date: Mon, 9 Jul 2007 11:35:00 -0700 (PDT)
From: Paul Richards <paulrichard_rocks@yahoo.com>
Subject:  BOSS RV70 Reverb
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I am in dire need of a reverb unit to front my guitar amp (the reverb onboard is too elementary sounding). Trying to watch the old budget I came across an inexpensive Boss RV70 unit. I know there has been, in the past, comments regarding some of the Boss reverbs on this board made by Krispen, et al. Can anyone comment on the aforementioned? THX!
   
  Paul


  
---------------------------------
Looking for earth-friendly autos? 
 Browse Top Cars by "Green Rating" at Yahoo! Autos' Green Center.  
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<div>I am in dire need of a reverb unit to front my guitar amp (the reverb onboard is too elementary sounding). Trying to watch the old budget I came across an inexpensive Boss RV70 unit. I know there has been, in the past, comments regarding some of the Boss reverbs on this board made by Krispen, et al. Can anyone comment on the aforementioned? THX!</div>  <div>&nbsp;</div>  <div>Paul<BR></div><p>&#32;




 <hr size=1>Looking for earth-friendly autos? <br> <a href="http://autos.yahoo.com/green_center/;_ylc=X3oDMTE4MGw4Z2hlBF9TAzk3MTA3MDc2BHNlYwNtYWlsdGFncwRzbGsDZ3JlZW5jZW50ZXI-">Browse Top Cars by "Green Rating"</a> at Yahoo! Autos' Green Center.  
--0-1079006821-1184006100=:47846--

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 18:43:57 2007
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Date: Mon, 9 Jul 2007 11:43:56 -0700
From: "Travis Hartnett" <travishartnett@gmail.com>
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Actually that probably wasn't the RIAA, but either BMI or ASCAP.

The scenario you described is how publishing works in America.  It
costs about a thousand dollars a year for an ASCAP or BMI license.
The restaurant was just too cheap to pay twenty bucks a week.

TravisH

On 7/9/07, Rev Fever <revfever@ubergadget.com> wrote:

> The RIAA.   What a bunch of thugs and vicious brown shirts.
>
> Years ago, I knew of a restaurant in Dallas TX that had a guy who
> played PIANO in there for the soft and smooth entertainment of the
> diners,
> and he played well known songs from sheet music.  Well, one day, the
> RIAA showed up and FINED the restaurant since the place was not
> PAYING the royalties to have that guy play those tunes on the
> piano!!  This resulted in the place NO MORE having a piano player
> and the guy LOST his JOB, which very likely was NOT some high wage
> job to begin with, and was supplemented by any tips he managed to get.
> So, that poor guy was quickly and suddenly unemployed.   Welcome to
> Corporate World.
>
> "Just doin' our job, ma'am". (RIAA, with a Dragnet's  Sgt Joe Friday
> voice)
>
> -Rev. Fever
>
>
>

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 19:22:11 2007
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Subject: Cellphone looping - did somebody do that so far?
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> Awa-yeah motherfuckah!  Nothing like reading LD at a caf=E9 on=20
> my pretty new toy.  I can't wait until someone hacks it to=20
> run audio apps. ;)

Bringing that back on-topic, at least for those non-iphone-people: can
anyone tell me whether it's possible to run audio apps (both if it's
possible and if such are available) for your run-of-the-mill =
Java-equipped
cell phone?

	Rainer

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 19:29:01 2007
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
>> <Jobs-isms snipped> :)
>
> Bringing that back on-topic, at least for those non-iphone-people: can
> anyone tell me whether it's possible to run audio apps (both if it's
> possible and if such are available) for your run-of-the-mill Java-equipped
> cell phone?

Hm, I suppose it would depend on the relative limitations of the 
implementation of Java on the cell phone.  What were you thinking of 
running, perchance? I guess if your phone can play either midi or mp3's ... 
?
Stephen Goodman
*
* Cartoons about DVDs and Stuff
* http://www.earthlight.net/HiddenTrack
* The Loop Of The Week since 1996!
* http://www.earthlight.net/Studios


From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 19:29:09 2007
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  Most of the tests I've seen or seen referenced  proceed on the assumption 
that the ear is the only part of the body that processes sound.But audio 
freqs effect the whole body. The A/B test I mentioned didn't even record 
what the subjects heard,it measured the responses of brainwaves. This 
suggests ,and I belive that sound effects humans in ways that transcend 
their subjective perceptual filters.
I have made careful ,though not scientific( not falsifiable ) observations 
of how groove ( entrainment) effects crowds.My exeperience has been that 
music that is truly in the groove causes people who aren't listening ,or 
interested to be effected as well. In fact ,I don't think it is a groove if 
it doesn't As Stevie sang" You can tell right away from te letter A when the 
people start to move"

_________________________________________________________________
http://imagine-windowslive.com/hotmail/?locale=en-us&ocid=TXT_TAGHM_migration_HM_mini_2G_0507

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 19:33:06 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Composers should also get paid (was: Fripp & Eno 1973 / BBC / Peel /RIAA)
Date: Mon, 9 Jul 2007 20:06:51 +0200
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On 9 jul 2007, at 18.39, Rev Fever wrote:

> The RIAA.   What a bunch of thugs and vicious brown shirts.
>
> Years ago, I knew of a restaurant in Dallas TX that had a guy who  
> played PIANO in there for the soft and smooth entertainment of the  
> diners,
> and he played well known songs from sheet music.  Well, one day,  
> the RIAA showed up and FINED the restaurant since the place was not
> PAYING the royalties to have that guy play those tunes on the  
> piano!!  This resulted in the place NO MORE having a piano player
> and the guy LOST his JOB, which very likely was NOT some high wage  
> job to begin with, and was supplemented by any tips he managed to get.
> So, that poor guy was quickly and suddenly unemployed.   Welcome to  
> Corporate World.

So what?

I can't argue against the RIAA being bad guys. But it seems you have  
misunderstood the point in the system that takes care of composers  
rights to their work. The point is not to sack bar pianists but to  
create an option for creative people to make a living as composers. I  
fully support that!

On the other hand, it may be that the RIAA are using too heavy tools  
as their administrative routines when assembling the tariffs  for  
using others songs in public (money that are distributed back to the  
composers). But be careful not throwing away the respect for  
composer's work only because of some brown shirt attitude clerks.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: Fripp & Eno 1973 / BBC / Peel /RIAA
Date: Mon, 9 Jul 2007 12:35:56 -0700
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It could have been either BMI or ASCAP, and it is likely that you are  
correct.
This occurred over 20  years ago at least,  so I could forgotten a  
detail like that.

Also, it was possible that the place simply did NOT KNOW that they  
had to pay to just
have a guy play some sheet music on a piano, as opposed to playing  
recorded music in their establishment.

And, regardless of whoever it did the "enforcement",  it was still a  
thuggish maneuver.
In the case of the restaurant and the piano player, it was like going  
after a flea with a SLEDGEHAMMER.

I would not try to defend these BMI or ASACAP jerks for behavior such  
as that.

Violating copyrights via bootlegging recordings and other nasty  
behavior is one thing.
But, to do what they did to that place and a simple little piano  
player is simply just excessive.  C'mon now.

-Rev. Fever

PS-As for the RIAA, check out some of their ugly history on wiki.

http://en.wikipedia.org/wiki/RIAA

On Jul 9, 2007, at 11:43 AM, Travis Hartnett wrote:

> Actually that probably wasn't the RIAA, but either BMI or ASCAP.
>
> The scenario you described is how publishing works in America.  It
> costs about a thousand dollars a year for an ASCAP or BMI license.
> The restaurant was just too cheap to pay twenty bucks a week.
>
> TravisH
>
> On 7/9/07, Rev Fever <revfever@ubergadget.com> wrote:
>
>> The RIAA.   What a bunch of thugs and vicious brown shirts.
>>
>> Years ago, I knew of a restaurant in Dallas TX that had a guy who
>> played PIANO in there for the soft and smooth entertainment of the
>> diners,
>> and he played well known songs from sheet music.  Well, one day, the
>> RIAA showed up and FINED the restaurant since the place was not
>> PAYING the royalties to have that guy play those tunes on the
>> piano!!  This resulted in the place NO MORE having a piano player
>> and the guy LOST his JOB, which very likely was NOT some high wage
>> job to begin with, and was supplemented by any tips he managed to  
>> get.
>> So, that poor guy was quickly and suddenly unemployed.   Welcome to
>> Corporate World.
>>
>> "Just doin' our job, ma'am". (RIAA, with a Dragnet's  Sgt Joe Friday
>> voice)
>>

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 19:36:53 2007
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Date: Mon,  9 Jul 2007 15:36:52 -0400
From: phaslem@wightman.ca
To: Loopers-Delight@loopers-delight.com
Subject: Re: Fripp & Eno 1973 / BBC / Peel /RIAA
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It's the notorious web site Allofmp3 based in Russia who showed the =20
record industry that people are happy to pay for downloaded music when =20
they can get the format they want and for about 1/4 the price the =20
corporate sanctioned web sites are charging. Just to show you how =20
powerful the record industry is, the President himself spoke to and =20
put pressure on the Russian prime minister to close the site down, =20
couple to that that the RIAA filed a 1.65 trillion dollar lawsuit =20
against them and that Russia wasn't going to be allowed into the World =20
Trade Association unless they closed AllofMp3 down..... well they =20
didn't really stand a chance.

http://tech.cybernetnews.com/2006/12/22/allofmp3com-sued-for-165-trillion/

http://arstechnica.com/news.ars/post/20061221-8473.html

http://arstechnica.com/news.ars/post/20070703-allofmp3-com-breathes-its-fina=
l-breath.html

My son tells me that the new site Mp3sparks is down as well now.

I've been using the new Napster subscription service, it's not to bad. =20
I've found some pretty obscure stuff that I've been looking for a =20
while now.


Paul Haslem
www.dulcify.ca







Quoting Rev Fever <revfever@ubergadget.com>:

>
> On Jul 9, 2007, at 8:48 AM, phaslem@wightman.ca wrote:
>
>> The RIAA has successfully put them out of business. Seems they were =20
>>  selling music too cheap and the record companies weren't getting  =20
>> their slice.
>
> Where did you hear this? To my knowledge, there were no sales. I
> thought it was only free downloads, as far as I knew,
> and I had visited that site several times. Did I miss something?
>

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 19:48:16 2007
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
To: <Loopers-Delight@loopers-delight.com>
Subject: AW: Cellphone looping - did somebody do that so far?
Date: Mon, 9 Jul 2007 21:48:36 +0200
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> Hm, I suppose it would depend on the relative limitations of 
> the implementation of Java on the cell phone.  What were you 
> thinking of running, perchance? I guess if your phone can 
> play either midi or mp3's ... 

Too bad the phone manufacturers don't get too much out of their way in
telling you what the phone can do...mine can play both MIDI and MP3, but I
don't know if it can do so at the same time. It can also be controlled by
voice commands, but not play MP3 at the same time (it's a SonyEricsson K800i
btw).

I'd like to have a two-or-three track version of Mobius running on it,
together with a Nord MicroModular, please ;). But failing that, I'd be happy
with a phone version of a DL4 or DD20...

	Rainer

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 19:58:12 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Fripp & Eno 1973 / BBC / Peel /RIAA
Date: Mon, 9 Jul 2007 21:58:10 +0200
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On 9 jul 2007, at 21.36, phaslem@wightman.ca wrote:

> I've been using the new Napster subscription service, it's not to  
> bad. I've found some pretty obscure stuff that I've been looking  
> for a while now.


Lately I've started having internet radio stations going in the  
background and when I hear something I want to check out more I push  
the Audio Hijack button and get it into my iPod playlist for "radio  
snags". Then I listen more carefully when walking or traveling. I  
look for the streams at 192 kbps and hijack recordings at 160 kbps in  
the AAC format. Audio fidelity is ok for listening for finding new  
music or learning production and mixing tricks. If I should hear  
something really good I go looking for a CD. I have also found new  
music by the P2P community SoulSeek by doing a search for something  
obscure that I like and then viewing the shared files of someone that  
pops up among the search hits (if they have what I was searching for  
chances are they have more in line with my taste). I also spend some  
time listening to the streams at www.jamendo.com and sometimes  
download music for iPod listening. Initially it may be difficult to  
sort out the crap but as soon as you get connected with "community  
friends"  the recommendation engine starts hinting at "stuff you will  
probably like".

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 19:59:05 2007
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Date: Mon, 9 Jul 2007 14:58:49 -0500
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From: Mech <mech@m3ch.net>
Subject: OT: ASCAP/BMI (was Re: Fripp & Eno 1973 / BBC / Peel /RIAA)
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At 12:35 PM -0700 7/9/07, Rev Fever wrote:
>On Jul 9, 2007, at 11:43 AM, Travis Hartnett wrote:
>>
>>Actually that probably wasn't the RIAA, but either BMI or ASCAP.
>>
>>The scenario you described is how publishing works in America.  It
>>costs about a thousand dollars a year for an ASCAP or BMI license.
>>The restaurant was just too cheap to pay twenty bucks a week.
>
>It could have been either BMI or ASCAP, and it is likely that you are correct.
>This occurred over 20  years ago at least,  so I could forgotten a 
>detail like that.
>
>And, regardless of whoever it did the "enforcement",  it was still a 
>thuggish maneuver.
>In the case of the restaurant and the piano player, it was like 
>going after a flea with a SLEDGEHAMMER.
>
>I would not try to defend these BMI or ASCAP jerks for behavior such as that.

Travis is most likely correct in that it was probably BMI or ASCAP.

However, if you're talking 20 years back, I used to hear stories 
regarding how corrupt the ASCAP reps were (at least around Chicago). 
It was routine to hear of those reps "trading" the royalty fees they 
were supposed to be collecting for an open bar tab, for instance, or 
the phone number of a pretty bartender.  Or one rep would come in to 
"collect" an establishment's fees only a few days after another rep 
had stopped in.  It was pretty much an open secret that about half 
the royalty fees picked up went straight into the pockets of the 
ASCAP reps themselves.

I don't know if they ever cleaned up their act.  I haven't really 
been inside that scene (bar owners and employees) for over a decade 
now.

So, you may not be entirely correct in railing against the system 
itself (aside from the fact that those organizations didn't enforce 
fair standards and practices).  Instead, you might be looking at an 
instance of common criminal behavior.

	--m.
-- 
_____
"I want to keep you alive so there is always the possibility of 
murder... later"

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 20:09:34 2007
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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: Composers should also get paid (was: Fripp & Eno 1973 / BBC / Peel /RIAA)
Date: Mon, 9 Jul 2007 13:09:31 -0700
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On Jul 9, 2007, at 11:06 AM, Per Boysen wrote:

> On 9 jul 2007, at 18.39, Rev Fever wrote:
>
>> The RIAA.   What a bunch of thugs and vicious brown shirts.
>>
>> Years ago, I knew of a restaurant in Dallas TX that had a guy who  
>> played PIANO in there for the soft and smooth entertainment of the  
>> diners,
>> and he played well known songs from sheet music.  Well, one day,  
>> the RIAA showed up and FINED the restaurant since the place was not
>> PAYING the royalties to have that guy play those tunes on the  
>> piano!!  This resulted in the place NO MORE having a piano player
>> and the guy LOST his JOB, which very likely was NOT some high wage  
>> job to begin with, and was supplemented by any tips he managed to  
>> get.
>> So, that poor guy was quickly and suddenly unemployed.   Welcome  
>> to Corporate World.
>
> So what?
>
> I can't argue against the RIAA being bad guys. But it seems you  
> have misunderstood the point in the system that takes care of  
> composers rights to their work. The point is not to sack bar  
> pianists but to create an option for creative people to make a  
> living as composers. I fully support that!

I never said that composers should have no protection whatsoever, and  
I am well aware of why the RIAA, BMI, and ASCAP were ever created to  
begin with.
  My point was the heavy handed "enforcement" that occurred, and HAS  
occurred elsewhere countless times, and for a LONG time now.
THAT I do NOT support.

That is almost like saying that it is OK for the police to beat the  
hell out of someone, like let's say a peaceful antiwar protester,
just because the OVER ALL idea of the police is "to protect and  
serve" the general population.

Speaking of that, I wonder WHO actually "polices" entities like the  
RIAA, BMI, and ASCAP,anyway? Are they not accountable to anyone ?
Reminds me a bit of the bounty hunters in the USA who seem not  
accountable to almost anyone and who seem to be able to get past  
certain laws with impunity.

> On the other hand, it may be that the RIAA are using too heavy  
> tools as their administrative routines when assembling the tariffs   
> for using others songs in public (money that are distributed back  
> to the composers). But be careful not throwing away the respect for  
> composer's work only because of some brown shirt attitude clerks.

I was not implying as such, but you do make a good point.

However, I have always wondered "how much" $$ any non-music based  
establishment like a restaurant, coffee shop, dentist office or  
wherever actually "makes"
simply by playing some compositions created by someone unrelated to  
those places? If there were no music played at all in those places,  
recorded or otherwise,
I seriously any of those places would see a drop in customers and  
profits, and especially now since the i-pod has come into existence. :-)

And, I will wager big bucks that not one person on LD has ever paid a  
royalty to some composer for dubbing from someone else's copy of a  
recording by some composer.
So, what's the real difference with that, as opposed to some tunes  
being played in a restaurant?   None that I can really tell.  ;-)

-Rev. Fever
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>
>
>
>

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Date: Mon, 9 Jul 2007 15:16:34 -0500
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From: Mech <mech@m3ch.net>
Subject: OT: iPhone (was Re: Cellphone looping)
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At 10:47 AM -0700 7/9/07, Mark Sottilaro wrote:
>
>Totally OT, it's the best phone I've ever used (my wife is a smartphone
>junky and has owned a lot of them) Since it was providence that my old
>company was canceling my service (how dare them stop paying for my cellphone
>after I quit!) on the day the iPhone came out, I went and met with my wife
>who was already on line for one at our local Apple store.

Thanks for the quick review, Mark!

Both my wife and I are *drooling* over this little gadget.  However, 
we've decided to chill out until we can purchase an unlocked version 
of it.

With all the travelling we've done, we've decided that the way cell 
companies work in the US is just criminal.  Here, you can usually 
only get an account if you're willing to tie yourself into some bogus 
"plan" for a year or more.  And the only network available for the 
iPhone right now is AT&T?!?  Bugger them!

I really rather like the "pay as you go" plans that are prevalent in 
Asia and Europe.  You buy a minute, you use a minute.  Simple.  Use 
all your minutes?  Walk down to the local "Family Mart" and buy a PIN 
number to reload some more.  And if you don't like the cell provider 
you're using, you get a different SIM chip down at the corner store 
and purchase minutes from a different provider.  None of these silly 
lock-ins, or small print in your "plan".

I'm going to be over in Japan in a few weeks.  I'm hoping I might be 
able to snag an unlocked iPhone over there, then just install any SIM 
chip I want into it.  Otherwise, I'll wait for the general Asian 
rollout and get one in Bangkok.

Sorry for the rant, but I do appreciate hearing from somebody out on 
the street who has RL experience with it.  Just makes us want one 
even more.

	--m.
-- 
_____
"I want to keep you alive so there is always the possibility of 
murder... later"

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Composers should also get paid (was: Fripp & Eno 1973 / BBC / Peel /RIAA)
Date: Mon, 9 Jul 2007 22:32:55 +0200
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On 9 jul 2007, at 22.09, Rev Fever wrote:

> And, I will wager big bucks that not one person on LD has ever paid  
> a royalty to some composer for dubbing from someone else's copy of  
> a recording by some composer.
> So, what's the real difference with that, as opposed to some tunes  
> being played in a restaurant?   None that I can really tell.  ;-)


Well, doesn't American law have it legal to make a copy "for private  
use"? But the restaurants etc are mainly billed for using the music,  
not only the actual copy of the recording of the music. Those are two  
different rights, normally owned by composer/publisher and record  
label. I like that these matters come up on the list, lots of  
interesting posts so far :-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 20:38:59 2007
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Date: Mon, 9 Jul 2007 13:38:51 -0700
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Composers should also get paid (was: Fripp & Eno 1973 / BBC / Peel /RIAA)
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"Private use" usually being defined as "Making a copy of a recording
you've legally purchased for your own private use", not "Dubbing a
copy from a friend's purchased copy", which was the example offered
previously.

TH

On 7/9/07, Per Boysen <perboysen@gmail.com> wrote:

> Well, doesn't American law have it legal to make a copy "for private
> use"? But the restaurants etc are mainly billed for using the music,
> not only the actual copy of the recording of the music. Those are two
> different rights, normally owned by composer/publisher and record
> label. I like that these matters come up on the list, lots of
> interesting posts so far :-)
>

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 20:41:35 2007
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Subject: Re: Composers should also get paid (was: Fripp & Eno 1973 / BBC /
	Peel /RIAA)
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I used to get a few hundred dollars every year from Tamborine in SF =20
for writers royalties on a cd they were distributing for Sugo Music. =20
It was a surprise that I would get these since I never got a cent from =20
Sugo, and now that it's all reverted back to Sugo I once again don't =20
hear anything from them. hmm, maybe I should give them a call, I at =20
least used to get a statement showing what the sales were.

Paul Haslem
www.dulcify.ca




Quoting Per Boysen <perboysen@gmail.com>:

> On 9 jul 2007, at 22.09, Rev Fever wrote:
>
>> And, I will wager big bucks that not one person on LD has ever paid =20
>>  a royalty to some composer for dubbing from someone else's copy of =20
>>  a recording by some composer.
>> So, what's the real difference with that, as opposed to some tunes  =20
>> being played in a restaurant?   None that I can really tell.  ;-)
>
>
> Well, doesn't American law have it legal to make a copy "for private
> use"? But the restaurants etc are mainly billed for using the music,
> not only the actual copy of the recording of the music. Those are two
> different rights, normally owned by composer/publisher and record
> label. I like that these matters come up on the list, lots of
> interesting posts so far :-)
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)


From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 20:45:10 2007
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From: "RICK WALKER" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: new looping work
Date: Mon, 9 Jul 2007 13:45:04 -0700
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Man, after hearing this piece of music,  I'm so damned excited you are going 
to
come perform at Y2K7.

This is just a stunning work!    Beautiful!  you also get some amazing 
violin like timbres
out of the theremin.

You know it's funny,  the theremin is so cool but it has seemed relegated to 
spooky sci fi,  simplistic
pop melodies or older classical repertoire.  It's so refreshing to see 
someone one playing it in
a new context.

Beautiful  work,  mate!!!!!

see you in October with bells and whistles on,

sincerely,

Rick Walker


http://kevinkissinger.com/threeleggedrace.shtml 

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 20:48:02 2007
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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: Composers should also get paid (was: Fripp & Eno 1973 / BBC / Peel /RIAA)
Date: Mon, 9 Jul 2007 13:47:59 -0700
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On Jul 9, 2007, at 1:32 PM, Per Boysen wrote:

> On 9 jul 2007, at 22.09, Rev Fever wrote:
>
>> And, I will wager big bucks that not one person on LD has ever  
>> paid a royalty to some composer for dubbing from someone else's  
>> copy of a recording by some composer.
>> So, what's the real difference with that, as opposed to some tunes  
>> being played in a restaurant?   None that I can really tell.  ;-)
>
>
> Well, doesn't American law have it legal to make a copy "for  
> private use"?

When some CD or other recorded media gets lent to an indefinite  
number of others to dub for themselves, which does happen and a LOT,
or when multiple dubs result from one single dubbed source,which also  
happens a LOT, I then think the line "for private use" has been  
stepped way over. :-)

> But the restaurants etc are mainly billed for using the music, not  
> only the actual copy of the recording of the music. Those are two  
> different rights, normally owned by composer/publisher and record  
> label.

You again make a very good point, Thanx for that.
But, I still do not see how a place's profits are verifiably  
"increased" for them featuring recordings, or cover tunes being  
played live, and why they should be "billed" for doing so?

> I like that these matters come up on the list, lots of interesting  
> posts so far :-)

You are helping with that. :-)

All the best from Portland, Oregon, USA
-Rev. Fever

>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>
>
>
>

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Message-ID: <bb8d51cd0707091414i48a0965eq843a5ed36981059f@mail.gmail.com>
Date: Mon, 9 Jul 2007 14:14:33 -0700
From: "Michael Billow" <mbillow@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Fripp & Eno 1973 / BBC / Peel
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OK Im a little lost in this thread, where are the working links to the Fripp
and Eno video clips? Can someone please re-post them, or post some new
working links, because I got very excited about these ones, yet for several
days have not been able to download them....


>
>

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OK Im a little lost in this thread, where are the working links to the Fripp and Eno video clips? Can someone please re-post them, or post some new working links, because I got very excited about these ones, yet for several days have not been able to download them....
<br><br><div><span class="gmail_quote"></span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div style=""><div><br></div><br></div></blockquote>
</div><br>

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From dsln@pinsentmasons.com  Mon Jul  9 21:48:04 2007
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Date: Mon, 9 Jul 2007 16:48:05 -0500
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--------------020305010607000400040002--

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 21:56:37 2007
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From: "aaron leese" <aaronleese@hotmail.com>
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Subject: RE: OT: iPhone (was Re: Cellphone looping)
Date: Mon, 09 Jul 2007 17:56:32 -0400
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I agree ... pay as you go is great.

Lets remember though ..... we are talking about a country (US) with no 
workable health care, no cheap airlines (not of the caliber of germanwings / 
bmibaby / etc.), no working public transportation, and the largest deficit 
of any country ever ......


also .... we aren't really mature enough for nude beaches .... you can buy 
handguns (but not pronography) at Walmart ........

I mean .... holy crap people.


as per iphone / AT&T ..... I used to work for AT&T (when it was called 
cingular .... last year).  Remeber .. about 7 years ago Cingular bought AT&T 
... and the "new AT&T" was cingular ... now that they have trashed that name 
long enough, it's time to go back to calling themselves AT&T.  It's all just 
smoke and mirrors.  But hey ... I bought stock in AT&T just before the 
ipohone came out ..... make some money off the old employer.

ciao
AL



>From: Mech <mech@m3ch.net>
>Reply-To: Loopers-Delight@loopers-delight.com
>To: Loopers-Delight@loopers-delight.com
>Subject: OT: iPhone (was Re: Cellphone looping)
>Date: Mon, 9 Jul 2007 15:16:34 -0500
>
>At 10:47 AM -0700 7/9/07, Mark Sottilaro wrote:
>>
>>Totally OT, it's the best phone I've ever used (my wife is a smartphone
>>junky and has owned a lot of them) Since it was providence that my old
>>company was canceling my service (how dare them stop paying for my 
>>cellphone
>>after I quit!) on the day the iPhone came out, I went and met with my wife
>>who was already on line for one at our local Apple store.
>
>Thanks for the quick review, Mark!
>
>Both my wife and I are *drooling* over this little gadget.  However, we've 
>decided to chill out until we can purchase an unlocked version of it.
>
>With all the travelling we've done, we've decided that the way cell 
>companies work in the US is just criminal.  Here, you can usually only get 
>an account if you're willing to tie yourself into some bogus "plan" for a 
>year or more.  And the only network available for the iPhone right now is 
>AT&T?!?  Bugger them!
>
>I really rather like the "pay as you go" plans that are prevalent in Asia 
>and Europe.  You buy a minute, you use a minute.  Simple.  Use all your 
>minutes?  Walk down to the local "Family Mart" and buy a PIN number to 
>reload some more.  And if you don't like the cell provider you're using, 
>you get a different SIM chip down at the corner store and purchase minutes 
>from a different provider.  None of these silly lock-ins, or small print in 
>your "plan".
>
>I'm going to be over in Japan in a few weeks.  I'm hoping I might be able 
>to snag an unlocked iPhone over there, then just install any SIM chip I 
>want into it.  Otherwise, I'll wait for the general Asian rollout and get 
>one in Bangkok.
>
>Sorry for the rant, but I do appreciate hearing from somebody out on the 
>street who has RL experience with it.  Just makes us want one even more.
>
>	--m.
>--
>_____
>"I want to keep you alive so there is always the possibility of murder... 
>later"
>

_________________________________________________________________
http://newlivehotmail.com

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 22:01:52 2007
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Date: Mon, 09 Jul 2007 18:01:11 -0400
From: Bill Fox <billyfox@soundscapes.us>
Subject: Re: Record Industry Decline
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Paul Richards wrote:
> Who cares what radio stations are playing anyway?
Anyone who drives a car?  ;-)  The Arbitron ratings in my area show that 
terrestrial radio is very healthy with the lion's share of the listening 
market, especially when people are in their cars.  Yes, satellite radio 
is starting to take some market share.  Nobody can get internet radio in 
their car afaik.  We here at LD are not typical.  The masses are still 
listening to FM.  What band that plays a mainstream type of music 
wouldn't want a slice of that pie?
> I don't.
And most of us on this list are right there with you.  But we're, well, 
different from everybody else.  Not only are we *musicians* (which is 
bad enough already) but we're *LOOPING musicians*!  Gadzooks!!!
> Maybe I have a nilhilist attitude but I really don't care whether any 
> of my stuff ever is played on the radio. I enjoy listening to it and 
> that's all that matters. Those that need public approbation (or want 
> to make a lot of $$$) suffer from the current poor radio condition. I 
> do sympathize.
When wearing my rock band hat, I would like the opportunity to recover 
my recording and CD manufacturing costs so I can continue putting out 
CDs.  (I'm not even lusting to make a profit!)  Since airplay can aid 
that goal, it is one avenue I must pursue, even though I know it's a 
blind alley.  I'm not holding my breath but I plan to wear down some PD 
who really *is* a music lover.  Just one will do so I can go to the next 
station.
PD#2:  Well, who else is playing your record?
Me: Joe Blow at KRAP has been programming our "hit" for three months!
Yeah, in my dreams!!  ;-)

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 22:37:43 2007
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To: Loopers Delight <Loopers-Delight@loopers-delight.com>
From: john floridis <jfloridis@aol.com>
Subject: berringer/edp pedal hybrid
Date: Mon, 9 Jul 2007 16:37:31 -0600
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Is there any knowledge/opinion out there regarding the idea of  
building a hybrid pedal for the edp that would feature the type of  
switches that are on the berringer.....a non-midi pedal that just  
performs the function of the edp pedal.  I realize it would have to  
be a bit bigger....

Any ideas?

John

From Loopers-Delight-request@loopers-delight.com  Mon Jul  9 23:36:45 2007
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I've been toying with the idea of making the EDP non-MIDI pedal more 
ergonomic and switching locations around.   Please let me know your thoughts 
if you embark on that route and I'll do the same when I have  a few hours of 
tinker-time available.

Plish

----- Original Message ----- 
From: "john floridis" <jfloridis@aol.com>
To: "Loopers Delight" <Loopers-Delight@loopers-delight.com>
Sent: Monday, July 09, 2007 5:37 PM
Subject: berringer/edp pedal hybrid


> Is there any knowledge/opinion out there regarding the idea of  building a 
> hybrid pedal for the edp that would feature the type of  switches that are 
> on the berringer.....a non-midi pedal that just  performs the function of 
> the edp pedal.  I realize it would have to  be a bit bigger....
>
> Any ideas?
>
> John
> 

From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 01:38:40 2007
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From: Mark Hamburg <mark_hamburg@baymoon.com>
Subject: Personal looping archaeology
Date: Mon, 9 Jul 2007 18:38:29 -0700
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I'm digging back through some ancient material and getting it  
digitized. The following 22 minute bit of insanity may be my earliest  
recorded looping work since I think it dates from fall of 1985. (I  
guess I need to go digging for paperwork that would tell me that...)

What's more fun is the equipment list:

PAiA Organtua -> Arion Chorus and probably Flanger -> DigiTech  
RDS-3600 (the bass off of the Organtua is pretty nice)

Percussion from a Korg DDM-110 and probably a DDM-220.

Listen at your own risk and bear in mind that this is what happens  
when you let guitar players too close to keyboards. I'll come to my  
senses at some point and pull it down...

http://grubmah.com/music/organtua_fun.mp3

Mark

From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 01:52:57 2007
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Date: Mon, 9 Jul 2007 18:52:54 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: RE: OT: iPhone (was Re: Cellphone looping)
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but at 18 you are mature enough to go and kill but not
to drink a beer;-)
http://www2.potsdam.edu/hansondj/LegalDrinkingAge.html

> also .... we aren't really mature enough for nude
> beaches .... you can buy 
> handguns (but not pronography) at Walmart ........
> 
> I mean .... holy crap people.
> 

www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Park yourself in front of a world of choices in alternative vehicles. Visit the Yahoo! Auto Green Center.
http://autos.yahoo.com/green_center/ 

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From: "aaron leese" <aaronleese@hotmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: RE: OT: iPhone (was Re: Cellphone looping)
Date: Mon, 09 Jul 2007 23:27:20 -0400
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oh yeah .... we know .... thats a problem too ...... but change is slow to 
come with all these republicans around ... hehehe.


>From: "L.A. Angulo" <labaloops@yahoo.com>
>Reply-To: Loopers-Delight@loopers-delight.com
>To: Loopers-Delight@loopers-delight.com
>Subject: RE: OT: iPhone (was Re: Cellphone looping)
>Date: Mon, 9 Jul 2007 18:52:54 -0700 (PDT)
>
>but at 18 you are mature enough to go and kill but not
>to drink a beer;-)
>http://www2.potsdam.edu/hansondj/LegalDrinkingAge.html
>
> > also .... we aren't really mature enough for nude
> > beaches .... you can buy
> > handguns (but not pronography) at Walmart ........
> >
> > I mean .... holy crap people.
> >
>
>www.myspace.com/luisangulocom
>
>
>       
>____________________________________________________________________________________
>Park yourself in front of a world of choices in alternative vehicles. Visit 
>the Yahoo! Auto Green Center.
>http://autos.yahoo.com/green_center/
>

_________________________________________________________________
http://newlivehotmail.com

From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 03:44:33 2007
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From: "Tony K" <bigtonyk@gmail.com>
To: <Loopers-Delight@loopers-delight.com>
References: <182774.24820.qm@web38603.mail.mud.yahoo.com> <BAY109-F325E37308345DB860AF923C6050@phx.gbl>
Subject: RE: OT: iPhone (was Re: Cellphone looping)
Date: Mon, 9 Jul 2007 23:44:31 -0400
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>oh yeah .... we know .... thats a problem too ...... but change is slow to 
>come with all these republicans around ... hehehe.

But, we do live in a country where we can have a cartoon that directly makes
fun of the president i.e. "Lil' Bush"  

We got your good and your bad, stuff that makes no sense at all (can't give
cancer patients marijuana, but you can give them oxycontin) and stuff that
is great - public museums, parks, 150 channels of TV...

All in all, I'd rather live here than anywhere else.

Tony

-----Original Message-----
From: aaron leese [mailto:aaronleese@hotmail.com] 
Sent: Monday, July 09, 2007 11:27 PM
To: Loopers-Delight@loopers-delight.com
Subject: RE: OT: iPhone (was Re: Cellphone looping)



oh yeah .... we know .... thats a problem too ...... but change is slow to 
come with all these republicans around ... hehehe.


>From: "L.A. Angulo" <labaloops@yahoo.com>
>Reply-To: Loopers-Delight@loopers-delight.com
>To: Loopers-Delight@loopers-delight.com
>Subject: RE: OT: iPhone (was Re: Cellphone looping)
>Date: Mon, 9 Jul 2007 18:52:54 -0700 (PDT)
>
>but at 18 you are mature enough to go and kill but not
>to drink a beer;-)
>http://www2.potsdam.edu/hansondj/LegalDrinkingAge.html
>
> > also .... we aren't really mature enough for nude
> > beaches .... you can buy
> > handguns (but not pronography) at Walmart ........
> >
> > I mean .... holy crap people.
> >
>
>www.myspace.com/luisangulocom
>
>
>       
>___________________________________________________________________________
_________
>Park yourself in front of a world of choices in alternative vehicles. Visit

>the Yahoo! Auto Green Center.
>http://autos.yahoo.com/green_center/
>

_________________________________________________________________
http://newlivehotmail.com

No virus found in this incoming message.
Checked by AVG Free Edition. 
Version: 7.5.476 / Virus Database: 269.10.2/891 - Release Date: 7/8/2007
6:32 PM
 

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Checked by AVG Free Edition. 
Version: 7.5.476 / Virus Database: 269.10.2/891 - Release Date: 7/8/2007
6:32 PM
 

From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 04:37:12 2007
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----__JWM__J63b9.4293S.6323M
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this thread makes me wanna count bodies like sheep to the rhythm of the =
war drums...
from the desk of Dr. Satans anesthesiologist, scary visionary

----__JWM__J63b9.4293S.6323M
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<html><P>this thread makes me wanna count bodies like sheep to the rhyth=
m of the war drums...</P>
<P>from the desk of Dr. Satans anesthesiologist, scary visionary</P></ht=
ml>

----__JWM__J63b9.4293S.6323M--

From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 04:48:34 2007
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Warren Sirota wrote:

>And there's always Pandora. What they need to do (according to analogy) is
>to exit "original Yahoo mode" (editors involved in every categorization) and
>go to full Web 2.0/Google mode (automated classification of music according
>to their "genome" schema - not an easy task) so they can really scale.
>  
>
You've got to watch out for Pandora though,  I was listening using the 
German band Can as my seed as it were, and  after several fine 
selections the station offered up a track by....David Hasselhoff!!!!!  
Seriously messed me up :-)

Kevin

-- 
Till now you seriously considered yourself to be the body and to have a form. That is the primal ignorance which is the root cause of all trouble.

- Ramana Maharshi (1879-1950)

Sound and Vision:  http://www.minds-eye.org


From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 07:04:45 2007
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Hi list

I've been accepted for performing a new piece with my Max based "Ondes 
Memorielles" @ ICMC 2007 in Kopenhagen, I will drive from Berlin and 
coud give a lift from there for any attenders.
And  I am looking for accomodation in Kopenhagen, if there's someone 
from there to help out, my budget is very limited...

I'd love to see any of you there, the ICMC is much more than just a 
bunch of mad scientists, its also a great musicians community...

answer off-list...

Stefan

-- 
Stefan Tiedje------------x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()--------www.ccmix.com


From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 07:16:07 2007
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Bill Fox schrieb:
> Speaking of A/B testing, according to what I've read, the difference
>  between 16 and 24 bit digital can be heard much more easily than the
>  difference between 44.1kHz and 192kHz.

That means you read it and believe it? My listening experience would
tell me the opposite, I bet most of the hyper pro's which get hired for
high fees because they claim to be able to tell all kinds of 
differences, put out a mastered result with less than 6 dB dynamic. For
that even 12-bit would be enough, they'd need the rest only for the fade
out... (But if they tell their clients they hear the difference... ;-)

> So it isn't the sample frequency but the bit resolution of each
> sample. Plus, the more linear the AD and DA conversions are, the
> more transparent the process becomes.  Bit depth and conversion
> linearity seem to far outstrip sample frequency at obtaining audible
> quality improvements.

One simple reason why higher sample rates do matter, are the converters. 
Because each converter needs analog filters, the result of low cost AD 
conversion is much better with higher sample rates, the filter can be 
built much simpler and with less artefacts. But this is also true for 
high-end converters...
It boils down to "you can't fool physics" or "don't get fooled by the 
limitations of your hearing range" the lack of quality is often 
artefacts, not missing information, but wrong information...

Stefan

-- 
Stefan Tiedje------------x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()--------www.ccmix.com


From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 07:27:24 2007
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I don´t want to be part of the mailing list anymore.
Please confirm!


CHRISTO JOTA

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Sent: Monday, July 09, 2007 2:49 PM
Subject: Loopers-Delight-d Digest V07 #499


From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 07:59:49 2007
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BreachinThePeace@aol.com schrieb:
> Just so you know, I use PCs exclusively but am one of the rare 
> individuals that honestly believes that Macs are superior machines 
> hardware wise but are the lesser of the two as far as software is 
> concerned.

I'd never agree on that, but that's maybe a matter of taste and
different experience. I can only judge on my own experience, and a PC 
never attracted me long enough to really judge about the difference. If 
it works, its fine, if it doesn't there is need for a change...

> I wonder out of sheer curiosity if Mac more or less traded it's
> virtual ram ideology for the PC's processor aptitude? It would have 
> seemed to be a poor trade in hindsight if this were so.

Virtual Ram is a really old technology, it has always built into any 
Unix system. There was nothing to trade for...

> As far as your minimal RAM is concerned, 768 MB is a joke if you plan
> on using multiple plug ins. 

I didn't need too much of plug-ins yet... all my treatement is hand 
made... ;-)
And of course a soon I need more, to plug in more memory is simple 
enough (which was my original point, better get RAM, than Vista, if just 
memory is the concern... ;-)

Stefan

-- 
Stefan Tiedje------------x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()--------www.ccmix.com


From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 08:29:59 2007
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From: Mark Hamburg <mark_hamburg@baymoon.com>
Subject: Re: Personal looping archaeology
Date: Tue, 10 Jul 2007 01:29:49 -0700
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More archaeology from December 1985 or January 1986.

Recorded live. Roland GR-500 looping via a DigiTech RDS-3600 --  
perhaps the best part on that instrument was when it would lose pitch  
tracking at the end of a note and go chaotic; a ridiculously  
complicated drum pattern playing 2 against 3 against 5 or something  
like that on the Korg DDM-110 and DDM-220; and a bass playing friend  
of mine (David Hotchkiss) whom I confronted with some sheet music  
with various phrases on it without specific timings and said just jam  
along playing these.

http://grubmah.com/music/midnight_train.mp3

Mark

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From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 11:22:33 2007
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Subject: RE:  BOSS RV70 Reverb
Date: Tue, 10 Jul 2007 12:22:29 +0100
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From: "Goddard, Duncan" <goddard.duncan@mtvne.com>
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paul- fwiw, my guitarist hates the sound of boss reverbs; I have three
of their multi-effects units which more-than-likely have the same or
similar reverb algorithms in them. what he hears is a high-frequency
ringing in the reverb tails, almost as though the effect is pulling out
& exaggerating the most annoying overtones it can find in his guitar
sound (which is somewhere in amongst hendrix, gilmour & trower). there
are, in fact, one or two recordings of ours (commercially available,
just about!) that he won't listen to because of this.
just my, as they say, 2c.
=20
d.=20

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<BODY>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D345270211-10072007><FONT=20
face=3D"AmericanTypewriter Medium">paul- fwiw, my guitarist hates the =
sound of=20
boss reverbs; I have three of their multi-effects units which =
more-than-likely=20
have the same or similar reverb algorithms in them. what he hears is a=20
high-frequency ringing in the reverb tails, almost as though the effect =
is=20
pulling out &amp; exaggerating the most annoying overtones it can find =
in his=20
guitar sound (which is somewhere in amongst hendrix, gilmour &amp;=20
trower).&nbsp;<SPAN class=3D345270211-10072007>there are, in fact, one =
or two=20
recordings of ours (commercially available, just about!) that he won't =
listen to=20
because of this.</SPAN></FONT></SPAN></DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D345270211-10072007><FONT><SPAN =

class=3D345270211-10072007></SPAN></FONT></SPAN><SPAN=20
class=3D345270211-10072007><FONT face=3D"AmericanTypewriter Medium">just =
my, as they=20
say, 2c.</FONT></SPAN></DIV>
<DIV dir=3Dltr align=3Dleft><SPAN =
class=3D345270211-10072007></SPAN>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><SPAN =
class=3D345270211-10072007></SPAN><SPAN=20
class=3D345270211-10072007><FONT=20
face=3D"AmericanTypewriter =
Medium">d.</FONT></SPAN>&nbsp;</DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 11:32:32 2007
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Subject: was RE: Fripp & Eno 1973 / BBC / Peel
Date: Tue, 10 Jul 2007 12:32:27 +0100
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yeah, guys- please remember to change the name of the thread if you're
going to digress....=20
=20
I am waiting for my ex-BBC mate to send me his copy of the top gear show
which featured this fripp&eno set, & which is the original backwards
version of their specially "re-recorded" version of "no pussyfooting".=20
=20
he says that it's difficult to tell exactly what the differences are
between this top gear session recording (mysteriously- "for technical
reasons"- made at eno's home & not at the BBC maida vale studios round
the corner from eno's home, where almost all other BBC sessions were
recorded) besides the fact that the BBC (i.e. in this instance, john
peel & john walters) aired the thing backwards because fripp&eno sent
the tape tail-out, per the record industry's convention.
so when I have the thing, I'll turn it the right way round (in vegas or
soundtrack-pro or whatever) & a-b it with the cd version.
=20
I have a suspicion, & that's all it is, that it will be almost
identical- perhaps a few little edits or an overdub here & there. it's
deeply suspicious that fripp&eno elected to refuse the hospitality of
the BBC studios, less than 500 yards away from eno's maida vale home, on
the grounds that the technicalities of what they were doing could not be
duplicated. the BBC maida vale studio was the birthplace, in this
country anyway, of the whole artform of stringing multiple tape decks
together in the fripp&eno fashion; delia derbyshire & co were doing it
at least ten years earlier.
=20
d.

________________________________

From: Michael Billow [mailto:mbillow@gmail.com]=20
Sent: Monday, July 09, 2007 10:15 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Fripp & Eno 1973 / BBC / Peel


OK Im a little lost in this thread, where are the working links to the
Fripp and Eno video clips? Can someone please re-post them, or post some
new working links, because I got very excited about these ones, yet for
several days have not been able to download them....=20







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<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Dus-ascii">
<META content=3D"MSHTML 6.00.2900.3132" name=3DGENERATOR></HEAD>
<BODY>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN class=3D391452311-10072007>yeah, guys- please =
remember to=20
change the name of the thread if you're going to digress....=20
</SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN =
class=3D391452311-10072007></SPAN></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN class=3D391452311-10072007>I am waiting for my =
ex-BBC mate to=20
send me his copy of the top gear show which featured this fripp&amp;eno =
set,=20
&amp; which is the original backwards version of their specially =
"re-recorded"=20
version of "no pussyfooting". </SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN =
class=3D391452311-10072007></SPAN></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN class=3D391452311-10072007>he says that it's =
difficult to tell=20
exactly what the differences are between this top gear session recording =

(mysteriously- "for technical reasons"- made at eno's home &amp; not at =
the BBC=20
maida vale studios round the corner from eno's home,&nbsp;where almost =
all other=20
BBC sessions were recorded) besides the fact that the BBC (i.e. in this=20
instance, john peel &amp; john walters) aired the thing backwards =
because=20
fripp&amp;eno sent the tape tail-out, per the record industry's=20
convention.</SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN class=3D391452311-10072007>so when I have the =
thing, I'll turn=20
it the right way round (in vegas or soundtrack-pro or whatever) &amp; =
a-b it=20
with the cd version.</SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN =
class=3D391452311-10072007></SPAN></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN class=3D391452311-10072007>I have a suspicion, =
&amp; that's=20
all it is, that it will be almost identical- perhaps a few little edits =
or an=20
overdub here &amp; there. it's deeply suspicious that fripp&amp;eno =
elected to=20
refuse the hospitality of the BBC studios, less than 500 yards away from =
eno's=20
maida vale home, on the grounds that the technicalities of what they =
were doing=20
could not be duplicated. the BBC maida vale studio was the birthplace, =
in this=20
country anyway, of the whole artform of stringing multiple tape decks =
together=20
in the fripp&amp;eno fashion; delia derbyshire &amp; co were doing it at =
least=20
ten years earlier.</SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN =
class=3D391452311-10072007></SPAN></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN =
class=3D391452311-10072007>d.</SPAN></FONT></DIV><BR>
<DIV class=3DOutlookMessageHeader lang=3Den-us dir=3Dltr align=3Dleft>
<HR tabIndex=3D-1>
<FONT face=3DTahoma size=3D2><B>From:</B> Michael Billow =
[mailto:mbillow@gmail.com]=20
<BR><B>Sent:</B> Monday, July 09, 2007 10:15 PM<BR><B>To:</B>=20
Loopers-Delight@loopers-delight.com<BR><B>Subject:</B> Re: Fripp &amp; =
Eno 1973=20
/ BBC / Peel<BR></FONT><BR></DIV>
<DIV></DIV>OK Im a little lost in this thread, where are the working =
links to=20
the Fripp and Eno video clips? Can someone please re-post them, or post =
some new=20
working links, because I got very excited about these ones, yet for =
several days=20
have not been able to download them.... <BR><BR>
<DIV><SPAN class=3Dgmail_quote></SPAN>
<BLOCKQUOTE class=3Dgmail_quote=20
style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">
  <DIV>
  <DIV><BR></DIV><BR></DIV></BLOCKQUOTE></DIV><BR></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 12:08:46 2007
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References: <785EDC86-88F5-4ADD-A531-B3F66A5AAA34@baymoon.com>
Subject: RE: Personal looping archaeology
Date: Tue, 10 Jul 2007 14:08:40 +0200
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> Listen at your own risk and bear in mind that this is what 
> happens when you let guitar players too close to keyboards. 

nice little pieces. Looping archeology can be big fun!

I'm currently working on my new website which will feature all the findings
from my own personal music archeology ... and this one goes back to 1973 :-)
so lotsa stuff ... I'll post this when it's up ...

-Michael

From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 12:57:40 2007
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Message-ID: <588ce11d0707100557v767a8b7x149c1f0deaf6542b@mail.gmail.com>
Date: Tue, 10 Jul 2007 07:57:39 -0500
From: "Art Simon" <simart@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Fripp & Eno 1973 / BBC / Peel /RIAA
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	 <1BB076E4C332F9469148F41725F17A7204134A35@MTVNE-EXCLUST02.mtvne.ad.viacom.com>
	 <8C9904263C4D551-1160-50E@WEBMAIL-MB10.sysops.aol.com>
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I=B4ve had very good luck with SoulSeek as well. I found copies of LaMonte
Young=B4s "well tuned piano", James "Blood" Ulmer's "Free Lancing" and Arth=
ur
Blythe's "Illusions" all stuff I'd love to buy if I could find it. Used
copies of the "well tuned piano" sell for hundreds of dollars, silly money.
It seems to me that the Columbia, Blue Note and Arista back catalogs would
generate a good chunk of money if they would release all the out of print
stuff as mp3 downloads. Why anything is "out of print" in the digital age
escapes me.

On 7/9/07, Per Boysen <perboysen@gmail.com> wrote:
>
>   I have also found new
> music by the P2P community SoulSeek by doing a search for something
> obscure that I like and then viewing the shared files of someone that
> pops up among the search hits (if they have what I was searching for
> chances are they have more in line with my taste).
>



--=20
Art Simon
simart@null.net
http://art.simon.tripod.com
http://www.myspace.com/artsimon

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I=B4ve had very good luck with SoulSeek as well. I found copies of LaMonte =
Young=B4s &quot;well tuned piano&quot;, James &quot;Blood&quot; Ulmer&#39;s=
 &quot;Free Lancing&quot; and Arthur Blythe&#39;s &quot;Illusions&quot; all=
 stuff I&#39;d love to buy if I could find it. Used copies of the &quot;wel=
l tuned piano&quot; sell for hundreds of dollars, silly money. It seems to =
me that the Columbia, Blue Note and Arista back catalogs would generate a g=
ood chunk of money if they would release all the out of print stuff as mp3 =
downloads. Why anything is &quot;out of print&quot; in the digital age esca=
pes me.
<br><br><div><span class=3D"gmail_quote">On 7/9/07, <b class=3D"gmail_sende=
rname">Per Boysen</b> &lt;<a href=3D"mailto:perboysen@gmail.com">perboysen@=
gmail.com</a>&gt; wrote:</span><blockquote class=3D"gmail_quote" style=3D"b=
order-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; paddin=
g-left: 1ex;">
&nbsp; I have also found new<br>music by the P2P community SoulSeek by doin=
g a search for something<br>obscure that I like and then viewing the shared=
 files of someone that<br>pops up among the search hits (if they have what =
I was searching for
<br>chances are they have more in line with my taste). <br></blockquote></d=
iv><br><br clear=3D"all"><br>-- <br>Art Simon<br><a href=3D"mailto:simart@n=
ull.net">simart@null.net</a><br><a href=3D"http://art.simon.tripod.com">htt=
p://art.simon.tripod.com
</a><br><a href=3D"http://www.myspace.com/artsimon">http://www.myspace.com/=
artsimon</a>

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From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 15:06:38 2007
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From: "Dave Trenkel" <improv@peak.org>
To: <Loopers-Delight@loopers-delight.com>
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Subject: Re: nonaligned radio/Pandora
Date: Tue, 10 Jul 2007 08:06:31 -0700
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The first time I tried Pandora, I set up a Sun Ra station. First track was 
Sun Ra, 2nd was a Mary Lou Williams Gospel/jazz track from the '60's, third 
was Manhattan Transfer. I'm sorry, but you can't go from Ra to Manhattan 
Transfer in 2 moves.
----- Original Message ----- 
From: "Kevin Cheli-Colando" <kevin@minds-eye.org>
To: <Loopers-Delight@loopers-delight.com>
Sent: Monday, July 09, 2007 10:44 PM
Subject: Re: nonaligned radio/Pandora


> Warren Sirota wrote:
>
>>And there's always Pandora. What they need to do (according to analogy) is
>>to exit "original Yahoo mode" (editors involved in every categorization) 
>>and
>>go to full Web 2.0/Google mode (automated classification of music 
>>according
>>to their "genome" schema - not an easy task) so they can really scale.
>>
> You've got to watch out for Pandora though,  I was listening using the 
> German band Can as my seed as it were, and  after several fine selections 
> the station offered up a track by....David Hasselhoff!!!!!  Seriously 
> messed me up :-)
>
> Kevin
>
> -- 
> Till now you seriously considered yourself to be the body and to have a 
> form. That is the primal ignorance which is the root cause of all trouble.
>
> - Ramana Maharshi (1879-1950)
>
> Sound and Vision:  http://www.minds-eye.org
>
>
> 


From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 16:06:48 2007
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: BOSS RV70 Reverb
Date: Tue, 10 Jul 2007 09:06:43 -0700
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I have a Boss VF-1, which is a great unit as half this list will attest,
however for everything great it does, I have to admit the reverbs do sound a
bit artificial to my ears. I much prefer the reverb on my TC electronics
Model One, or even a lexicon MPX100 which I believe was the cheapest reverb
they made. The TC gets my vote as it also seems to have excellent headroom,
and has very smooth reverb sounds The Danes have got it going on when it
comes to reverb and pastries. Also being part Danish myself I had to support
my Peeps.

Bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>I have a Boss VF-1, which is a great unit as half =
this list
will attest, however for everything great it does, I have to admit the =
reverbs
do sound a bit artificial to my ears. I much prefer the reverb on my TC
electronics Model One, or even a lexicon MPX100 which I believe was the
cheapest reverb they made. The TC gets my vote as it also seems to have =
excellent
headroom, and has very smooth reverb sounds The Danes have got it going =
on when
it comes to reverb and pastries. Also being part Danish myself I had to =
support
my Peeps.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Bill<o:p></o:p></span></font></p>

</div>

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From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 16:23:20 2007
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Date: Tue, 10 Jul 2007 11:23:18 -0500
From: "Kelly Coyle" <skcoyle@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: nonaligned radio/Pandora
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> I'm sorry, but you can't go from Ra to Manhattan
>Transfer in 2 moves.


Ahem:


Sun Ra...

 ...played with Yusef Lateef on "The Dozier Boys with Eugene Wright and his
Dukes of Swing," who...

 ...played with Jon Hendricks on "Bamboo Flute Blues," who, of course,
worked with...

...Manhattan Transfer on "Vocalese."


So there.



On 7/10/07, Dave Trenkel <improv@peak.org> wrote:
>
> The first time I tried Pandora, I set up a Sun Ra station. First track was
> Sun Ra, 2nd was a Mary Lou Williams Gospel/jazz track from the '60's,
> third
> was Manhattan Transfer. I'm sorry, but you can't go from Ra to Manhattan
> Transfer in 2 moves.
> ----- Original Message -----
> From: "Kevin Cheli-Colando" <kevin@minds-eye.org>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Monday, July 09, 2007 10:44 PM
> Subject: Re: nonaligned radio/Pandora
>
>
> > Warren Sirota wrote:
> >
> >>And there's always Pandora. What they need to do (according to analogy)
> is
> >>to exit "original Yahoo mode" (editors involved in every categorization)
> >>and
> >>go to full Web 2.0/Google mode (automated classification of music
> >>according
> >>to their "genome" schema - not an easy task) so they can really scale.
> >>
> > You've got to watch out for Pandora though,  I was listening using the
> > German band Can as my seed as it were, and  after several fine
> selections
> > the station offered up a track by....David Hasselhoff!!!!!  Seriously
> > messed me up :-)
> >
> > Kevin
> >
> > --
> > Till now you seriously considered yourself to be the body and to have a
> > form. That is the primal ignorance which is the root cause of all
> trouble.
> >
> > - Ramana Maharshi (1879-1950)
> >
> > Sound and Vision:  http://www.minds-eye.org
> >
> >
> >
>
>
>

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&gt; I&#39;m sorry, but you can&#39;t go from Ra to Manhattan<br>&gt;Transfer in 2 moves.<br><br><br>Ahem:<br><br><br>Sun Ra...<br><br>&nbsp;...played with Yusef Lateef on &quot;The Dozier Boys with Eugene Wright and his Dukes of Swing,&quot; who...
<br><font size="2"><br>&nbsp;...played with Jon Hendricks on </font><font size="2">&quot;Bamboo Flute Blues,&quot; who, of course, worked with...<br><br>...Manhattan Transfer on &quot;Vocalese.&quot;<br><br><br>So there.<br></font>
<br><br><br><div><span class="gmail_quote">On 7/10/07, <b class="gmail_sendername">Dave Trenkel</b> &lt;<a href="mailto:improv@peak.org">improv@peak.org</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
The first time I tried Pandora, I set up a Sun Ra station. First track was<br>Sun Ra, 2nd was a Mary Lou Williams Gospel/jazz track from the &#39;60&#39;s, third<br>was Manhattan Transfer. I&#39;m sorry, but you can&#39;t go from Ra to Manhattan
<br>Transfer in 2 moves.<br>----- Original Message -----<br>From: &quot;Kevin Cheli-Colando&quot; &lt;<a href="mailto:kevin@minds-eye.org">kevin@minds-eye.org</a>&gt;<br>To: &lt;<a href="mailto:Loopers-Delight@loopers-delight.com">
Loopers-Delight@loopers-delight.com</a>&gt;<br>Sent: Monday, July 09, 2007 10:44 PM<br>Subject: Re: nonaligned radio/Pandora<br><br><br>&gt; Warren Sirota wrote:<br>&gt;<br>&gt;&gt;And there&#39;s always Pandora. What they need to do (according to analogy) is
<br>&gt;&gt;to exit &quot;original Yahoo mode&quot; (editors involved in every categorization)<br>&gt;&gt;and<br>&gt;&gt;go to full Web 2.0/Google mode (automated classification of music<br>&gt;&gt;according<br>&gt;&gt;to their &quot;genome&quot; schema - not an easy task) so they can really scale.
<br>&gt;&gt;<br>&gt; You&#39;ve got to watch out for Pandora though,&nbsp;&nbsp;I was listening using the<br>&gt; German band Can as my seed as it were, and&nbsp;&nbsp;after several fine selections<br>&gt; the station offered up a track by....David Hasselhoff!!!!!&nbsp;&nbsp;Seriously
<br>&gt; messed me up :-)<br>&gt;<br>&gt; Kevin<br>&gt;<br>&gt; --<br>&gt; Till now you seriously considered yourself to be the body and to have a<br>&gt; form. That is the primal ignorance which is the root cause of all trouble.
<br>&gt;<br>&gt; - Ramana Maharshi (1879-1950)<br>&gt;<br>&gt; Sound and Vision:&nbsp;&nbsp;<a href="http://www.minds-eye.org">http://www.minds-eye.org</a><br>&gt;<br>&gt;<br>&gt;<br><br><br></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 16:44:45 2007
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Date: Tue, 10 Jul 2007 12:44:38 EDT
Subject: question about guitar lessons
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i know there are a few guitar players on this list and i was wondering if 
anyone could recomend a good beginners guitar course.....i have offered to teach 
begining guitar at my community center and rather than pass on my mistakes i 
would like to offer a good experience for the kiddies.....and this is totally 
on topic because all of these little crumb crushers will become loopers, so 
there!.....thnaks in advance and please reply of list.....michael



www.ct-collective.com
http://mysite.verizon.net/vzepmeci/
http://www.myspace.com/klobuchar11



**************************************
 See what's free at http://www.aol.com.

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2">i know there are a few guitar players o=
n this list and i was wondering if anyone could recomend a good beginners gu=
itar course.....i have offered to teach begining guitar at my community cent=
er and rather than pass on my mistakes i would like to offer a good experien=
ce for the kiddies.....and this is totally on topic because all of these lit=
tle crumb crushers will become loopers, so there!.....thnaks in advance and=20=
please reply of list.....michael<BR>
<BR>
<BR>
<BR>
www.ct-collective.com<BR>
http://mysite.verizon.net/vzepmeci/<BR>
http://www.myspace.com/klobuchar11<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************************************<BR> See what's=20=
free at http://www.aol.com.</HTML>

--part1_be7.19fc99e2.33c51176_boundary--

From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 17:28:08 2007
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Date: Tue, 10 Jul 2007 12:28:05 -0500
From: "Jon Southwood" <jsouthwood@gmail.com>
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Subject: Re: Composers should also get paid (was: Fripp & Eno 1973 / BBC / Peel /RIAA)
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It's primarily a matter of "atmosphere." Why choose one bar over another,
assuming they have the same beers available? Prices? Sure, but in a
competitive market, those are going to be relatively close. A larger
deciding factor for many is going to be the atmosphere. The music piped over
the myoozak system or performed live is going to help people decided which
bar to go to. That music can also have an effect on how much time a person
or group of people stay in the establishment. The longer they stay, the more
they're likely to spend.

As a specific example of music directly impacting the profitability of a
bar, I put forth personal experience playing in a band that plays a mix of
originals and traditional Irish/Scottish/Welsh/English folk songs (mostly of
the drinking variety). When we play at bars, they sell more whiskey than on
nights they have one of the local blues bands or the 80s cover/party band.
Might have something to do with all the songs we sing about whiskey. At the
very least, it has something to do with all the rounds of shots the crowd
sends up to the stage to entice us to sing certain drinking-oriented sea
chanteys.

As another example, there are a handful of restaurants in the area of the
'steakhouse' variety (both national chains as well as ma-n-pop). Some of the
national/regional chains are built on strong ties to the South and Southwest
of the US. As a result, their atmosphere is governed by the country music
cowboy atmosphere. I generally don't care to have country music blasting at
me while I'm trying to eat, so I tend to elsewhere when I want a steak.
Plenty of other people love the atmosphere and go to those places, at least
in part, because of it.

Ultimately, if the aural atmosphere had no impact on a restaurant or a bar,
they wouldn't bother to pay bands to play or even bother to wire the place
for sound. Who needs the expense and hassle? A bar owner's magnanimity
toward local musicians will usually only last as long as their business
benefits from the relationship. There are few who feel an altruistic drive
to support local music(ians), business survival be damned.

Cheers,
Jon Southwood

On 7/9/07, Rev Fever <revfever@ubergadget.com> wrote:
>
>
>
> But, I still do not see how a place's profits are verifiably
> "increased" for them featuring recordings, or cover tunes being
> played live, and why they should be "billed" for doing so?
>
>
>

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It&#39;s primarily a matter of &quot;atmosphere.&quot; Why choose one bar over another, assuming they have the same beers available? Prices? Sure, but in a competitive market, those are going to be relatively close. A larger deciding factor for many is going to be the atmosphere. The music piped over the myoozak system or performed live is going to help people decided which bar to go to. That music can also have an effect on how much time a person or group of people stay in the establishment. The longer they stay, the more they&#39;re likely to spend.
<br><br>As a specific example of music directly impacting the profitability of a bar, I put forth personal experience playing in a band that plays a mix of originals and traditional Irish/Scottish/Welsh/English folk songs (mostly of the drinking variety). When we play at bars, they sell more whiskey than on nights they have one of the local blues bands or the 80s cover/party band. Might have something to do with all the songs we sing about whiskey. At the very least, it has something to do with all the rounds of shots the crowd sends up to the stage to entice us to sing certain drinking-oriented sea chanteys.
<br><br>As another example, there are a handful of restaurants in the area of the &#39;steakhouse&#39; variety (both national chains as well as ma-n-pop). Some of the national/regional chains are built on strong ties to the South and Southwest of the US. As a result, their atmosphere is governed by the country music cowboy atmosphere. I generally don&#39;t care to have country music blasting at me while I&#39;m trying to eat, so I tend to elsewhere when I want a steak. Plenty of other people love the atmosphere and go to those places, at least in part, because of it.
<br><br>Ultimately, if the aural atmosphere had no impact on a restaurant or a bar, they wouldn&#39;t bother to pay bands to play or even bother to wire the place for sound. Who needs the expense and hassle? A bar owner&#39;s magnanimity toward local musicians will usually only last as long as their business benefits from the relationship. There are few who feel an altruistic drive to support local music(ians), business survival be damned.
<br><br>Cheers,<br>Jon Southwood<br><br><div><span class="gmail_quote">On 7/9/07, <b class="gmail_sendername">Rev Fever</b> &lt;<a href="mailto:revfever@ubergadget.com">revfever@ubergadget.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<br><br>But, I still do not see how a place&#39;s profits are verifiably<br>&quot;increased&quot; for them featuring recordings, or cover tunes being<br>played live, and why they should be &quot;billed&quot; for doing so?
<br><br><br></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 17:59:47 2007
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Nemoguitt wrote:

> i know there are a few guitar players on this list and i was wondering 
> if anyone could recomend a good beginners guitar course..

Kirk Lorange's 'Plane Talk' is one of the best beginner guitar methods 
I've come across. It's intelligent and fun and is actually useful for 
'beginners' of 20+ years experience of playing guitar like myself. 
Really, highly recommended.

http://www.thatllteachyou.com/


    Ian



From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 19:04:56 2007
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To: <Loopers-Delight@loopers-delight.com>
Subject: RE: Loopers-Delight-d Digest V07 #499
Date: Tue, 10 Jul 2007 12:04:39 -0700
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I'm going to deny your request due to the fact that if you really wanted =
to
be off this list you'd follow the simple instructions on the Loopers =
Delight
page that explain how to unsubscribe.  CONFIRMATION: DENIED.

-----Original Message-----
From: Chris@jtc.de [mailto:chris@jtc.de]=20
Sent: Tuesday, July 10, 2007 12:16 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Loopers-Delight-d Digest V07 #499

I don=B4t want to be part of the mailing list anymore.
Please confirm!


CHRISTO JOTA

----- Original Message -----
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Sent: Monday, July 09, 2007 2:49 PM
Subject: Loopers-Delight-d Digest V07 #499




From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 19:30:15 2007
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Date: Tue, 10 Jul 2007 14:30:12 -0500
From: kkissinger@kevinkissinger.com
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Quoting RICK WALKER <looppool@cruzio.com>:

> Man, after hearing this piece of music,  I'm so damned excited you are
> going to
> come perform at Y2K7...
>
> ...see you in October with bells and whistles on,
>
> sincerely,
>
> Rick Walker
>
>
> http://kevinkissinger.com/threeleggedrace.shtml

Hi Rick!  Glad you like the music.  I am looking forward to the  
festival.  Will be fun to meet you and other folks from the list in  
person.

-- Kevin


From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 19:48:56 2007
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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: new looping work (Kevin)
Date: Tue, 10 Jul 2007 12:48:45 -0700
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Yes. Very nice! Congrats!

It also one the best uses of the Theremin I have heard in a long time.
Most of the time, it has been people with Theremins making the worst  
screeches and noise, and then calling it "art".

Kevin actually deserves that term. He has earned it.

BTW, where is this Y2K7 event going to happen again?

-Rev. Fever

On Jul 10, 2007, at 12:30 PM, kkissinger@kevinkissinger.com wrote:

> Quoting RICK WALKER <looppool@cruzio.com>:
>
>> Man, after hearing this piece of music,  I'm so damned excited you  
>> are
>> going to come perform at Y2K7...
>>
>> ...see you in October with bells and whistles on,
>>
>> sincerely,
>>
>> Rick Walker
>>
>>
>> http://kevinkissinger.com/threeleggedrace.shtml
>
> Hi Rick!  Glad you like the music.  I am looking forward to the  
> festival.  Will be fun to meet you and other folks from the list in  
> person.
>
> -- Kevin
>
>

From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 20:17:10 2007
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Hi, the Boss reverb is not bad but you can't expect a pro sound from a unit
in this price range. I would therefore recommend something like a used TC
Electronic (M-One) or a Lexicon. 
 
Sjaak - Belgium

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<DIV><SPAN class=3D359381220-10072007><FONT face=3DArial><FONT =
color=3D#0000ff><FONT=20
size=3D2><SPAN class=3D359381220-10072007>Hi, the Boss reverb is not bad =
but you=20
can't expect a pro sound from a unit in this price range. <SPAN=20
class=3D359381220-10072007><FONT face=3DArial><FONT =
color=3D#0000ff><FONT=20
size=3D2>I<SPAN class=3D359381220-10072007> would therefore recommend =
something like=20
a used TC Electronic (M-One) or&nbsp;a Lexicon.=20
</SPAN></FONT></FONT></FONT></SPAN></SPAN></FONT></FONT></FONT></SPAN></D=
IV>
<DIV><SPAN class=3D359381220-10072007><FONT face=3DArial><FONT =
color=3D#0000ff><FONT=20
size=3D2><SPAN class=3D359381220-10072007><SPAN =
class=3D359381220-10072007><FONT=20
face=3DArial><FONT color=3D#0000ff><FONT size=3D2><SPAN=20
class=3D359381220-10072007></SPAN></FONT></FONT></FONT></SPAN></SPAN></FO=
NT></FONT></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D359381220-10072007><FONT face=3DArial><FONT =
color=3D#0000ff><FONT=20
size=3D2><SPAN class=3D359381220-10072007><SPAN =
class=3D359381220-10072007><FONT=20
face=3DArial><FONT color=3D#0000ff><FONT size=3D2><SPAN =
class=3D359381220-10072007>Sjaak=20
-=20
Belgium</SPAN></FONT></FONT></FONT></SPAN></SPAN></FONT></FONT></FONT></S=
PAN></DIV></BODY></HTML>

------=_NextPart_000_0006_01C7C33F.F56CC250--


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From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 21:35:27 2007
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Date: Tue, 10 Jul 2007 17:33:48 -0400
From: Douglas Baldwin <coyotelk@optonline.net>
Subject: Re: nonaligned radio/Pandora
To: Kelly Coyle <skcoyle@gmail.com>,
	Loopers-Delight@loopers-delight.com
Message-id: <003201c7c33a$3f0a2f20$9715be18@oemcomputer>
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SCORE!

> I'm sorry, but you can't go from Ra to Manhattan
>Transfer in 2 moves.


Ahem:


Sun Ra...

 ...played with Yusef Lateef on "The Dozier Boys with Eugene Wright and his Dukes of Swing," who... 

 ...played with Jon Hendricks on "Bamboo Flute Blues," who, of course, worked with...

...Manhattan Transfer on "Vocalese."


So there.



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<DIV><FONT size=2>SCORE!</FONT></DIV>
<DIV><FONT size=2></FONT>&nbsp;</DIV>
<DIV>&gt; I'm sorry, but you can't go from Ra to Manhattan<BR>&gt;Transfer in 2 
moves.<BR><BR><BR>Ahem:<BR><BR><BR>Sun Ra...<BR><BR>&nbsp;...played with Yusef 
Lateef on "The Dozier Boys with Eugene Wright and his Dukes of Swing," who... 
<BR><FONT size=2><BR>&nbsp;...played with Jon Hendricks on </FONT><FONT 
size=2>"Bamboo Flute Blues," who, of course, worked with...<BR><BR>...Manhattan 
Transfer on "Vocalese."<BR><BR><BR>So 
there.<BR></FONT><BR><BR></DIV></BODY></HTML>

--Boundary_(ID_jeZnJa+jS45FqjS+Tcyq8Q)--

From Loopers-Delight-request@loopers-delight.com  Tue Jul 10 22:05:05 2007
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From: "Dave Trenkel" <improv@peak.org>
To: <Loopers-Delight@loopers-delight.com>
References: <a59c04df0707100923u76ec483fp80b15599087db49@mail.gmail.com> <003201c7c33a$3f0a2f20$9715be18@oemcomputer>
Subject: Re: nonaligned radio/Pandora
Date: Tue, 10 Jul 2007 15:05:03 -0700
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I'm sorry, but just because Jon Hendricks exhibited some dubious taste =
late in his career, it still doesn't make it OK :-)

But thanks for the research...
  ----- Original Message -----=20
  From: Douglas Baldwin=20
  To: Kelly Coyle ; Loopers-Delight@loopers-delight.com=20
  Sent: Tuesday, July 10, 2007 2:33 PM
  Subject: Re: nonaligned radio/Pandora


  SCORE!

  > I'm sorry, but you can't go from Ra to Manhattan
  >Transfer in 2 moves.


  Ahem:


  Sun Ra...

   ...played with Yusef Lateef on "The Dozier Boys with Eugene Wright =
and his Dukes of Swing," who...=20

   ...played with Jon Hendricks on "Bamboo Flute Blues," who, of course, =
worked with...

  ...Manhattan Transfer on "Vocalese."


  So there.



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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
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charset=3Diso-8859-1">
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>I'm sorry, but just because Jon =
Hendricks exhibited=20
some dubious taste late in his career, it still doesn't make it OK=20
:-)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>But thanks for the =
research...</FONT></DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dcoyotelk@optonline.net =
href=3D"mailto:coyotelk@optonline.net">Douglas=20
  Baldwin</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A =
title=3Dskcoyle@gmail.com=20
  href=3D"mailto:skcoyle@gmail.com">Kelly Coyle</A> ; <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Tuesday, July 10, 2007 =
2:33=20
PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: nonaligned=20
  radio/Pandora</DIV>
  <DIV><BR></DIV>
  <DIV><FONT size=3D2>SCORE!</FONT></DIV>
  <DIV><FONT size=3D2></FONT>&nbsp;</DIV>
  <DIV>&gt; I'm sorry, but you can't go from Ra to =
Manhattan<BR>&gt;Transfer in=20
  2 moves.<BR><BR><BR>Ahem:<BR><BR><BR>Sun Ra...<BR><BR>&nbsp;...played =
with=20
  Yusef Lateef on "The Dozier Boys with Eugene Wright and his Dukes of =
Swing,"=20
  who... <BR><FONT size=3D2><BR>&nbsp;...played with Jon Hendricks on =
</FONT><FONT=20
  size=3D2>"Bamboo Flute Blues," who, of course, worked=20
  with...<BR><BR>...Manhattan Transfer on "Vocalese."<BR><BR><BR>So=20
  there.<BR></FONT><BR><BR></DIV></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_02B3_01C7C303.B1739A10--


From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 01:01:28 2007
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From: Nemoguitt@aol.com
Message-ID: <cf9.145d42a6.33c585de@aol.com>
Date: Tue, 10 Jul 2007 21:01:18 EDT
Subject: thnaks and les paul
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thnaks too all the guitar methods that were suggested.....i'll get bz looking 
them over.....tamari nite, wednesday on PBS "AMERICAN MASTERS" they are 
covering LES PAUL.....should be interesting!.....the truth is out 
there.....:).....michael



www.ct-collective.com
http://mysite.verizon.net/vzepmeci/
http://www.myspace.com/klobuchar11



**************************************
 See what's free at http://www.aol.com.

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2">thnaks too all the guitar methods that=20=
were suggested.....i'll get bz looking them over.....tamari nite, wednesday=20=
on PBS "AMERICAN MASTERS" they are covering LES PAUL.....should be interesti=
ng!.....the truth is out there.....:).....michael<BR>
<BR>
<BR>
<BR>
www.ct-collective.com<BR>
http://mysite.verizon.net/vzepmeci/<BR>
http://www.myspace.com/klobuchar11<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************************************<BR> See what's=20=
free at http://www.aol.com.</HTML>

--part1_cf9.145d42a6.33c585de_boundary--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 01:34:32 2007
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Date: Tue, 10 Jul 2007 18:34:29 -0700 (PDT)
From: Paul Richards <paulrichard_rocks@yahoo.com>
Subject: RE: BOSS RV70 Reverb
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Thanks for the replies re: the Boss reverb. 'Guess I'll pass on this type of unit.
   
  I just bid on an ALesis Quadraverb 2 which I used to have. I kinda liked that unit. Had some good 'verbs.
   
  Regards, Paul

Sjaak <tcplugin@scarlet.be> wrote:
      @page Section1 {size: 8.5in 11.0in; margin: 1.0in 1.25in 1.0in 1.25in; }  P.MsoNormal {   FONT-SIZE: 12pt; MARGIN: 0in 0in 0pt; FONT-FAMILY: "Times New Roman"  }  LI.MsoNormal {   FONT-SIZE: 12pt; MARGIN: 0in 0in 0pt; FONT-FAMILY: "Times New Roman"  }  DIV.MsoNormal {   FONT-SIZE: 12pt; MARGIN: 0in 0in 0pt; FONT-FAMILY: "Times New Roman"  }  A:link {   COLOR: blue; TEXT-DECORATION: underline  }  SPAN.MsoHyperlink {   COLOR: blue; TEXT-DECORATION: underline  }  A:visited {   COLOR: purple; TEXT-DECORATION: underline  }  SPAN.MsoHyperlinkFollowed {   COLOR: purple; TEXT-DECORATION: underline  }  SPAN.EmailStyle17 {   COLOR: windowtext; FONT-FAMILY: Arial; mso-style-type: personal-compose  }  DIV.Section1 {   page: Section1  }      Hi, the Boss reverb is not bad but you can't expect a pro sound from a unit in this price range. I would therefore recommend something like a used TC Electronic (M-One) or a Lexicon. 
   
  Sjaak - Belgium


       
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<div>Thanks for the replies re: the Boss reverb. 'Guess I'll pass on this type of unit.</div>  <div>&nbsp;</div>  <div>I just bid on an ALesis Quadraverb 2 which I used to have. I kinda liked that unit. Had some good 'verbs.</div>  <div>&nbsp;</div>  <div>Regards, Paul<BR><BR><B><I>Sjaak &lt;tcplugin@scarlet.be&gt;</I></B> wrote:</div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">  <META content="MSHTML 6.00.6000.16481" name=GENERATOR>  <STYLE>@page Section1 {size: 8.5in 11.0in; margin: 1.0in 1.25in 1.0in 1.25in; }  P.MsoNormal {   FONT-SIZE: 12pt; MARGIN: 0in 0in 0pt; FONT-FAMILY: "Times New Roman"  }  LI.MsoNormal {   FONT-SIZE: 12pt; MARGIN: 0in 0in 0pt; FONT-FAMILY: "Times New Roman"  }  DIV.MsoNormal {   FONT-SIZE: 12pt; MARGIN: 0in 0in 0pt; FONT-FAMILY: "Times New Roman"  }  A:link {   COLOR: blue; TEXT-DECORATION: underline  }  SPAN.MsoHyperlink {   COLOR: blue; TEXT-DECORATION: underline  }  A:visited {  
 COLOR: purple; TEXT-DECORATION: underline  }  SPAN.MsoHyperlinkFollowed {   COLOR: purple; TEXT-DECORATION: underline  }  SPAN.EmailStyle17 {   COLOR: windowtext; FONT-FAMILY: Arial; mso-style-type: personal-compose  }  DIV.Section1 {   page: Section1  }  </STYLE>    <DIV><SPAN class=359381220-10072007><FONT face=Arial><FONT color=#0000ff><FONT size=2><SPAN class=359381220-10072007>Hi, the Boss reverb is not bad but you can't expect a pro sound from a unit in this price range. <SPAN class=359381220-10072007><FONT face=Arial><FONT color=#0000ff><FONT size=2>I<SPAN class=359381220-10072007> would therefore recommend something like a used TC Electronic (M-One) or&nbsp;a Lexicon. </SPAN></FONT></FONT></FONT></SPAN></SPAN></FONT></FONT></FONT></SPAN></DIV>  <DIV><SPAN class=359381220-10072007><FONT face=Arial><FONT color=#0000ff><FONT size=2><SPAN class=359381220-10072007><SPAN class=359381220-10072007><FONT face=Arial><FONT color=#0000ff><FONT size=2><SPAN
 class=359381220-10072007></SPAN></FONT></FONT></FONT></SPAN></SPAN></FONT></FONT></FONT></SPAN>&nbsp;</DIV>  <DIV><SPAN class=359381220-10072007><FONT face=Arial><FONT color=#0000ff><FONT size=2><SPAN class=359381220-10072007><SPAN class=359381220-10072007><FONT face=Arial><FONT color=#0000ff><FONT size=2><SPAN class=359381220-10072007>Sjaak - Belgium</SPAN></FONT></FONT></FONT></SPAN></SPAN></FONT></FONT></FONT></SPAN></DIV></BLOCKQUOTE><BR><p>&#32;



      <hr size=1>Park yourself in front of a world of choices in alternative vehicles.<br><a href="http://us.rd.yahoo.com/evt=48246/*http://autos.yahoo.com/green_center/;_ylc=X3oDMTE5cDF2bXZzBF9TAzk3MTA3MDc2BHNlYwNtYWlsdGFncwRzbGsDZ3JlZW4tY2VudGVy">Visit the Yahoo! Auto Green Center.</a>
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From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 01:38:08 2007
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Date: Tue, 10 Jul 2007 18:38:05 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: new looping work (Kevin)
To: Loopers-Delight@loopers-delight.com
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wonderful kevin very reminicent of Steve Reich!
cheers
Luis


--- Rev Fever <revfever@ubergadget.com> wrote:

> Yes. Very nice! Congrats!
> 
> It also one the best uses of the Theremin I have
> heard in a long time.
> Most of the time, it has been people with Theremins
> making the worst  
> screeches and noise, and then calling it "art".
> 
> Kevin actually deserves that term. He has earned it.
> 
> BTW, where is this Y2K7 event going to happen again?
> 
> -Rev. Fever
> 
> On Jul 10, 2007, at 12:30 PM,
> kkissinger@kevinkissinger.com wrote:
> 
> > Quoting RICK WALKER <looppool@cruzio.com>:
> >
> >> Man, after hearing this piece of music,  I'm so
> damned excited you  
> >> are
> >> going to come perform at Y2K7...
> >>
> >> ...see you in October with bells and whistles on,
> >>
> >> sincerely,
> >>
> >> Rick Walker
> >>
> >>
> >> http://kevinkissinger.com/threeleggedrace.shtml
> >
> > Hi Rick!  Glad you like the music.  I am looking
> forward to the  
> > festival.  Will be fun to meet you and other folks
> from the list in  
> > person.
> >
> > -- Kevin
> >
> >
> 
> 


www.myspace.com/luisangulocom


       
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From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 01:56:37 2007
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Date: Tue, 10 Jul 2007 18:56:35 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: Fripp & Eno 1973 / BBC / Peel /RIAA
To: Loopers-Delight@loopers-delight.com
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also the soulseek creators artist´s material is great
check it out!
Luis


--- Art Simon <simart@gmail.com> wrote:

> I´ve had very good luck with SoulSeek as well. I
> found copies of LaMonte
> Young´s "well tuned piano", James "Blood" Ulmer's
> "Free Lancing" and Arthur
> Blythe's "Illusions" all stuff I'd love to buy if I
> could find it. Used
> copies of the "well tuned piano" sell for hundreds
> of dollars, silly money.
> It seems to me that the Columbia, Blue Note and
> Arista back catalogs would
> generate a good chunk of money if they would release
> all the out of print
> stuff as mp3 downloads. Why anything is "out of
> print" in the digital age
> escapes me.
> 
> On 7/9/07, Per Boysen <perboysen@gmail.com> wrote:
> >
> >   I have also found new
> > music by the P2P community SoulSeek by doing a
> search for something
> > obscure that I like and then viewing the shared
> files of someone that
> > pops up among the search hits (if they have what I
> was searching for
> > chances are they have more in line with my taste).
> >
> 
> 
> 
> -- 
> Art Simon
> simart@null.net
> http://art.simon.tripod.com
> http://www.myspace.com/artsimon
> 


www.myspace.com/luisangulocom


       
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From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 02:24:18 2007
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Date: Tue, 10 Jul 2007 10:24:56 -0400
From: "David Kirkdorffer" <vze2ncsr@verizon.net>
Subject: Re: 777 !!!
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Well, I've been recording on these funky dates.

9/9/99
01/01/00
10/01/01
10/11/01
02/02/02
02/22/02
03/03/03
04/04/04
05/05/05
04/05/06
06/06/06
07/07/07

No, I'm not into some numerology thing - but just use this as an excuse =
to get away and record some stuff.  I'm hoping to release a CD of the =
9/9/99 recordings this year. =20

David


  ----- Original Message -----=20
  From: Rev Fever=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Saturday, July 07, 2007 1:53 PM
  Subject: OT: 777 !!!


  Happy 777 !!!=20


  Today is the 7th day, of the 7th month, of the 7th year, which ONLY =
happens ONCE, every ONE THOUSAND YEARS!


  So celebrate!  Hurray!


  -Rev. Fever
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<HTML><HEAD>
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style=3D"WORD-WRAP: break-word; khtml-nbsp-mode: space; =
khtml-line-break: after-white-space"=20
bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Well, I've been recording on these =
funky=20
dates.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>9/9/99</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>01/01/00</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>10/01/01</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>10/11/01</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>02/02/02</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>02/22/02</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>03/03/03</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>04/04/04</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>05/05/05</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>04/05/06</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>06/06/06</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>07/07/07</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>No, I'm not into some numerology thing =
- but just=20
use this as an excuse to get away and record some stuff.&nbsp; I'm =
hoping to=20
release a CD of the 9/9/99 recordings this year.&nbsp; </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>David</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Drevfever@ubergadget.com =
href=3D"mailto:revfever@ubergadget.com">Rev=20
  Fever</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Saturday, July 07, 2007 =
1:53=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> OT: 777 !!!</DIV>
  <DIV><BR></DIV><FONT class=3DApple-style-span size=3D6><SPAN=20
  class=3DApple-style-span style=3D"FONT-SIZE: 22px"><B>Happy 777=20
  !!!&nbsp;</B></SPAN></FONT>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>Today is the 7th day, of the 7th month, of the 7th year, which =
ONLY=20
  happens ONCE, every ONE THOUSAND YEARS!
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>So celebrate!&nbsp; Hurray!</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>-Rev. Fever</DIV></DIV></BLOCKQUOTE></BODY></HTML>

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Date: Tue, 10 Jul 2007 10:28:35 -0400
From: "David Kirkdorffer" <vze2ncsr@verizon.net>
Subject: Re: Studio recording - breaking patterns - ideas?
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When I record, I definitely think about what I've done, and how to be =
"new."  Being huge and not sucking are also important. :-)  When I do a =
poor job of something (in my opinion) I tend to not share it much.  Not =
everything will be good or great.  But curating one's own work and =
focusing on "the best" is valid.  Of course, I always wonder about the =
songs The Beatles never finished...

  ----- Original Message -----=20
  From: James Richmond=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Sunday, July 08, 2007 12:16 PM
  Subject: Re: Studio recording - breaking patterns - ideas?


  On Jul 7, 2007, at 11:17 PM, p koniuto wrote:


    Second, i can offer that i believe most of us go into the

    studio thinking, at least on some level, we are doing

    something for posterity's sake, that this should last, it

    should speak to generations, it is carved in stone, it's what

    we are leaving the world.



  I'm quite surprised by this.


  I have to say that when I am recording the idea that anyone will care =
about what I am doing is the last thing from my mind.
  Depending on whether it is a personal project or session work my =
thoughts usually range from "How am I going to make this sound huge?" to =
"How am I going to make this suck less than it does?" - I've never =
thought about  the idea of a 'legacy'.


  Wouldn't that seem a bit presumptuous and maybe a bit naff?
  You are right though- if one was thinking these thoughts it would =
absolutely affect the work.


  I've occassionaly worked with the odd person who can be best described =
as wanna-bee auteur- these people are usually more trouble than they are =
worth and best avoided, unless the money is right.
  I would rather an easier life, myself.


  Regards,=20


  Jim Richmond


  Currently positioned next to a farting bulldog.
  Green Village, NJ
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<META content=3D"MSHTML 6.00.2800.1555" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY=20
style=3D"WORD-WRAP: break-word; khtml-nbsp-mode: space; =
khtml-line-break: after-white-space"=20
bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>When I record, I definitely think about =
what I've=20
done, and how to be "new."&nbsp; Being huge and not sucking are also =
important.=20
:-)&nbsp; When I do a poor job of something (in my opinion) I tend to =
not share=20
it much.&nbsp; Not everything will be good or great.&nbsp; But curating =
one's=20
own work and focusing on "the best" is valid.&nbsp; Of course, I always =
wonder=20
about the songs The Beatles never finished...</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dyahoogroups@jamesrichmond.com=20
  href=3D"mailto:yahoogroups@jamesrichmond.com">James Richmond</A> =
</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Sunday, July 08, 2007 =
12:16=20
PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Studio recording - =
breaking=20
  patterns - ideas?</DIV>
  <DIV><BR></DIV>
  <DIV>
  <DIV>On Jul 7, 2007, at 11:17 PM, p koniuto wrote:</DIV><BR=20
  class=3DApple-interchange-newline>
  <BLOCKQUOTE type=3D"cite">
    <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
    size=3D3>Second, i can offer that i believe most of us go into =
the</FONT></P>
    <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
    size=3D3>studio thinking, at least on some level, we are =
doing</FONT></P>
    <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
    size=3D3>something for posterity's sake, that this should last, =
it</FONT></P>
    <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
    size=3D3>should speak to generations, it is carved in stone, it's=20
    what</FONT></P>
    <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
    size=3D3>we are leaving the world.</FONT></P></BLOCKQUOTE></DIV><BR>
  <DIV>I'm quite surprised by this.</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>I have to say that when I am recording the idea that anyone will =
care=20
  about what I am doing is the last thing from my mind.</DIV>
  <DIV>Depending&nbsp;on whether it is a personal project or session =
work my=20
  thoughts usually range from "How am I going to make this sound huge?" =
to "How=20
  am I going to make this suck less than it does?" - I've never thought=20
  about&nbsp; the idea of a 'legacy'.</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>Wouldn't that seem a bit presumptuous and maybe a bit naff?</DIV>
  <DIV>You are right though- if one was thinking these thoughts it would =

  absolutely affect the work.</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>I've occassionaly worked with the odd person who can be best =
described=20
  as&nbsp;wanna-bee auteur- these people are usually more trouble than =
they are=20
  worth and best avoided, unless the money is right.</DIV>
  <DIV>I would rather an easier life, myself.</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>Regards,&nbsp;</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>Jim Richmond</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>Currently positioned next to a farting bulldog.</DIV>
  <DIV>Green Village, NJ</DIV></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_0026_01C7C2DD.1224A1A0--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 02:29:03 2007
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From: "Krispen Hartung" <khartung@cableone.net>
To: Loopers-Delight@loopers-delight.com
References: <9D0095F4-8158-43E6-8E31-0C994ECB2514@ubergadget.com> <001c01c7c2fe$179a0500$5ca95548@hppav>
Subject: Re: 777 !!!
Date: Tue, 10 Jul 2007 20:28:59 -0600
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This is a multi-part message in MIME format.

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My 2-year old twins were born on 5/5/05 (2005). And their great =
grandfather was also born on 5/5/05 (1905). On 7/7/07, they were 2 years =
old, 2 months, and 2 days...2-2-2.

Kris

  ----- Original Message -----=20



  Well, I've been recording on these funky dates.

  9/9/99
  01/01/00
  10/01/01
  10/11/01
  02/02/02
  02/22/02
  03/03/03
  04/04/04
  05/05/05
  04/05/06
  06/06/06
  07/07/07

  No, I'm not into some numerology thing - but just use this as an =
excuse to get away and record some stuff.  I'm hoping to release a CD of =
the 9/9/99 recordings this year. =20

  David


    ----- Original Message -----=20
    From: Rev Fever=20
    To: Loopers-Delight@loopers-delight.com=20
    Sent: Saturday, July 07, 2007 1:53 PM
    Subject: OT: 777 !!!


    Happy 777 !!! =20


    Today is the 7th day, of the 7th month, of the 7th year, which ONLY =
happens ONCE, every ONE THOUSAND YEARS!=20


    So celebrate!  Hurray!


    -Rev. Fever
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2900.3132" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY=20
style=3D"WORD-WRAP: break-word; khtml-nbsp-mode: space; =
khtml-line-break: after-white-space"=20
bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>My 2-year old twins were born on 5/5/05 =
(2005). And=20
their great grandfather was also born on 5/5/05 (1905). On 7/7/07, they =
were 2=20
years old, 2 months, and 2 days...2-2-2.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black">&nbsp;</DIV>
  <DIV><BR></DIV>
  <DIV><FONT face=3DArial size=3D2>Well, I've been recording on these =
funky=20
  dates.</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>9/9/99</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2>01/01/00</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2>10/01/01</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2>10/11/01</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2>02/02/02</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2>02/22/02</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2>03/03/03</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2>04/04/04</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2>05/05/05</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2>04/05/06</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2>06/06/06</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2>07/07/07</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>No, I'm not into some numerology =
thing - but just=20
  use this as an excuse to get away and record some stuff.&nbsp; I'm =
hoping to=20
  release a CD of the 9/9/99 recordings this year.&nbsp; </FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>David</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <BLOCKQUOTE dir=3Dltr=20
  style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
    <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
    <DIV=20
    style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
    <A title=3Drevfever@ubergadget.com =
href=3D"mailto:revfever@ubergadget.com">Rev=20
    Fever</A> </DIV>
    <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
    title=3DLoopers-Delight@loopers-delight.com=20
    =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
    </DIV>
    <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Saturday, July 07, 2007 =
1:53=20
    PM</DIV>
    <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> OT: 777 !!!</DIV>
    <DIV><BR></DIV><FONT class=3DApple-style-span size=3D6><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 22px"><B>Happy 777=20
    !!!&nbsp;</B></SPAN></FONT>=20
    <DIV><BR class=3Dkhtml-block-placeholder></DIV>
    <DIV>Today is the 7th day, of the 7th month, of the 7th year, which =
ONLY=20
    happens ONCE, every ONE THOUSAND YEARS!=20
    <DIV><BR class=3Dkhtml-block-placeholder></DIV>
    <DIV>So celebrate!&nbsp; Hurray!</DIV>
    <DIV><BR class=3Dkhtml-block-placeholder></DIV>
    <DIV>-Rev. Fever</DIV></DIV></BLOCKQUOTE></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_03B7_01C7C330.F24EDE50--


From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 02:33:06 2007
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Date: Tue, 10 Jul 2007 10:33:46 -0400
From: "David Kirkdorffer" <vze2ncsr@verizon.net>
Subject: Re: Cellphone looping - did somebody do that so far?
To: <Loopers-Delight@loopers-delight.com>
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Not sure if this is quite what you're after, but check out Windows Mobile
devices, and these bits of software.

http://vitotechnology.com/en/products/soundexplorer.html
http://www.the-gadgeteer.com/review/resco_audio_recorder

An important difference between the iPhone and Windows Mobile devices seems
to be that iPhone is requesting apps to run as a service from the web,
whereas Windows Mobile apps to be installed on the phone/device.



----- Original Message ----- 
From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
To: <Loopers-Delight@loopers-delight.com>
Sent: Monday, July 09, 2007 3:22 PM
Subject: Cellphone looping - did somebody do that so far?


> Awa-yeah motherfuckah!  Nothing like reading LD at a café on
> my pretty new toy.  I can't wait until someone hacks it to
> run audio apps. ;)

Bringing that back on-topic, at least for those non-iphone-people: can
anyone tell me whether it's possible to run audio apps (both if it's
possible and if such are available) for your run-of-the-mill Java-equipped
cell phone?

Rainer

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 02:39:42 2007
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Date: Tue, 10 Jul 2007 19:39:40 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: Fripp & Eno 1973 / BBC / Peel /RIAA
To: Loopers-Delight@loopers-delight.com
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wow this is really mind blowing!
thanx for the info
cheers
Luis


--- Rev Fever <revfever@ubergadget.com> wrote:

> It could have been either BMI or ASCAP, and it is
> likely that you are  
> correct.
> This occurred over 20  years ago at least,  so I
> could forgotten a  
> detail like that.
> 
> Also, it was possible that the place simply did NOT
> KNOW that they  
> had to pay to just
> have a guy play some sheet music on a piano, as
> opposed to playing  
> recorded music in their establishment.
> 
> And, regardless of whoever it did the "enforcement",
>  it was still a  
> thuggish maneuver.
> In the case of the restaurant and the piano player,
> it was like going  
> after a flea with a SLEDGEHAMMER.
> 
> I would not try to defend these BMI or ASACAP jerks
> for behavior such  
> as that.
> 
> Violating copyrights via bootlegging recordings and
> other nasty  
> behavior is one thing.
> But, to do what they did to that place and a simple
> little piano  
> player is simply just excessive.  C'mon now.
> 
> -Rev. Fever
> 
> PS-As for the RIAA, check out some of their ugly
> history on wiki.
> 
> http://en.wikipedia.org/wiki/RIAA
> 
> On Jul 9, 2007, at 11:43 AM, Travis Hartnett wrote:
> 
> > Actually that probably wasn't the RIAA, but either
> BMI or ASCAP.
> >
> > The scenario you described is how publishing works
> in America.  It
> > costs about a thousand dollars a year for an ASCAP
> or BMI license.
> > The restaurant was just too cheap to pay twenty
> bucks a week.
> >
> > TravisH
> >
> > On 7/9/07, Rev Fever <revfever@ubergadget.com>
> wrote:
> >
> >> The RIAA.   What a bunch of thugs and vicious
> brown shirts.
> >>
> >> Years ago, I knew of a restaurant in Dallas TX
> that had a guy who
> >> played PIANO in there for the soft and smooth
> entertainment of the
> >> diners,
> >> and he played well known songs from sheet music. 
> Well, one day, the
> >> RIAA showed up and FINED the restaurant since the
> place was not
> >> PAYING the royalties to have that guy play those
> tunes on the
> >> piano!!  This resulted in the place NO MORE
> having a piano player
> >> and the guy LOST his JOB, which very likely was
> NOT some high wage
> >> job to begin with, and was supplemented by any
> tips he managed to  
> >> get.
> >> So, that poor guy was quickly and suddenly
> unemployed.   Welcome to
> >> Corporate World.
> >>
> >> "Just doin' our job, ma'am". (RIAA, with a
> Dragnet's  Sgt Joe Friday
> >> voice)
> >>
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Park yourself in front of a world of choices in alternative vehicles. Visit the Yahoo! Auto Green Center.
http://autos.yahoo.com/green_center/ 

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 02:40:28 2007
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Date: Tue, 10 Jul 2007 10:41:05 -0400
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Subject: Re: iPhone (was Re: Cellphone looping)
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The iPhone is not likely to be sold in Japan for a whle, as it I don't
believe it supports the Japanese phone standards.

The interface to the iPhone is 100% cool and awesomely well thought out.  I
love it!
But my Samsung Blackjack has more capabilities for one-third the cost.
Personally, I also don't like being tied to both  at&t and iTunes...
Maybe when version three comes out Apple will have fixed a few of the bugs.
When I tried an iPhone at a store this weekend, it crashed twice...

If you're interested, there are rumours of a "iPhone Nano" for sometime near
Christmas.


----- Original Message ----- 
From: "Mech" <mech@m3ch.net>
To: <Loopers-Delight@loopers-delight.com>
Sent: Monday, July 09, 2007 4:16 PM
Subject: OT: iPhone (was Re: Cellphone looping)


> At 10:47 AM -0700 7/9/07, Mark Sottilaro wrote:
> >
> >Totally OT, it's the best phone I've ever used (my wife is a smartphone
> >junky and has owned a lot of them) Since it was providence that my old
> >company was canceling my service (how dare them stop paying for my
cellphone
> >after I quit!) on the day the iPhone came out, I went and met with my
wife
> >who was already on line for one at our local Apple store.
>
> Thanks for the quick review, Mark!
>
> Both my wife and I are *drooling* over this little gadget.  However,
> we've decided to chill out until we can purchase an unlocked version
> of it.
>
> With all the travelling we've done, we've decided that the way cell
> companies work in the US is just criminal.  Here, you can usually
> only get an account if you're willing to tie yourself into some bogus
> "plan" for a year or more.  And the only network available for the
> iPhone right now is AT&T?!?  Bugger them!
>
> I really rather like the "pay as you go" plans that are prevalent in
> Asia and Europe.  You buy a minute, you use a minute.  Simple.  Use
> all your minutes?  Walk down to the local "Family Mart" and buy a PIN
> number to reload some more.  And if you don't like the cell provider
> you're using, you get a different SIM chip down at the corner store
> and purchase minutes from a different provider.  None of these silly
> lock-ins, or small print in your "plan".
>
> I'm going to be over in Japan in a few weeks.  I'm hoping I might be
> able to snag an unlocked iPhone over there, then just install any SIM
> chip I want into it.  Otherwise, I'll wait for the general Asian
> rollout and get one in Bangkok.
>
> Sorry for the rant, but I do appreciate hearing from somebody out on
> the street who has RL experience with it.  Just makes us want one
> even more.
>
> --m.
> -- 
> _____
> "I want to keep you alive so there is always the possibility of
> murder... later"
>

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 02:43:19 2007
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Date: Tue, 10 Jul 2007 10:44:05 -0400
From: "David Kirkdorffer" <vze2ncsr@verizon.net>
Subject: Re: Personal looping archaeology - Roland GR 500
To: <Loopers-Delight@loopers-delight.com>
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I loved the GR 500!  That was an awesome device.  More here:
http://www.vintagesynth.com/index2.html



----- Original Message ----- 
From: "Mark Hamburg" <mark_hamburg@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Tuesday, July 10, 2007 4:29 AM
Subject: Re: Personal looping archaeology


> More archaeology from December 1985 or January 1986.
>
> Recorded live. Roland GR-500 looping via a DigiTech RDS-3600 -- 
> perhaps the best part on that instrument was when it would lose pitch
> tracking at the end of a note and go chaotic; a ridiculously
> complicated drum pattern playing 2 against 3 against 5 or something
> like that on the Korg DDM-110 and DDM-220; and a bass playing friend
> of mine (David Hotchkiss) whom I confronted with some sheet music
> with various phrases on it without specific timings and said just jam
> along playing these.
>
> http://grubmah.com/music/midnight_train.mp3
>
> Mark
>

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 02:46:56 2007
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From: midifriedchicken@comcast.net
To: Loopers-Delight@loopers-delight.com (Loopers Delight)
Subject: RC-50, un undiscovered treasure....
Date: Wed, 11 Jul 2007 02:46:54 +0000
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Well, I just spent the last 3 hours getting know my RC 50 in a way I never thought possible. No, I wasn't sticking my 1/4'' into the main in. I discovered the true nature of tempo sync. A bell or whistle I thought ( in much aggreement with breachthepeace@aohell) as a useless feature, but with the the right settings, I can play a part then have a percussion part chime in in perfect sync. The percussion will play in perfect sync regardless of the rhythm I play. Friggin brilliant. This does away with the need for guide tracks when playing with other musicians. Yeah, I know mobius rocks, but this $500 box continues to amaze. Boss has done a tremendous disservice to its product by providing an unbeleivibly lame manual that doesn't come cose to explaining the features of this machine. 


MFC

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 02:52:33 2007
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From: "David Kirkdorffer" <vze2ncsr@verizon.net>
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Kris -=20

How cool!   =20

One of my recordings from 05/05/05 is on myspace: =
http://www.myspace.com/undomusic .  It's cryptically called 05/05/05, in =
case you're wondering which one it is.  :-)

The piece called "The First Move" was recorded on 01/01/01, and Winter =
Wonderment was recorded 01/01/00.


  ----- Original Message -----=20
  From: Krispen Hartung=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Tuesday, July 10, 2007 10:28 PM
  Subject: Re: 777 !!!


  My 2-year old twins were born on 5/5/05 (2005). And their great =
grandfather was also born on 5/5/05 (1905). On 7/7/07, they were 2 years =
old, 2 months, and 2 days...2-2-2.

  Kris

    ----- Original Message -----=20



    Well, I've been recording on these funky dates.

    9/9/99
    01/01/00
    10/01/01
    10/11/01
    02/02/02
    02/22/02
    03/03/03
    04/04/04
    05/05/05
    04/05/06
    06/06/06
    07/07/07

    No, I'm not into some numerology thing - but just use this as an =
excuse to get away and record some stuff.  I'm hoping to release a CD of =
the 9/9/99 recordings this year. =20

    David


      ----- Original Message -----=20
      From: Rev Fever=20
      To: Loopers-Delight@loopers-delight.com=20
      Sent: Saturday, July 07, 2007 1:53 PM
      Subject: OT: 777 !!!


      Happy 777 !!! =20


      Today is the 7th day, of the 7th month, of the 7th year, which =
ONLY happens ONCE, every ONE THOUSAND YEARS!=20


      So celebrate!  Hurray!


      -Rev. Fever
------=_NextPart_000_0068_01C7C2E0.816CC300
Content-Type: text/html;
	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1555" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY=20
style=3D"WORD-WRAP: break-word; khtml-nbsp-mode: space; =
khtml-line-break: after-white-space"=20
bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Kris - </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>How cool!&nbsp; &nbsp; </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>One of my recordings from 05/05/05 is =
on myspace:=20
<A=20
href=3D"http://www.myspace.com/undomusic">http://www.myspace.com/undomusi=
c</A>&nbsp;.&nbsp;=20
It's cryptically called 05/05/05, in case you're&nbsp;wondering which =
one it=20
is.&nbsp; :-)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>The piece called&nbsp;"The First Move" =
was recorded=20
on 01/01/01, and Winter Wonderment was recorded 01/01/00.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dkhartung@cableone.net =
href=3D"mailto:khartung@cableone.net">Krispen=20
  Hartung</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Tuesday, July 10, 2007 =
10:28=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: 777 !!!</DIV>
  <DIV><BR></DIV>
  <DIV><FONT face=3DArial size=3D2>My 2-year old twins were born on =
5/5/05 (2005).=20
  And their great grandfather was also born on 5/5/05 (1905). On 7/7/07, =
they=20
  were 2 years old, 2 months, and 2 days...2-2-2.</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <BLOCKQUOTE dir=3Dltr=20
  style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
    <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
    <DIV=20
    style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black">&nbsp;</DIV>
    <DIV><BR></DIV>
    <DIV><FONT face=3DArial size=3D2>Well, I've been recording on these =
funky=20
    dates.</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2>9/9/99</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2>01/01/00</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2>10/01/01</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2>10/11/01</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2>02/02/02</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2>02/22/02</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2>03/03/03</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2>04/04/04</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2>05/05/05</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2>04/05/06</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2>06/06/06</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2>07/07/07</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2>No, I'm not into some numerology =
thing - but=20
    just use this as an excuse to get away and record some stuff.&nbsp; =
I'm=20
    hoping to release a CD of the 9/9/99 recordings this year.&nbsp;=20
    </FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2>David</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <BLOCKQUOTE dir=3Dltr=20
    style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
      <DIV style=3D"FONT: 10pt arial">----- Original Message ----- =
</DIV>
      <DIV=20
      style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
      <A title=3Drevfever@ubergadget.com =
href=3D"mailto:revfever@ubergadget.com">Rev=20
      Fever</A> </DIV>
      <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
      title=3DLoopers-Delight@loopers-delight.com=20
      =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
      </DIV>
      <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Saturday, July 07, =
2007 1:53=20
      PM</DIV>
      <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> OT: 777 !!!</DIV>
      <DIV><BR></DIV><FONT class=3DApple-style-span size=3D6><SPAN=20
      class=3DApple-style-span style=3D"FONT-SIZE: 22px"><B>Happy 777=20
      !!!&nbsp;</B></SPAN></FONT>=20
      <DIV><BR class=3Dkhtml-block-placeholder></DIV>
      <DIV>Today is the 7th day, of the 7th month, of the 7th year, =
which ONLY=20
      happens ONCE, every ONE THOUSAND YEARS!=20
      <DIV><BR class=3Dkhtml-block-placeholder></DIV>
      <DIV>So celebrate!&nbsp; Hurray!</DIV>
      <DIV><BR class=3Dkhtml-block-placeholder></DIV>
      <DIV>-Rev.=20
Fever</DIV></DIV></BLOCKQUOTE></BLOCKQUOTE></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_0068_01C7C2E0.816CC300--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 02:55:22 2007
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Date: Tue, 10 Jul 2007 10:56:12 -0400
From: "David Kirkdorffer" <vze2ncsr@verizon.net>
Subject: Re: Studio recording - breaking patterns - ideas?
To: <peter@RedSunSoundroom.com>,
	<Loopers-Delight@loopers-delight.com>
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Peter -

Thanks for your very kind words.  Hopefully soon you may have a chance to
check out the fruits of my 07/07/07 recording activities.
If you liked the Super-Cannes CD you have, I have a treat for you next time
we connect.  :-)

David

----- Original Message ----- 
From: "p koniuto" <peter@RedSunSoundroom.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Saturday, July 07, 2007 11:17 PM
Subject: Re: Studio recording - breaking patterns - ideas?


>
> David,
>
> Just catching up on some e-mail, so this may be a bit
> late...
>
> For one, i'll chime in and cheer on your studio efforts
> to date.  I *really* enjoy all three records of yours i have
> (two from UNDO and one from Super-Cannes).  Many people with
> whom i have shared your music have really been knocked out
> with it.
>
> So, bravo!  Go into your next recording session knowing
> listeners of diverse walks of life are charged by your music.
>
> Second, i can offer that i believe most of us go into the
> studio thinking, at least on some level, we are doing
> something for posterity's sake, that this should last, it
> should speak to generations, it is carved in stone, it's what
> we are leaving the world.
>
> However much or little truth to any of that there may be,
> LEAVE IT AT THE THE STUDIO DOOR WHEN YOU WALK IN.
>
> It's not easy, for many of us are paying a good chunk to record,
> or at the very least, making ourselves vulnerable within that
> moment of creation (the very definition of artist, to me)--it
> costs us, one way or another, and we feel we need a lasting
> return on our investment.
>
> At the risk of sounding like i am preaching the Buddhist doctrine,
> i say embrace the *impermancence* of what you are doing when you
> go in to record.  "Shiver!--the Record button is on!"  Forget
> about it already.  It's NOT going to capture who you are and what
> you do no matter what, it'll only be a snapshot, so accept that
> and have fun.  Ever seen a still image of log rollers?--it's quite
> a different thing in motion, especially when you're doing the
> rolling.  That's being the artist, and the best an audience can
> expect from a recording is that still image.  Roll on anyway!
> The "still image" you leave behind will be better for it.
>
> Third, if you are particularly worried about repeating certain
> patterns, i encourage you to immerse yourself in music very
> foreign to your own but that speaks to you just before recording.
> Bring it into the studio even.  I saw Terry Bozzio do this with
> a field recording of Senegalese tribal drummers.  He couldn't
> possibly replicate what they were doing, but it put him in a
> different place, it threw him in the deep end, if you will.
> Personally, i've done it with Steve Reich recordings, Thai
> classical music, the latest in Top 40 slick pop.  Try Judy
> Garland, play it on 10.
>
> I've blathered on...
>
> Let me say just one other thing: it's GREAT NEWS to hear you
> are heading back into the studio, David!  Let us all know when
> you feel you have something new to share.
>
> Best,
> Peter
>
> ______________________________
> Peter Koniuto
> Creative Recordist - Composer
> Red Sun Soundroom
> Niskayuna, NY
>
> COMING SOON!
> Pseudophone's "Reach"
> A free EP from Negative Sound Institute
>
> http://www.RedSunSoundroom.com
> peter AT RedSunSoundroom.com
> ______________________________
>
>
> >     On Jun 30, 2007, at 2:55 AM, David Kirkdorffer wrote:
> >
> >
> >       Hi -
> >
> >
> >
> >
> >       I'm going into studio next weekend to record.  Over the years I've
> > fallen
> >
> >       into patterns.  I'd like to try something different.
> >
> >
> >
> >
> >       Past efforts can be heard here: http://www.myspace.com/undomusic
> >
> >
> >
> >
> >       And this is a great community for sharing ideas.  What are some
> > concepts or
> >
> >       strategies you've used to break out of your patterns?
> >
> >
> >
> >
> >       Thanks in advance for your thoughts.
> >
> >
> >
> >
> >       David
> >
> >
> >
>

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From: "David Kirkdorffer" <vze2ncsr@verizon.net>
Subject: Gig Spam - in New England - UNDO, Sat 14 July, SKYBAR
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References: <785EDC86-88F5-4ADD-A531-B3F66A5AAA34@baymoon.com>
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I'll be performing Saturday 14th July at SKYBAR in Somerville, MA.  I think
there are quite a few bands lined up for the night, so I've asked to go on
first - so, sometime around 8pm or so.

Bring your awareness however you will.

David

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 03:05:37 2007
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From: "RICK WALKER" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: OT: Vocal Harmonizer recommendations?
Date: Tue, 10 Jul 2007 20:05:37 -0700
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All my life I've wanted a good vocal harmonizer in either a floor
or rackmount version and they've always been a bit out of my grasp
economically.

I've used the Red Whammy pedal and the Digitech Vocal 300 but they both
are very noisy and don't have intelligent harmonies in them.

I've also got a Boss IntelliShifter but it's scales are very perfunctory and 
I
would like to be able to do things like use Balkan harmonies or even
shifting harmonies so it's just not sophisticated enough for the things I
want to do.

I've finally decided to throw caution to the wind and try to find a more 
sophisticated unit
for my live looping performances

The Eventides are just out of my price range even in used condition 
...............for what that's worth.


.................but I have been looking specifically, at



Digitech DHP-44 Intelligent Harmonizer Whammy Eventide

Digitech VHM5 Vocalist Harmonizer

Digitech Vocalist Performer Harmonizer Vocal Processor

Digitech Vocalist Live 2 Vocal Harmonizer
******************************************************************************************************************************

Does anyone have any advice for me or are there units to avoid (for reasons 
of noise or lack of sophistication)? 

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Date: Tue, 10 Jul 2007 22:09:10 -0500
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The Rocktron Intellifex actually does a pretty credible job, IIRC. Do check
with someone who actually has one around to verify that.



On 7/10/07, RICK WALKER <looppool@cruzio.com> wrote:
>
> All my life I've wanted a good vocal harmonizer in either a floor
> or rackmount version and they've always been a bit out of my grasp
> economically.
>
> I've used the Red Whammy pedal and the Digitech Vocal 300 but they both
> are very noisy and don't have intelligent harmonies in them.
>
> I've also got a Boss IntelliShifter but it's scales are very perfunctory
> and
> I
> would like to be able to do things like use Balkan harmonies or even
> shifting harmonies so it's just not sophisticated enough for the things I
> want to do.
>
> I've finally decided to throw caution to the wind and try to find a more
> sophisticated unit
> for my live looping performances
>
> The Eventides are just out of my price range even in used condition
> ...............for what that's worth.
>
>
> .................but I have been looking specifically, at
>
>
>
> Digitech DHP-44 Intelligent Harmonizer Whammy Eventide
>
> Digitech VHM5 Vocalist Harmonizer
>
> Digitech Vocalist Performer Harmonizer Vocal Processor
>
> Digitech Vocalist Live 2 Vocal Harmonizer
>
> ******************************************************************************************************************************
>
> Does anyone have any advice for me or are there units to avoid (for
> reasons
> of noise or lack of sophistication)?
>
>

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The Rocktron Intellifex actually does a pretty credible job, IIRC. Do check with someone who actually has one around to verify that. <br><br><br><br><div><span class="gmail_quote">On 7/10/07, <b class="gmail_sendername">RICK WALKER
</b> &lt;<a href="mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">All my life I&#39;ve wanted a good vocal harmonizer in either a floor
<br>or rackmount version and they&#39;ve always been a bit out of my grasp<br>economically.<br><br>I&#39;ve used the Red Whammy pedal and the Digitech Vocal 300 but they both<br>are very noisy and don&#39;t have intelligent harmonies in them.
<br><br>I&#39;ve also got a Boss IntelliShifter but it&#39;s scales are very perfunctory and<br>I<br>would like to be able to do things like use Balkan harmonies or even<br>shifting harmonies so it&#39;s just not sophisticated enough for the things I
<br>want to do.<br><br>I&#39;ve finally decided to throw caution to the wind and try to find a more<br>sophisticated unit<br>for my live looping performances<br><br>The Eventides are just out of my price range even in used condition
<br>...............for what that&#39;s worth.<br><br><br>.................but I have been looking specifically, at<br><br><br><br>Digitech DHP-44 Intelligent Harmonizer Whammy Eventide<br><br>Digitech VHM5 Vocalist Harmonizer
<br><br>Digitech Vocalist Performer Harmonizer Vocal Processor<br><br>Digitech Vocalist Live 2 Vocal Harmonizer<br>******************************************************************************************************************************
<br><br>Does anyone have any advice for me or are there units to avoid (for reasons<br>of noise or lack of sophistication)?<br><br></blockquote></div><br>

------=_Part_4219_18693876.1184123350533--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 03:21:48 2007
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Date: Tue, 10 Jul 2007 11:22:20 -0400
From: "David Kirkdorffer" <vze2ncsr@verizon.net>
Subject: Re: Vocal Harmonizer recommendations?
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Try these:

http://www.guitar.com.au/effects/t.c.electronics/Quintet.htm
http://www.bizrate.com/musicalinstrumenteffectsprocessors/products__keyword--digitech+vocal+harmonizer.html



----- Original Message ----- 
From: "RICK WALKER" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Sent: Tuesday, July 10, 2007 11:05 PM
Subject: OT: Vocal Harmonizer recommendations?


> All my life I've wanted a good vocal harmonizer in either a floor
> or rackmount version and they've always been a bit out of my grasp
> economically.
>
> I've used the Red Whammy pedal and the Digitech Vocal 300 but they both
> are very noisy and don't have intelligent harmonies in them.
>
> I've also got a Boss IntelliShifter but it's scales are very perfunctory
and
> I
> would like to be able to do things like use Balkan harmonies or even
> shifting harmonies so it's just not sophisticated enough for the things I
> want to do.
>
> I've finally decided to throw caution to the wind and try to find a more
> sophisticated unit
> for my live looping performances
>
> The Eventides are just out of my price range even in used condition
> ...............for what that's worth.
>
>
> .................but I have been looking specifically, at
>
>
>
> Digitech DHP-44 Intelligent Harmonizer Whammy Eventide
>
> Digitech VHM5 Vocalist Harmonizer
>
> Digitech Vocalist Performer Harmonizer Vocal Processor
>
> Digitech Vocalist Live 2 Vocal Harmonizer
>
****************************************************************************
**************************************************
>
> Does anyone have any advice for me or are there units to avoid (for
reasons
> of noise or lack of sophistication)?
>

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 03:46:54 2007
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Date: Tue, 10 Jul 2007 20:46:53 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: OT: Vocal Harmonizer recommendations?
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Hey Rick ive heard good things about the TC voice live
although ive never tried it myself,anybody?
cheers
Luis



--- RICK WALKER <looppool@cruzio.com> wrote:

> All my life I've wanted a good vocal harmonizer in
> either a floor
> or rackmount version and they've always been a bit
> out of my grasp
> economically.
> 
> I've used the Red Whammy pedal and the Digitech
> Vocal 300 but they both
> are very noisy and don't have intelligent harmonies
> in them.
> 
> I've also got a Boss IntelliShifter but it's scales
> are very perfunctory and 
> I
> would like to be able to do things like use Balkan
> harmonies or even
> shifting harmonies so it's just not sophisticated
> enough for the things I
> want to do.
> 
> I've finally decided to throw caution to the wind
> and try to find a more 
> sophisticated unit
> for my live looping performances
> 
> The Eventides are just out of my price range even in
> used condition 
> ...............for what that's worth.
> 
> 
> .................but I have been looking
> specifically, at
> 
> 
> 
> Digitech DHP-44 Intelligent Harmonizer Whammy
> Eventide
> 
> Digitech VHM5 Vocalist Harmonizer
> 
> Digitech Vocalist Performer Harmonizer Vocal
> Processor
> 
> Digitech Vocalist Live 2 Vocal Harmonizer
>
******************************************************************************************************************************
> 
> Does anyone have any advice for me or are there
> units to avoid (for reasons 
> of noise or lack of sophistication)? 
> 
> 


www.myspace.com/luisangulocom


 
____________________________________________________________________________________
The fish are biting. 
Get more visitors on your site using Yahoo! Search Marketing.
http://searchmarketing.yahoo.com/arp/sponsoredsearch_v2.php

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 04:17:43 2007
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Subject: Re: OT: Vocal Harmonizer recommendations?
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I've no idea what your budget is, but I think this is one of the best  
units around based on what i've read/heard:

http://www.sweetwater.com/store/detail/VoiceWorkPls/

It's not cheap by any means, but it's not in Eventide territory  
either. If you are interested, Full Compass has a better price than  
Sweetwater.

Jeff

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 05:56:04 2007
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From: Bart Lyons <blyons@belfast.oilfield.slb.com>
Subject: Re: Vocal Harmonizer recommendations?
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The TC Electronics Quintet is not bad and you can find them on eBay 
for a good price $350. However unlike the Digitech you will need midi 
say from a keyboard or midi guitar which is what I used to track the 
chord/key changes. To be honest unless you pay mega bucks they all 
sound a bit cheesy. Far better looping your vocal harmony as it's all natural.

At 16:22 10/07/2007, David Kirkdorffer wrote:
>Try these:
>
>http://www.guitar.com.au/effects/t.c.electronics/Quintet.htm
>http://www.bizrate.com/musicalinstrumenteffectsprocessors/products__keyword--digitech+vocal+harmonizer.html
>
>
>
>----- Original Message -----
>From: "RICK WALKER" <looppool@cruzio.com>
>To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
>Sent: Tuesday, July 10, 2007 11:05 PM
>Subject: OT: Vocal Harmonizer recommendations?
>
>
> > All my life I've wanted a good vocal harmonizer in either a floor
> > or rackmount version and they've always been a bit out of my grasp
> > economically.
> >
> > I've used the Red Whammy pedal and the Digitech Vocal 300 but they both
> > are very noisy and don't have intelligent harmonies in them.
> >
> > I've also got a Boss IntelliShifter but it's scales are very perfunctory
>and
> > I
> > would like to be able to do things like use Balkan harmonies or even
> > shifting harmonies so it's just not sophisticated enough for the things I
> > want to do.
> >
> > I've finally decided to throw caution to the wind and try to find a more
> > sophisticated unit
> > for my live looping performances
> >
> > The Eventides are just out of my price range even in used condition
> > ...............for what that's worth.
> >
> >
> > .................but I have been looking specifically, at
> >
> >
> >
> > Digitech DHP-44 Intelligent Harmonizer Whammy Eventide
> >
> > Digitech VHM5 Vocalist Harmonizer
> >
> > Digitech Vocalist Performer Harmonizer Vocal Processor
> >
> > Digitech Vocalist Live 2 Vocal Harmonizer
> >
>****************************************************************************
>**************************************************
> >
> > Does anyone have any advice for me or are there units to avoid (for
>reasons
> > of noise or lack of sophistication)?
> >

--Boundary_(ID_v0uNG3PHG84keiWhcfGgMw)
Content-type: text/html; charset=us-ascii
Content-transfer-encoding: 7BIT

<html>
<body>
<font size=3>The TC Electronics Quintet is not bad and you can find them
on eBay for a good price $350. However unlike the Digitech you will need
midi say from a keyboard or midi guitar which is what I used to track the
chord/key changes. To be honest unless you pay mega bucks they all sound
a bit cheesy. Far better looping your vocal harmony as it's all
natural.<br><br>
At 16:22 10/07/2007, David Kirkdorffer wrote:<br>
<blockquote type=cite class=cite cite="">Try these:<br><br>
<a href="http://www.guitar.com.au/effects/t.c.electronics/Quintet.htm" eudora="autourl">
http://www.guitar.com.au/effects/t.c.electronics/Quintet.htm</a><br>
<a href="http://www.bizrate.com/musicalinstrumenteffectsprocessors/products__keyword--digitech+vocal+harmonizer.html" eudora="autourl">
http://www.bizrate.com/musicalinstrumenteffectsprocessors/products__keyword--digitech+vocal+harmonizer.html</a>
<br><br>
<br><br>
----- Original Message ----- <br>
From: &quot;RICK WALKER&quot; &lt;looppool@cruzio.com&gt;<br>
To: &quot;LOOPERS DELIGHT (posting)&quot;
&lt;Loopers-Delight@loopers-delight.com&gt;<br>
Sent: Tuesday, July 10, 2007 11:05 PM<br>
Subject: OT: Vocal Harmonizer recommendations?<br><br>
<br>
&gt; All my life I've wanted a good vocal harmonizer in either a
floor<br>
&gt; or rackmount version and they've always been a bit out of my
grasp<br>
&gt; economically.<br>
&gt;<br>
&gt; I've used the Red Whammy pedal and the Digitech Vocal 300 but they
both<br>
&gt; are very noisy and don't have intelligent harmonies in them.<br>
&gt;<br>
&gt; I've also got a Boss IntelliShifter but it's scales are very
perfunctory<br>
and<br>
&gt; I<br>
&gt; would like to be able to do things like use Balkan harmonies or
even<br>
&gt; shifting harmonies so it's just not sophisticated enough for the
things I<br>
&gt; want to do.<br>
&gt;<br>
&gt; I've finally decided to throw caution to the wind and try to find a
more<br>
&gt; sophisticated unit<br>
&gt; for my live looping performances<br>
&gt;<br>
&gt; The Eventides are just out of my price range even in used
condition<br>
&gt; ...............for what that's worth.<br>
&gt;<br>
&gt;<br>
&gt; .................but I have been looking specifically, at<br>
&gt;<br>
&gt;<br>
&gt;<br>
&gt; Digitech DHP-44 Intelligent Harmonizer Whammy Eventide<br>
&gt;<br>
&gt; Digitech VHM5 Vocalist Harmonizer<br>
&gt;<br>
&gt; Digitech Vocalist Performer Harmonizer Vocal Processor<br>
&gt;<br>
&gt; Digitech Vocalist Live 2 Vocal Harmonizer<br>
&gt;<br>
****************************************************************************<br>
**************************************************<br>
&gt;<br>
&gt; Does anyone have any advice for me or are there units to avoid
(for<br>
reasons<br>
&gt; of noise or lack of sophistication)?<br>
&gt;</font></blockquote></body>
</html>

--Boundary_(ID_v0uNG3PHG84keiWhcfGgMw)--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 06:04:27 2007
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From: Mark Hamburg <mark_hamburg@baymoon.com>
Subject: Re: Personal looping archaeology - Roland GR 500
Date: Tue, 10 Jul 2007 23:04:18 -0700
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On 10 Jul 2007, at 7:44 AM, David Kirkdorffer wrote:

> I loved the GR 500!  That was an awesome device.  More here:
> http://www.vintagesynth.com/index2.html

Digging through old tapes, I'm finding lots of stuff using it. It did  
make some rather useful sounds. It was also my primary guitar for a  
while though the instrument I had had been modified by a previous  
owner to feed the guitar signal out independent of the synth  
hardware. That probably made it more useful, but the wiring job  
seemed to be less reliable.

Mark

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 07:30:08 2007
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From: "RICK WALKER" <looppool@cruzio.com>
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Subject: Re: OT: Vocal Harmonizer recommendations?
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Bart wrote:
"The TC Electronics Quintet is not bad and you can find them on eBay for a 
good price $350. However unlike the Digitech you will need midi say from a 
keyboard or midi guitar which is what I used to track the chord/key changes. 
To be honest unless you pay mega bucks they all sound a bit cheesy. Far 
better looping your vocal harmony as it's all natural."


Thanks for the recommendation Bart, but I'm actually LOOKING for synthetic, 
not natural .
I just want something that can customizeably track me with one or two voices 
as I sing.
I also want something that will drone a 2nd as I sing against it (or any 
interval) ala
Balkan choral singing.   Will anything do that?

I also want to freak it out and play other instruments into that it has a 
hard time tracking.
I know, I know.................I'm strange, but what else is new?

I want to create strange and moveable harmonies and I want it to be 
instantaneous.
You can loop vocals on yourself,  but they remain static and I want 
something that can
let me really freely improvise with an effect that is really quick.

I"m finding it's great to loop somethings but it's really great NOT to loop 
somethings on top of
it for it all to sound somewhat 'real' if you know what I mean.

Has any one heard the Imogen Heap track that is all acapella except for 
rather synthetic sounding
harmonization?    I'm just enthralled with it.  Please forgive me but I 
forget the title of the track
and it's out in my car as I type.

Thanks everyone for all the wonderful recommendations!

yours,  Rick 

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 08:03:53 2007
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Subject: Re:RC-50, un undiscovered treasure....
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 Boss has done a tremendous disservice to its product by providing an unb=
eleivibly lame manual that doesn't come cose to explaining the features o=
f this machine. 

Check out these 6 RC-50 support documents from Roland US
http://www.rolandus.com/products/productdetails.aspx?dsection=3Dd_support=
&ObjectId=3D772
Sjaak =0A---=0AScarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...=0A=
http://www.scarlet.be/
--_=__=_XaM3_.1184141030.2A.367707.42.21025.52.42.007.1297335052
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<DIV>
<HR>
</DIV>
<DIV>
<TABLE>
<TBODY>
<TR>
<TD width=3D1 bgColor=3D#000000></TD>
<TD>&nbsp;</TD>
<TD>
<DIV>Boss has done a tremendous disservice to its product by providing an=
 unbeleivibly lame manual that doesn't come cose to explaining the featur=
es of this machine. </DIV></TD></TR></TBODY></TABLE></DIV>
<P>Check out these 6 RC-50 support documents from Roland US</P>
<P><A href=3D"http://www.rolandus.com/products/productdetails.aspx?dsecti=
on=3Dd_support&amp;ObjectId=3D772">http://www.rolandus.com/products/produ=
ctdetails.aspx?dsection=3Dd_support&amp;ObjectId=3D772</A></P>
<P>Sjaak&nbsp;</P>
--_=__=_XaM3_.1184141030.2A.367707.42.21025.52.42.007.1297335052--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 08:13:39 2007
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Subject: Re: OT: Vocal Harmonizer recommendations?
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voice live is a good machine for use on stage.
you can compose your own chords for every chromatic note.
it tracks pitches up to d2. it is obviously made for singers.
i can use it only with the lower range of my instrument, the flute.
there is an editing program out there (but i haven't used it for much more 
han saving my presets).
it's got a phantom powered xlr input!

tilmann



----- Original Message ----- 
From: "RICK WALKER" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Sent: Wednesday, July 11, 2007 9:30 AM
Subject: Re: OT: Vocal Harmonizer recommendations?


> Bart wrote:
> "The TC Electronics Quintet is not bad and you can find them on eBay for a 
> good price $350. However unlike the Digitech you will need midi say from a 
> keyboard or midi guitar which is what I used to track the chord/key 
> changes. To be honest unless you pay mega bucks they all sound a bit 
> cheesy. Far better looping your vocal harmony as it's all natural."
>
>
> Thanks for the recommendation Bart, but I'm actually LOOKING for 
> synthetic, not natural .
> I just want something that can customizeably track me with one or two 
> voices as I sing.
> I also want something that will drone a 2nd as I sing against it (or any 
> interval) ala
> Balkan choral singing.   Will anything do that?
>
> I also want to freak it out and play other instruments into that it has a 
> hard time tracking.
> I know, I know.................I'm strange, but what else is new?
>
> I want to create strange and moveable harmonies and I want it to be 
> instantaneous.
> You can loop vocals on yourself,  but they remain static and I want 
> something that can
> let me really freely improvise with an effect that is really quick.
>
> I"m finding it's great to loop somethings but it's really great NOT to 
> loop somethings on top of
> it for it all to sound somewhat 'real' if you know what I mean.
>
> Has any one heard the Imogen Heap track that is all acapella except for 
> rather synthetic sounding
> harmonization?    I'm just enthralled with it.  Please forgive me but I 
> forget the title of the track
> and it's out in my car as I type.
>
> Thanks everyone for all the wonderful recommendations!
>
> yours,  Rick 

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 09:02:50 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: OT: Vocal Harmonizer recommendations?
Date: Wed, 11 Jul 2007 11:02:51 +0200
To: Loopers-Delight@loopers-delight.com
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On 11 jul 2007, at 05.05, RICK WALKER wrote:

> Does anyone have any advice for me or are there units to avoid (for  
> reasons of noise or lack of sophistication)?


I was looking for a similar device, for similar reasons, a couple of  
years ago, and I remember finding the best information at Harmony  
Central's User Reviews. Actually I found a tip for a viable unit but  
today I can't remember which one it was. You see, before I could buy  
it I changed my concept about real-time harmonization and decided to  
go for only two added notes to leave place for the third note of the  
triad to be played by me as the live input signal. This way I can  
move freely between major and minor and improvise more fluently. This  
is why I settled for the FireworX instead of the Eclipse and today I  
have even sold the FireworX and set up almost those "add-two-notes"  
patches with VST plug-ins. (I'm also doing live harmonization on the  
MIDI side when playing the EWI, but that's OT here)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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Dear Rick,

you said:
> All my life I've wanted a good vocal harmonizer in either a floor
> or rackmount version and they've always been a bit out of my grasp
> economically.

Then later on, you said:
>Thanks for the recommendation Bart, but I'm actually LOOKING for synthetic=
,=20
>not natural .

So I'm a bit confused what you're looking for. For something which has a ve=
ry unique, synthetic sound and offers intelligent pitch shift (although I b=
elieve only two-voice), you might try to find a Sony GR-MP5 or the keyboard=
 version...an early-nineties halfrack device which is somewhat noisy but of=
fers really crazy multi-effects setups and a very quick intelligent pitch s=
hifter which sounds wonderfully cheesy on vocals.

Cheap pitch shifting (although no scales, just fixed intervals): Behringer =
Virtualizer DSP2048Pro

Something really synthetic: Resurrect your Zoom1201. Put it into vocoder mo=
de. Send your vocal signal in the analyze input and your vocal signal throu=
gh the whammy in the carrier input. Perhaps even put a delay in between the=
 whammy and the 1201 for some multi-voice harmonies.

             Rainer

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> is why I settled for the FireworX instead of the Eclipse and today I =20
> have even sold the FireworX and set up almost those "add-two-notes" =20
> patches with VST plug-ins. (I'm also doing live harmonization on the =20

Which plugins do you use here? I've yet to find a pitch-shifter plugin whic=
h is a) less synthetic than MadShifta, b) faster/better tracking than the W=
aves stuff and c) less CPU-hungry than everything I know except for MadShif=
ta...

            Rainer

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: OT: Vocal Harmonizer recommendations? - VST solutions?
Date: Wed, 11 Jul 2007 12:18:54 +0200
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>> is why I settled for the FireworX instead of the Eclipse and today I
>> have even sold the FireworX and set up almost those "add-two-notes"
>> patches with VST plug-ins. (I'm also doing live harmonization on the
>
On 11 jul 2007, at 11.30, rs@moinlabs.de wrote:
> Which plugins do you use here? I've yet to find a pitch-shifter  
> plugin which is a) less synthetic than MadShifta, b) faster/better  
> tracking than the Waves stuff and c) less CPU-hungry than  
> everything I know except for MadShifta...
>
>             Rainer


Hi Rainer,

In the VST format for WinXP there are also Pitch-Shifter and Shifter  
Bank from Braindoc and Discord 2.0 from Audio Damage Inc. Discord is  
the one I use the most; it has also two delays a kind of built-in  
routing that spares you a lot of cable routing in Bidule, Max etc.  
The Braindoc stuff is good but a little to CPU intensive for my 2GHz  
one CPU lappy.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 11:16:56 2007
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Date: Wed, 11 Jul 2007 04:16:48 -0700 (PDT)
From: Tim Nelson <psychle62@yahoo.com>
Subject: gig spam: Dover, NH
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Any loopers finding themselves an hour north of Boston
on any Thursday evening this summer might be
interested in this concert series. (Probably
two-thirds of the artists are loopers...)

Twilight Outdoor Music Series, 4 Franklin Plaza, Upper
Courtyard on Central Avenue, Dover, N.H. $5 suggested
voluntary donation. (All shows 7-9 PM except the last
one which is 6-9:30)

7/12: Winterstar and Mosfet
7/19: Sean's Social Paradise and the Great Invisibles
7/26: Roman(us) w/Nick Phaneuf
8/2: Thom Keith and Mike Walsh, Chelsey Fitzgerald
8/9: Pine Tree State Mind Control and Pollution
8/16: Hearts of Darkness and Horchata
8/23: Guy Capecelatro III and Tim Nelson
8/30: Beat Pervert, Tam Vampires and Tiny Whales

If any of you can make it to my set on August 23rd, be
sure to introduce yourself! I'm not sure if I'm on
first or second...

-t-

http://www.myspace.com/nimbletunes
http://cdbaby.com/all/timnelson


       
____________________________________________________________________________________
Looking for a deal? Find great prices on flights and hotels with Yahoo! FareChase.
http://farechase.yahoo.com/

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 11:28:05 2007
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From: Bernhard Wagner LD <loopdelightml-NDI3MDE=-@bernhardwagner.net>
Subject: Vocal Looper Mal Webb Gigs Austria and Germany
Date: Wed, 11 Jul 2007 13:28:01 +0200
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> From: Mal Webb
> Date: 11. Juli 2007 01:35:04 GMT+02:00
> To: undisclosed-recipients:;
> Subject: Re: turn of Mal... with a little more info
>
> Hi everyone, here's my gigs in Austria and Germany with the final =20
> details filled in. I hope you can come along... yay!
> Delightedly thine,  Mal
>
> Wednesday July 11, 9:30pm, Mal Webb solo (25 minutes performance) =20
> at Theatre Am Spittelberg, 1070 Vienna, Spittelberggasse 10. =20
> Vienna, Austria. Euro 15 (includes the TRIS clown theatre at 7:30 =20
> pm) www.theateramspittelberg.at
>
> July 12-13 Mal Webb runs a workshop, "Deine Stimme ist die Band" =20
> only for people between 16 and 25 years. Vienna, 8, Albertgasse 35/=20
> II. Euro 28 subscription: www.soundbase.at. Vienna, Austria
>
> Saturday July 14, 8pm, Mal Webb and Carl Pannuzzo (of Totally =20
> Gourdgeous) each solo and together at Vorstadt Gasthaus, Vienna, =20
> 16, Herbststrasse 37. Euro 13 / Euro 9 (students) Vienna, Austria =20
> www.vorstadt.at
>
> Sunday July 15, 17:00 Uhr, Sommerpicknick im KabirRiNett. =20
> KABIriNETT, Kleinh=F6chberger Weg 1 71522 Gro=DFh=F6chberg Deutschland =
=20
> http://www.kabirinett.de . Tags=FCber auf der Wiese herrliches =20
> Picknick, The Beez und den tollen Mal Webb aus Australien genie=DFen!
>
> Friday July 20,  20:00 Uhr, Commusication beim Sommerpalascht (mit =20
> The Beez, Mal Webb und mehr!) Stadtgarten, Murrhardt, Deutschland =20
> http://www.sommerpalast.de
>
> July 22-29, Mal Webb teaches and performs at Vokalsummerakademie, =20
> Austria. For details/bookings, go to: www.vokalsommerakademie.at
>
> Saturday July 28, 20:00, Mal Webb (playing bass and vocals) and =20
> Carl Pannuzzo join with Wien acapella lovelies Trui for Triu and =20
> Friends, part 2 (as they did part 1 last year), Heuriger Sandhofer, =20=

> Am Kellerplatz, 7083 Purbach, Austria, ticket: 12=80 regular, 8=80 =20
> students. Reservations on +43 699 12366237 or +43 699 1500 7550.
>
> http://www.malwebb.com
> http://www.myspace.com/malwebb1

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 12:47:49 2007
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From: Teddy <teddybutter@mac.com>
Subject: Re: RC-50, un undiscovered treasure....
Date: Wed, 11 Jul 2007 08:47:51 -0400
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what percussion exactly are you talking about if not the guide?  
something you prerecord?
could you explain in more detail?

Teddy


On Jul 10, 2007, at 10:46 PM, midifriedchicken@comcast.net wrote:

> Well, I just spent the last 3 hours getting know my RC 50 in a way  
> I never thought possible. No, I wasn't sticking my 1/4'' into the  
> main in. I discovered the true nature of tempo sync. A bell or  
> whistle I thought ( in much aggreement with breachthepeace@aohell)  
> as a useless feature, but with the the right settings, I can play a  
> part then have a percussion part chime in in perfect sync. The  
> percussion will play in perfect sync regardless of the rhythm I  
> play. Friggin brilliant. This does away with the need for guide  
> tracks when playing with other musicians. Yeah, I know mobius  
> rocks, but this $500 box continues to amaze. Boss has done a  
> tremendous disservice to its product by providing an unbeleivibly  
> lame manual that doesn't come cose to explaining the features of  
> this machine.
>
>
> MFC

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 13:15:13 2007
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Date: Wed, 11 Jul 2007 08:15:11 -0500
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That's "Hide and Seek." I'm pretty sure she's using a vocoder for that
track. Either that, or a harmonizer that responds to MIDI from a keyboard to
determine the pitches. There's a couple YouTube vids showing her performing
it live. Given how the timbre changes, though (at times sounding like a
low-pass filter is opening up gradually), I'm inclined to believe it's a
vocoder.

Cheers,

Jon

On 7/11/07, RICK WALKER <looppool@cruzio.com> wrote:
>
>
> Has any one heard the Imogen Heap track that is all acapella except for
> rather synthetic sounding
> harmonization?    I'm just enthralled with it.  Please forgive me but I
> forget the title of the track
> and it's out in my car as I type.
>
> Thanks everyone for all the wonderful recommendations!
>
> yours,  Rick
>
>

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That&#39;s &quot;Hide and Seek.&quot; I&#39;m pretty sure she&#39;s using a vocoder for that track. Either that, or a harmonizer that responds to MIDI from a keyboard to determine the pitches. There&#39;s a couple YouTube vids showing her performing it live. Given how the timbre changes, though (at times sounding like a low-pass filter is opening up gradually), I&#39;m inclined to believe it&#39;s a vocoder.
<br><br>Cheers,<br><br>Jon<br><br><div><span class="gmail_quote">On 7/11/07, <b class="gmail_sendername">RICK WALKER</b> &lt;<a href="mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<br>Has any one heard the Imogen Heap track that is all acapella except for<br>rather synthetic sounding<br>harmonization?&nbsp;&nbsp;&nbsp;&nbsp;I&#39;m just enthralled with it.&nbsp;&nbsp;Please forgive me but I<br>forget the title of the track<br>and it&#39;s out in my car as I type.
<br><br>Thanks everyone for all the wonderful recommendations!<br><br>yours,&nbsp;&nbsp;Rick<br><br></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 14:03:33 2007
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Thread-Topic: Fripp & Eno 1973 / BBC / Peel /RIAA & the iphone
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References: <636538.4100.qm@web38611.mail.mud.yahoo.com>
From: "Goddard, Duncan" <goddard.duncan@mtvne.com>
To: <Loopers-Delight@loopers-delight.com>
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here is an iphone getting slightly rough "tear-down" treatment. you can
see all the magic smoke being let out, & there's a lot of it.
http://www.willitblend.com/videos.aspx?type=3Dunsafe&video=3Diphone

& as for the fripp&eno "session", the final word: my mate has reversed
the recording so it's back how it otter be, & it's identical to the
album version. herewith his slightly informal presentation of the facts:

>>Fripp and Eno update: having reversed the bugger out of curiosity, it
is actually the same as the albumen !  Andy G's rec is more complete and
has some good Peel chat about "opinion being divided in the studio" (for
some reason Eric Idle had popped in that day, the week before Xmas,
maybe the Radio 1 party or summat) but that "he had liked it and thought
there was an element of the `Tangerine' about it". I'll get it done
f'yuz's anyway as it's still funny. There's some bullshit theory on
t'net that to play it backwards was a deliberate joke between Peel and
Eno, but that's obviously just twatty speculation.<<

so there.

d.

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Subject: Re: RC-50, un undiscovered treasure....
Date: Wed, 11 Jul 2007 14:23:30 +0000
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An Imported wave file. I spent last night playing with Stylus RMX and the RC50. I was having so much fun I forgot the allstar game was on. 

-------------- Original message -------------- 
From: Teddy <teddybutter@mac.com> 

> what percussion exactly are you talking about if not the guide? 
> something you prerecord? 
> could you explain in more detail? 
> 
> Teddy 
> 
> 
> On Jul 10, 2007, at 10:46 PM, midifriedchicken@comcast.net wrote: 
> 
> > Well, I just spent the last 3 hours getting know my RC 50 in a way 
> > I never thought possible. No, I wasn't sticking my 1/4'' into the 
> > main in. I discovered the true nature of tempo sync. A bell or 
> > whistle I thought ( in much aggreement with breachthepeace@aohell) 
> > as a useless feature, but with the the right settings, I can play a 
> > part then have a percussion part chime in in perfect sync. The 
> > percussion will play in perfect sync regardless of the rhythm I 
> > play. Friggin brilliant. This does away with the need for guide 
> > tracks when playing with other musicians. Yeah, I know mobius 
> > rocks, but this $500 box continues to amaze. Boss has done a 
> > tremendous disservice to its product by providing an unbeleivibly 
> > lame manual that doesn't come cose to explaining the features of 
> > this machine. 
> > 
> > 
> > MFC 
> 
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<html><body>
<DIV>An Imported wave file. I spent last night playing with Stylus RMX and the RC50. I was having so much fun I forgot the allstar game was on. </DIV>
<DIV>&nbsp;</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">-------------- Original message -------------- <BR>From: Teddy &lt;teddybutter@mac.com&gt; <BR><BR>&gt; what percussion exactly are you talking about if not the guide? <BR>&gt; something you prerecord? <BR>&gt; could you explain in more detail? <BR>&gt; <BR>&gt; Teddy <BR>&gt; <BR>&gt; <BR>&gt; On Jul 10, 2007, at 10:46 PM, midifriedchicken@comcast.net wrote: <BR>&gt; <BR>&gt; &gt; Well, I just spent the last 3 hours getting know my RC 50 in a way <BR>&gt; &gt; I never thought possible. No, I wasn't sticking my 1/4'' into the <BR>&gt; &gt; main in. I discovered the true nature of tempo sync. A bell or <BR>&gt; &gt; whistle I thought ( in much aggreement with breachthepeace@aohell) <BR>&gt; &gt; as a useless feature, but with the the right settings, I can play a <BR>&gt; &gt; part then have a percussion part chime in in perfect sync. The <BR>&gt; &gt; percussion will play in perfect sync regardle
ss of the rhythm I <BR>&gt; &gt; play. Friggin brilliant. This does away with the need for guide <BR>&gt; &gt; tracks when playing with other musicians. Yeah, I know mobius <BR>&gt; &gt; rocks, but this $500 box continues to amaze. Boss has done a <BR>&gt; &gt; tremendous disservice to its product by providing an unbeleivibly <BR>&gt; &gt; lame manual that doesn't come cose to explaining the features of <BR>&gt; &gt; this machine. <BR>&gt; &gt; <BR>&gt; &gt; <BR>&gt; &gt; MFC <BR>&gt; </BLOCKQUOTE></body></html>

--NextPart_Webmail_9m3u9jl4l_20245_1184163810_0--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 14:26:48 2007
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Subject: Re: OT: Vocal Harmonizer recommendations?
Date: Wed, 11 Jul 2007 14:26:46 +0000
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The new Digitech Vocalist 2 (or 4) looks cool because you don't have to program keys or chords. It listens to your guitar or whatever and figures out the harmony to use. 

-------------- Original message -------------- 
From: "Jon Southwood" <jsouthwood@gmail.com> 
That's "Hide and Seek." I'm pretty sure she's using a vocoder for that track. Either that, or a harmonizer that responds to MIDI from a keyboard to determine the pitches. There's a couple YouTube vids showing her performing it live. Given how the timbre changes, though (at times sounding like a low-pass filter is opening up gradually), I'm inclined to believe it's a vocoder. 

Cheers,

Jon


On 7/11/07, RICK WALKER <looppool@cruzio.com> wrote:

Has any one heard the Imogen Heap track that is all acapella except for
rather synthetic sounding
harmonization?    I'm just enthralled with it.  Please forgive me but I
forget the title of the track
and it's out in my car as I type. 

Thanks everyone for all the wonderful recommendations!

yours,  Rick
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<html><body>
<DIV>The new Digitech Vocalist 2 (or 4) looks cool because you don't have to program keys or chords. It listens to your guitar or whatever and figures out the harmony to use. </DIV>
<DIV>&nbsp;</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">-------------- Original message -------------- <BR>From: "Jon Southwood" &lt;jsouthwood@gmail.com&gt; <BR>That's "Hide and Seek." I'm pretty sure she's using a vocoder for that track. Either that, or a harmonizer that responds to MIDI from a keyboard to determine the pitches. There's a couple YouTube vids showing her performing it live. Given how the timbre changes, though (at times sounding like a low-pass filter is opening up gradually), I'm inclined to believe it's a vocoder. <BR><BR>Cheers,<BR><BR>Jon<BR><BR>
<DIV><SPAN class=gmail_quote>On 7/11/07, <B class=gmail_sendername>RICK WALKER</B> &lt;<A href="mailto:looppool@cruzio.com">looppool@cruzio.com</A>&gt; wrote:</SPAN>
<BLOCKQUOTE class=gmail_quote style="PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid"><BR>Has any one heard the Imogen Heap track that is all acapella except for<BR>rather synthetic sounding<BR>harmonization?&nbsp;&nbsp;&nbsp;&nbsp;I'm just enthralled with it.&nbsp;&nbsp;Please forgive me but I<BR>forget the title of the track<BR>and it's out in my car as I type. <BR><BR>Thanks everyone for all the wonderful recommendations!<BR><BR>yours,&nbsp;&nbsp;Rick<BR><BR></BLOCKQUOTE></DIV><BR></BLOCKQUOTE></body></html>

--NextPart_Webmail_9m3u9jl4l_2921_1184164006_0--

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Subject: Re: RC-50, un undiscovered treasure....
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-------------------------------1184164120
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In a message dated 7/11/2007 10:23:46 A.M. Eastern Standard Time,  
midifriedchicken@comcast.net writes:

An  Imported wave file. I spent last night playing with Stylus RMX and the 
RC50. I  was having so much fun I forgot the allstar game was  on.


This sounds very cool.



************************************** See what's free at http://www.aol.com.

-------------------------------1184164120
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; charset=3DUS-ASCII">
<META content=3D"MSHTML 6.00.2900.2873" name=3DGENERATOR></HEAD>
<BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY:=20=
Arial"=20
bottomMargin=3D7 leftMargin=3D7 topMargin=3D7 rightMargin=3D7><FONT id=3Drol=
e_document=20
face=3DArial color=3D#000000 size=3D2>
<DIV>
<DIV>In a message dated 7/11/2007 10:23:46 A.M. Eastern Standard Time,=20
midifriedchicken@comcast.net writes:</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT=20
  style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 size=
=3D2>An=20
  Imported wave file. I spent last night playing with Stylus RMX and the RC5=
0. I=20
  was having so much fun I forgot the allstar game was=20
on.</FONT></BLOCKQUOTE></DIV>
<DIV></DIV>
<DIV>This sounds very cool.</DIV></FONT><BR><BR><BR><DIV><FONT style=3D"colo=
r: black; font: normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN-TOP: 10px=
">See what's free at <A title=3D"http://www.aol.com?ncid=3DAOLAOF00020000000=
503" href=3D"http://www.aol.com?ncid=3DAOLAOF00020000000503" target=3D"_blan=
k">AOL.com</A>. </FONT></DIV></BODY></HTML>

-------------------------------1184164120--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 14:32:03 2007
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Date: Wed, 11 Jul 2007 07:32:02 -0700 (PDT)
From: Marc Marshall <agentlesoul2004@yahoo.com>
Subject: Re: RC-50, un undiscovered treasure....
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instead of relying on the internal guide track, and not having a computer at home to import files, I use the wonderfully affordable Alesis SR-16 drum machine.  Syncs right up. 
   
  my 2 cents

BreachinThePeace@aol.com wrote: 
        In a message dated 7/11/2007 10:23:46 A.M. Eastern Standard Time, midifriedchicken@comcast.net writes:
  An Imported wave file. I spent last night playing with Stylus RMX and the RC50. I was having so much fun I forgot the allstar game was on.
  
  This sounds very cool.



    
---------------------------------
  See what's free at AOL.com. 


       
---------------------------------
Looking for a deal? Find great prices on flights and hotels with Yahoo! FareChase.
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<div>instead of relying on the internal guide track, and not having a computer at home to import files, I use the wonderfully affordable Alesis SR-16 drum machine.&nbsp; Syncs right up. </div>  <div>&nbsp;</div>  <div>my 2 cents<BR><BR><B><I>BreachinThePeace@aol.com</I></B> wrote: </div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">  <META content="MSHTML 6.00.2900.2873" name=GENERATOR><FONT id=role_document face=Arial color=#000000 size=2>  <DIV>  <DIV>In a message dated 7/11/2007 10:23:46 A.M. Eastern Standard Time, midifriedchicken@comcast.net writes:</DIV>  <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><FONT style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size=2>An Imported wave file. I spent last night playing with Stylus RMX and the RC50. I was having so much fun I forgot the allstar game was on.</FONT></BLOCKQUOTE></DIV>  <DIV></DIV>  <DIV>This sounds very
 cool.</DIV></FONT><BR><BR><BR>  <DIV><FONT style="FONT: 10pt ARIAL, SAN-SERIF; COLOR: black">  <HR style="MARGIN-TOP: 10px">  See what's free at <A title=http://www.aol.com?ncid=AOLAOF00020000000503 href="http://www.aol.com/?ncid=AOLAOF00020000000503" target=_blank>AOL.com</A>. </FONT></DIV></BLOCKQUOTE><BR><p>&#32;
      <hr size=1>Looking for a deal? <a href="http://us.rd.yahoo.com/evt=47094/*http://farechase.yahoo.com/;_ylc=X3oDMTFicDJoNDllBF9TAzk3NDA3NTg5BHBvcwMxMwRzZWMDZ3JvdXBzBHNsawNlbWFpbC1uY20-">Find great prices on flights and hotels</a> with Yahoo! FareChase.
--0-1459941974-1184164322=:50065--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 15:08:15 2007
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Date: Wed, 11 Jul 2007 08:08:13 -0700
From: "Doug Wellington" <dougwellington@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT: Vocal Harmonizer recommendations?
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> That's "Hide and Seek." I'm pretty sure she's using a vocoder for that
> track. Either that, or a harmonizer that responds to MIDI from a keyboard to
> determine the pitches. There's a couple YouTube vids showing her performing
> it live.

I just checked one of those vids - she's using a keyboard to control
the harmony.  I get a similar effect with the Roland Vocal Designer
card for the V-Synth or VariOS...

Doug

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So the RC 50 slaves to that OK? Ive tried to use Ableton Live as a master and have had mixed results. 

-------------- Original message -------------- 
From: Marc Marshall <agentlesoul2004@yahoo.com> 

instead of relying on the internal guide track, and not having a computer at home to import files, I use the wonderfully affordable Alesis SR-16 drum machine.  Syncs right up. 

my 2 cents

BreachinThePeace@aol.com wrote: 
In a message dated 7/11/2007 10:23:46 A.M. Eastern Standard Time, midifriedchicken@comcast.net writes:
An Imported wave file. I spent last night playing with Stylus RMX and the RC50. I was having so much fun I forgot the allstar game was on.

This sounds very cool.






See what's free at AOL.com. 




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<DIV>So the RC 50 slaves to that OK? Ive tried to use Ableton Live as a master and have had mixed results. </DIV>
<DIV>&nbsp;</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">-------------- Original message -------------- <BR>From: Marc Marshall &lt;agentlesoul2004@yahoo.com&gt; <BR>
<DIV>instead of relying on the internal guide track, and not having a computer at home to import files, I use the wonderfully affordable Alesis SR-16 drum machine.&nbsp; Syncs right up. </DIV>
<DIV>&nbsp;</DIV>
<DIV>my 2 cents<BR><BR><B><I>BreachinThePeace@aol.com</I></B> wrote: </DIV>
<BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">
<META content="MSHTML 6.00.2900.2873" name=GENERATOR><FONT id=role_document face=Arial color=#000000 size=2>
<DIV>
<DIV>In a message dated 7/11/2007 10:23:46 A.M. Eastern Standard Time, midifriedchicken@comcast.net writes:</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><FONT style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size=2>An Imported wave file. I spent last night playing with Stylus RMX and the RC50. I was having so much fun I forgot the allstar game was on.</FONT></BLOCKQUOTE></DIV>
<DIV>&nbsp;</DIV>
<DIV>This sounds very cool.</DIV></FONT><BR><BR><BR>
<DIV><FONT style="FONT: 10pt ARIAL, SAN-SERIF; COLOR: black">
<HR style="MARGIN-TOP: 10px">
See what's free at <A title=http://www.aol.com?ncid=AOLAOF00020000000503 href="http://www.aol.com/?ncid=AOLAOF00020000000503" target=_blank>AOL.com</A>. </FONT></DIV></BLOCKQUOTE><BR>
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From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 15:34:58 2007
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> That's "Hide and Seek." I'm pretty sure she's using a vocoder
=20
Yes, I read in an interview somewhere that it's a vocoder.   She didn't
name the manufacturer but I think it was a hardware device.
=20
Jeff

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This seems easy.
http://youtube.com/watch?v=d4-SYz3_BCA

-------------- Original message -------------- 
From: "Jeff Larson" <jeff.larson@sailpoint.com> 

> 
> > That's "Hide and Seek." I'm pretty sure she's using a vocoder 
> 
> Yes, I read in an interview somewhere that it's a vocoder. She didn't 
> name the manufacturer but I think it was a hardware device. 
> 
> Jeff 
> 
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<DIV>This seems easy.</DIV>
<DIV><A href="http://youtube.com/watch?v=d4-SYz3_BCA">http://youtube.com/watch?v=d4-SYz3_BCA</A></DIV>
<DIV>&nbsp;</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">-------------- Original message -------------- <BR>From: "Jeff Larson" &lt;jeff.larson@sailpoint.com&gt; <BR><BR>&gt; <BR>&gt; &gt; That's "Hide and Seek." I'm pretty sure she's using a vocoder <BR>&gt; <BR>&gt; Yes, I read in an interview somewhere that it's a vocoder. She didn't <BR>&gt; name the manufacturer but I think it was a hardware device. <BR>&gt; <BR>&gt; Jeff <BR>&gt; </BLOCKQUOTE></body></html>

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Date: Wed, 11 Jul 2007 08:39:09 -0700 (PDT)
From: Marc Marshall <agentlesoul2004@yahoo.com>
Subject: Re: RC-50, un undiscovered treasure....
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yeah, it seems the general consensus is that the RC50 works better as the master.
  I have no problem with it that way. My Yamaha RM1-X also syncs up fine with it.
  The help desk at Roland recommends that you hoop it up only as a master with the (IMHO) cop out that the RC-50 is NOT a sequencer.    It still is a great piece of gear for the money.
   
  

midifriedchicken@comcast.net wrote:
    So the RC 50 slaves to that OK? Ive tried to use Ableton Live as a master and have had mixed results. 
   
  -------------- Original message -------------- 
From: Marc Marshall <agentlesoul2004@yahoo.com> 
  instead of relying on the internal guide track, and not having a computer at home to import files, I use the wonderfully affordable Alesis SR-16 drum machine.  Syncs right up. 
   
  my 2 cents

BreachinThePeace@aol.com wrote: 
        In a message dated 7/11/2007 10:23:46 A.M. Eastern Standard Time, midifriedchicken@comcast.net writes:
  An Imported wave file. I spent last night playing with Stylus RMX and the RC50. I was having so much fun I forgot the allstar game was on.
   
  This sounds very cool.



    
---------------------------------
  See what's free at AOL.com. 

    
---------------------------------
  Looking for a deal? Find great prices on flights and hotels with Yahoo! FareChase. 


       
---------------------------------
Building a website is a piece of cake. 
Yahoo! Small Business gives you all the tools to get online.
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<DIV>yeah, it seems the general consensus is that the RC50 works better as the master.</DIV>  <DIV>I have no problem with it that way. My Yamaha RM1-X also syncs up fine with it.</DIV>  <DIV>The help desk at Roland recommends that you hoop it up only as a master with the (IMHO) cop out that the RC-50 is NOT a sequencer.&nbsp;&nbsp;&nbsp; It still is a great piece of gear for the money.</DIV>  <DIV>&nbsp;</DIV>  <DIV><BR><BR><B><I>midifriedchicken@comcast.net</I></B> wrote:</DIV>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">  <DIV>So the RC 50 slaves to that OK? Ive tried to use Ableton Live as a master and have had mixed results. </DIV>  <DIV>&nbsp;</DIV>  <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">-------------- Original message -------------- <BR>From: Marc Marshall &lt;agentlesoul2004@yahoo.com&gt; <BR>  <DIV>instead of relying on the internal guide track, and not having
 a computer at home to import files, I use the wonderfully affordable Alesis SR-16 drum machine.&nbsp; Syncs right up. </DIV>  <DIV>&nbsp;</DIV>  <DIV>my 2 cents<BR><BR><B><I>BreachinThePeace@aol.com</I></B> wrote: </DIV>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">  <META content="MSHTML 6.00.2900.2873" name=GENERATOR><FONT id=role_document face=Arial color=#000000 size=2>  <DIV>  <DIV>In a message dated 7/11/2007 10:23:46 A.M. Eastern Standard Time, midifriedchicken@comcast.net writes:</DIV>  <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><FONT style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size=2>An Imported wave file. I spent last night playing with Stylus RMX and the RC50. I was having so much fun I forgot the allstar game was on.</FONT></BLOCKQUOTE></DIV>  <DIV>&nbsp;</DIV>  <DIV>This sounds very cool.</DIV></FONT><BR><BR><BR>  <DIV><FONT style="FONT: 10pt
 ARIAL, SAN-SERIF; COLOR: black">  <HR style="MARGIN-TOP: 10px">  See what's free at <A title=http://www.aol.com?ncid=AOLAOF00020000000503 href="http://www.aol.com/?ncid=AOLAOF00020000000503" target=_blank>AOL.com</A>. </FONT></DIV></BLOCKQUOTE><BR>  <DIV>  <HR SIZE=1>  Looking for a deal? <A href="http://us.rd.yahoo.com/evt=47094/*http://farechase.yahoo.com/;_ylc=X3oDMTFicDJoNDllBF9TAzk3NDA3NTg5BHBvcwMxMwRzZWMDZ3JvdXBzBHNsawNlbWFpbC1uY20-">Find great prices on flights and hotels</A> with Yahoo! FareChase. </DIV></BLOCKQUOTE></BLOCKQUOTE><BR><p>&#32;
      <hr size=1>Building a website is a piece of cake. <br>Yahoo! Small Business gives you <a href="http://us.rd.yahoo.com/evt=48251/*http://smallbusiness.yahoo.com/webhosting/?p=PASSPORTPLUS">all the tools to get online.</a>
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From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 15:51:21 2007
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Subject: RE: OT: Vocal Harmonizer recommendations?
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> This seems easy.
> http://youtube.com/watch?v=3Dd4-SYz3_BCA
=20
Yeah, I've had my eye on this one (Digitech Vocalist).  They're still
pretty new, I'm waiting for some reviews.  My concern is that magic
pitch tracking devices have historically been rather twitchy,
especially with chords.  This doesn't appear to use a hex pickup
so I would imagine that you have to play very cleanly and simply,=20
like playing a guitar synth only more so.
=20
Jeff

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 15:53:50 2007
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Date: Wed, 11 Jul 2007 08:53:40 -0500
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I'll be doing a set of improv cassette looping (four-track, Dictaphone, 
with acoustic guitar) tonight in Long Beach, CA. I'll be there from 8-10 
and will also be doing instrumentals (flamenco/minimalist/folkish) and 
singing (acoustic indie rock) as well. It's at Koos Art Center, at 530 E 
Broadway, and there's a $5 cover.

(I'm doing two more shows this week, though probably not looping, hence 
the apologetical parentheses. Friday I'm at Synergy Cafe in Culver City, 
4437 Sepulveda Blvd, near Braddock, going on at 8:30 or so. Sunday I'm 
at the Javanican in San Diego, at 4338 Cass Street in Pacific Beach, 
starting at 8. Both shows are free.)

Rick, I know the TC Electronics Voicelive which was mentioned before 
does have the ability to sustain a single note, though I'm not sure if 
one can then do other tracked harmonies while it's sustaining. I've 
heard nothing but good things about this machine and am hoping to get 
one at some point. On the cheap side, don't forget the Digitech IPS-33b, 
which is quite old-school (circa '91) but has a great sound and is 
surprisingly flexible and capable of a lot of wacked-out effects in 
addition to  intelligent harmonies.

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.com

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 16:00:13 2007
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Hey Rick, the digitech IPS33b which I had once and I believe you had
borrowed one from Michele Landeger years ago,  would probably fit the bill
if you can find one. It did diatonic, parallel, and custom harmonies, and
though not as pristine sounding as Eventide stuff, it sounded great. Now
admit to me and everyone else that your real intention is to play a looped
version of Whipping Post. The next and most complete model was the DHP-55
with up to 5 harmonies I believe. I saw one on ebay this morning,
http://search.ebay.com/search/search.dll?sofocus=bs
<http://search.ebay.com/search/search.dll?sofocus=bs&sbrftog=1&catref=C6&fro
m=R10&_trksid=m37&satitle=digitech+DHP&sacat=619%26catref%3DC6&sargn=-1%26sa
slc%3D2&sadis=200&fpos=ZIP%2FPostal&sabfmts=1&saobfmts=insif&ftrt=1&ftrv=1&s
aprclo=&saprchi=&fsop=1&fsoo=1>
&sbrftog=1&catref=C6&from=R10&_trksid=m37&satitle=digitech+DHP&sacat=619%26c
atref%3DC6&sargn=-1%26saslc%3D2&sadis=200&fpos=ZIP%2FPostal&sabfmts=1&saobfm
ts=insif&ftrt=1&ftrv=1&saprclo=&saprchi=&fsop=1&fsoo=1

 That will make you sound like the Allman brothers and Wishbone Ash jamming
together. Booyah!

Bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Hey Rick, the digitech IPS33b which I had once and I =
believe
you had borrowed one from Michele Landeger years ago, &nbsp;would =
probably fit
the bill if you can find one. It did diatonic, parallel, and custom =
harmonies, and
though not as pristine sounding as Eventide stuff, it sounded great. Now =
admit
to me and everyone else that your real intention is to play a looped =
version of
Whipping Post. The next and most complete model was the DHP-55 with up =
to 5
harmonies I believe. I saw one on ebay this morning, <a
href=3D"http://search.ebay.com/search/search.dll?sofocus=3Dbs&amp;sbrftog=
=3D1&amp;catref=3DC6&amp;from=3DR10&amp;_trksid=3Dm37&amp;satitle=3Ddigit=
ech+DHP&amp;sacat=3D619%26catref%3DC6&amp;sargn=3D-1%26saslc%3D2&amp;sadi=
s=3D200&amp;fpos=3DZIP%2FPostal&amp;sabfmts=3D1&amp;saobfmts=3Dinsif&amp;=
ftrt=3D1&amp;ftrv=3D1&amp;saprclo=3D&amp;saprchi=3D&amp;fsop=3D1&amp;fsoo=
=3D1">http://search.ebay.com/search/search.dll?sofocus=3Dbs&amp;sbrftog=3D=
1&amp;catref=3DC6&amp;from=3DR10&amp;_trksid=3Dm37&amp;satitle=3Ddigitech=
+DHP&amp;sacat=3D619%26catref%3DC6&amp;sargn=3D-1%26saslc%3D2&amp;sadis=3D=
200&amp;fpos=3DZIP%2FPostal&amp;sabfmts=3D1&amp;saobfmts=3Dinsif&amp;ftrt=
=3D1&amp;ftrv=3D1&amp;saprclo=3D&amp;saprchi=3D&amp;fsop=3D1&amp;fsoo=3D1=
</a><o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>&nbsp;That will make you sound like the Allman =
brothers and
Wishbone Ash jamming together. Booyah!<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Bill<o:p></o:p></span></font></p>

</div>

</body>

</html>

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From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 16:29:17 2007
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From: Teddy <teddybutter@mac.com>
Subject: Re: RC-50, un undiscovered treasure....
Date: Wed, 11 Jul 2007 12:28:08 -0400
To: Loopers-Delight@loopers-delight.com
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I still don't get how that does away with the need for a guide track  
when playing with other musicians.
was the imported percussion your guide track?

Teddy


On Jul 11, 2007, at 10:23 AM, midifriedchicken@comcast.net wrote:

> An Imported wave file. I spent last night playing with Stylus RMX  
> and the RC50. I was having so much fun I forgot the allstar game  
> was on.
>
> -------------- Original message --------------
> From: Teddy <teddybutter@mac.com>
>
> > what percussion exactly are you talking about if not the guide?
> > something you prerecord?
> > could you explain in more detail?
> >
> > Teddy
> >
> >
> > On Jul 10, 2007, at 10:46 PM, midifriedchicken@comcast.net wrote:
> >
> > > Well, I just spent the last 3 hours getting know my RC 50 in a way
> > > I never thought possible. No, I wasn't sticking my 1/4'' into the
> > > main in. I discovered the true nature of tempo sync. A bell or
> > > whistle I thought ( in much aggreement with breachthepeace@aohell)
> > > as a useless feature, but with the the right settings, I can  
> play a
> > > part then have a percussion part chime in in perfect sync. The
> > > percussion will play in perfect sync regardle ss of the rhythm I
> > > play. Friggin brilliant. This does away with the need for guide
> > > tracks when playing with other musicians. Yeah, I know mobius
> > > rocks, but this $500 box continues to amaze. Boss has done a
> > > tremendous disservice to its product by providing an unbeleivibly
> > > lame manual that doesn't come cose to explaining the features of
> > > this machine.
> > >
> > >
> > > MFC

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 16:33:57 2007
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Subject: RE: Harmonizers
Date: Wed, 11 Jul 2007 11:34:47 -0500
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> Now admit to me and everyone else that your real
> intention is to play a looped version of Whipping Post.=20
=20
I was hoping for Afternoon Delight.
=20
Jeff

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 16:51:54 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: New looping work
Date: Wed, 11 Jul 2007 18:51:56 +0200
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On 3 jul 2007, at 15.23, kkissinger@kevinkissinger.com wrote:

> http://kevinkissinger.com/threeleggedrace.shtml
>
> The set was well-recieved and my efforts now are to create more  
> works that are done in real-time without pre-recorded elements.   
> "Three-Legged Race" is the "pure" Theremin tone with loops.  My  
> upcoming work will incorporate additional techniques that includes  
> pitch-shifters, harmonizer, various filters, and longer delay times.
>
> Hope you enjoy this track.  Thank you for listening.
>
> -- Kevin


Hi Kevin,

Enjoying it very much. Thanks posting!

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 17:09:09 2007
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From: midifriedchicken@comcast.net
To: Loopers-Delight@loopers-delight.com
Subject: Re: RC-50, un undiscovered treasure....
Date: Wed, 11 Jul 2007 17:09:07 +0000
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>From the workshop found here: http://www.rolandus.com/products/productdetails.aspx?ObjectId=772&ParentId=46


In this example patch, the RC-50’s in Multi mode, the guide and Loop Sync 
are off, and all phrases are set for looped playback. Phrases 1 and 2 are 
empty, but we’ve got a 4/4 drum loop imported into Phrase 3. Though we 
want to use the drum loop as a rhythmic backing, we don’t want it to start 
playing right away; we’d like to record an audio loop (a chord progression, 
for example) into Phrase 1 first, and then start Phrase 3 playing a little later. 
Of course, when Phrase 3’s drum loop starts, we want it to play in time with 
our looping Phrase 1. 
The key to making this happen is by using Tempo Sync. In our example patch, 
we’ve turned on the Tempo Sync switches for Phrases 1 and 3. This allows the 
recording of Phrase 1 to set the patch tempo, and also makes Phrase 3 play at 
the patch tempo. Follow along as we walk through how this works: 
With the RC-50 stopped, select Phrase 1 for recording by pressing its 
PHRASE SELECT pedal. 
Tap your foot in a steady rhythm at the desired tempo. 
When you’re ready to start recording, press the REC/PLAY/OVERDUB 
pedal once, in time with your foot taps. Phrase 1 begins recording. 
During recording, play with a steady 4/4 rhythm. This will ensure an 
accurate original tempo calculation. 
When you wish to close Phrase 1, press REC/PLAY/OVERDUB. The phrase 
starts looping, and the patch tempo is set to match this newly recorded 
phrase’s original tempo. 
To get an accurate original tempo, make sure you close the phrase 
exactly at the beginning of a measure. 


From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 17:45:17 2007
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Subject: Re: OT: Vocal Harmonizer recommendations?
Date: Wed, 11 Jul 2007 16:27:39 +0200
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what was the name of that roland harmonizer guys like simon stockhausen =
used, end of the 80ies/beginning of the 90ies?
tilmann
  ----- Original Message -----=20
  From: Jon Southwood=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Wednesday, July 11, 2007 3:15 PM
  Subject: Re: OT: Vocal Harmonizer recommendations?


  That's "Hide and Seek." I'm pretty sure she's using a vocoder for that =
track. Either that, or a harmonizer that responds to MIDI from a =
keyboard to determine the pitches. There's a couple YouTube vids showing =
her performing it live. Given how the timbre changes, though (at times =
sounding like a low-pass filter is opening up gradually), I'm inclined =
to believe it's a vocoder.=20

  Cheers,

  Jon


  On 7/11/07, RICK WALKER <looppool@cruzio.com> wrote:

    Has any one heard the Imogen Heap track that is all acapella except =
for
    rather synthetic sounding
    harmonization?    I'm just enthralled with it.  Please forgive me =
but I
    forget the title of the track
    and it's out in my car as I type.=20

    Thanks everyone for all the wonderful recommendations!

    yours,  Rick




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<DIV><FONT face=3DArial size=3D2>what was the name of that roland =
harmonizer guys=20
like simon stockhausen used, end of the 80ies/beginning of the=20
90ies?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>tilmann</FONT></DIV>
<BLOCKQUOTE=20
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  <DIV=20
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  <A title=3Djsouthwood@gmail.com =
href=3D"mailto:jsouthwood@gmail.com">Jon=20
  Southwood</A> </DIV>
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  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Wednesday, July 11, 2007 =
3:15=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: OT: Vocal =
Harmonizer=20
  recommendations?</DIV>
  <DIV><BR></DIV>That's "Hide and Seek." I'm pretty sure she's using a =
vocoder=20
  for that track. Either that, or a harmonizer that responds to MIDI =
from a=20
  keyboard to determine the pitches. There's a couple YouTube vids =
showing her=20
  performing it live. Given how the timbre changes, though (at times =
sounding=20
  like a low-pass filter is opening up gradually), I'm inclined to =
believe it's=20
  a vocoder. <BR><BR>Cheers,<BR><BR>Jon<BR><BR>
  <DIV><SPAN class=3Dgmail_quote>On 7/11/07, <B =
class=3Dgmail_sendername>RICK=20
  WALKER</B> &lt;<A=20
  href=3D"mailto:looppool@cruzio.com">looppool@cruzio.com</A>&gt; =
wrote:</SPAN>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid"><BR>Has=20
    any one heard the Imogen Heap track that is all acapella except=20
    for<BR>rather synthetic=20
    sounding<BR>harmonization?&nbsp;&nbsp;&nbsp;&nbsp;I'm just =
enthralled with=20
    it.&nbsp;&nbsp;Please forgive me but I<BR>forget the title of the=20
    track<BR>and it's out in my car as I type. <BR><BR>Thanks everyone =
for all=20
    the wonderful=20
  =
recommendations!<BR><BR>yours,&nbsp;&nbsp;Rick<BR><BR></BLOCKQUOTE></DIV>=
<BR></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_0037_01C7C3D8.672579D0--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 17:59:30 2007
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From: "Weg" <theweg@netzero.net>
Date: Wed, 11 Jul 2007 17:57:13 GMT
To: Loopers-Delight@loopers-delight.com
Subject: Re: Laptops -dedicated to music only?
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If you can work with Jeff to create Mobius:Mac, I will be your best  =

friend forever!  I mean, err... ummm... [lowering voice an octave]  =

ahem...  I'll be very grateful to the two of you.

Seriously, I haven't done any live looping at all since I got my  =

MacBook Pro earlier this year.  It's a screaming machine (2.16 GHz  =

Core2 Duo, 3GB Ram!), and I can't imagine going back to a PC setup  =

after being spoiled to this (it just works!), but I can't commit to  =

any other looping software.  Mobius is too good, too customizable to  =

let go.

So I'm at an impass.  If there's anything I can do to help move the  =

Mobius:Mac project along, just let me know.  Though I'm a programmer,  =

I'm afraid I haven't done enough application development to be of any  =

good to you, but I'll gladly give plasma and donate the proceeds,  =

create websites, fundraise, or whatever.  This would totally be worth  =

it!

--Josh

Hi all, =

    I am there with you Josh,  I bought the Macbook with 2gig of ram and=
 love it.  I've been using PCs since the 80's and know all their frustra=
tions.  I would love to test mobius on my mac!
 =

Weg

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<html><P>If you can work with Jeff to create Mobius:Mac, I will be your =
best&nbsp; <BR>friend forever!&nbsp; I mean, err... ummm... [lowering vo=
ice an octave]&nbsp; <BR>ahem...&nbsp; I'll be very grateful to the two =
of you.<BR><BR>Seriously, I haven't done any live looping at all since I=
 got my&nbsp; <BR>MacBook Pro earlier this year.&nbsp; It's a screaming =
machine (2.16 GHz&nbsp; <BR>Core2 Duo, 3GB Ram!), and I can't imagine go=
ing back to a PC setup&nbsp; <BR>after being spoiled to this (it just wo=
rks!), but I can't commit to&nbsp; <BR>any other looping software.&nbsp;=
 Mobius is too good, too customizable to&nbsp; <BR>let go.<BR><BR>So I'm=
 at an impass.&nbsp; If there's anything I can do to help move the&nbsp;=
 <BR>Mobius:Mac project along, just let me know.&nbsp; Though I'm a prog=
rammer,&nbsp; <BR>I'm afraid I haven't done enough application developme=
nt to be of any&nbsp; <BR>good to you, but I'll gladly give plasma and d=
onate the proceeds,&nbsp; <BR>create websites, fundraise, or whatever.&n=
bsp; This would totally be worth&nbsp; <BR>it!<BR><BR>--Josh<BR><BR>Hi a=
ll, </P>
<P>&nbsp;&nbsp;&nbsp; I am there with you Josh,&nbsp; I bought the Macbo=
ok with 2gig of ram and love it.&nbsp; I've been using PCs since the 80'=
s and know all their frustrations.&nbsp; I would love to test mobius on =
my mac!</P>
<P>&nbsp;</P>
<P>Weg</P></html>

----__JWM__J4b9d.2c34S.6fd3M--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 18:39:11 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Laptops -dedicated to music only?
Date: Wed, 11 Jul 2007 20:39:13 +0200
To: Loopers-Delight@loopers-delight.com
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On 11 jul 2007, at 17.57, Weg wrote:
> Hi all,
>
>     I am there with you Josh,  I bought the Macbook with 2gig of  
> ram and love it.  I've been using PCs since the 80's and know all  
> their frustrations.  I would love to test mobius on my mac!
>

You can add Windows as an alternative OS on those new Macs. By  
restricting it  for Mobius only there will hopefully not be much  
frustration ;-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 18:49:49 2007
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From: "Mark Sottilaro" <sine@zerocrossing.net>
To: <Loopers-Delight@loopers-delight.com>
Subject: RE: OT: Vocal Harmonizer recommendations?
Date: Wed, 11 Jul 2007 11:49:36 -0700
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I used. I think it was a product called The Vocalist, way back in the =
90s.
It wasn't really a harmonizer as much as a device that seemed to add
synthetic voice harmonies to your original voice input.  I tried it out =
from
a music shop because I thought it might give me a good way to do Brian =
May
type harmonies on my guitar. didn't work so well.  However, for voice I
think it had a very cool sound and seemed to be limitless (you could =
input
harmonies via MIDI notes or have it auto-harmonize to a key)  I can't
remember who made it. Digitech?

=20

I'd bet money on the fact that Imogen Heap is using the latest version =
of
this technology.  I saw her live and she sounded great.  I say, if you =
know
what she's using, speak up.  That's the model to buy.  Also, I think she
used combos of harmonizers and vocoders during different tracks.

=20

Mark

=20

-----Original Message-----
From: Tilmann Dehnhard [mailto:tilmann@dehnhard.com]=20
Sent: Wednesday, July 11, 2007 7:28 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT: Vocal Harmonizer recommendations?

=20

what was the name of that roland harmonizer guys like simon stockhausen
used, end of the 80ies/beginning of the 90ies?

tilmann

----- Original Message -----=20

From: Jon Southwood <mailto:jsouthwood@gmail.com> =20

To: Loopers-Delight@loopers-delight.com=20

Sent: Wednesday, July 11, 2007 3:15 PM

Subject: Re: OT: Vocal Harmonizer recommendations?

=20

That's "Hide and Seek." I'm pretty sure she's using a vocoder for that
track. Either that, or a harmonizer that responds to MIDI from a =
keyboard to
determine the pitches. There's a couple YouTube vids showing her =
performing
it live. Given how the timbre changes, though (at times sounding like a
low-pass filter is opening up gradually), I'm inclined to believe it's a
vocoder.=20

Cheers,

Jon

On 7/11/07, RICK WALKER <looppool@cruzio.com> wrote:=20


Has any one heard the Imogen Heap track that is all acapella except for
rather synthetic sounding
harmonization?    I'm just enthralled with it.  Please forgive me but I
forget the title of the track
and it's out in my car as I type.=20

Thanks everyone for all the wonderful recommendations!

yours,  Rick

=20


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<div class=3DSection1>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>I used&#8230; I think it was a =
product
called The Vocalist, way back in the 90s.&nbsp; It wasn&#8217;t really a
harmonizer as much as a device that seemed to add synthetic voice =
harmonies to
your original voice input.&nbsp; I tried it out from a music shop =
because I
thought it might give me a good way to do Brian May type harmonies on my =
guitar&#8230;
didn&#8217;t work so well.&nbsp; However, for voice I think it had a =
very cool
sound and seemed to be limitless (you could input harmonies via =
</span></font><font
 size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
 color:navy'>MIDI</span></font><font size=3D2 color=3Dnavy =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:navy'> notes or have =
it
auto-harmonize to a key)&nbsp; I can&#8217;t remember who made it&#8230; =
Digitech?</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>I&#8217;d bet money on the fact =
that Imogen
Heap is using the latest version of this technology.&nbsp; I saw her =
live and
she sounded great.&nbsp; I say, if you know what she&#8217;s using, =
speak
up.&nbsp; That&#8217;s the model to buy.&nbsp; Also, I think she used =
combos of
harmonizers and vocoders during different tracks.</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Mark</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>-----Original =
Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> Tilmann Dehnhard
[mailto:tilmann@dehnhard.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> </span></font><font =
size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;font-family:Tahoma'>Wednesday, July
 11, 2007</span></font><font size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;
font-family:Tahoma'> </span></font><font size=3D2 face=3DTahoma><span
 style=3D'font-size:10.0pt;font-family:Tahoma'>7:28 =
AM</span></font><font size=3D2
face=3DTahoma><span style=3D'font-size:10.0pt;font-family:Tahoma'><br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: OT: Vocal =
Harmonizer
recommendations?</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>what was the name of that =
roland
harmonizer guys like simon stockhausen used, end of the 80ies/beginning =
of the
90ies?</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>tilmann</span></font></p>

</div>

<blockquote style=3D'border:none;border-left:solid black =
1.5pt;padding:0in 0in 0in 4.0pt;
margin-left:3.75pt;margin-top:5.0pt;margin-right:0in;margin-bottom:5.0pt'=
>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>----- Original Message =
----- </span></font></p>

</div>

<div style=3D'font-color:black'>

<p class=3DMsoNormal =
style=3D'margin-left:.5in;background:#E4E4E4'><b><font size=3D2
face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;font-weight:bold'>From:</span=
></font></b><font
size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial'> <a
href=3D"mailto:jsouthwood@gmail.com" title=3D"jsouthwood@gmail.com">Jon =
Southwood</a>
</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><b><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;font-weight:bold'>To:</span><=
/font></b><font
size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial'> <a
href=3D"mailto:Loopers-Delight@loopers-delight.com"
title=3D"Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-del=
ight.com</a>
</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><b><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;font-weight:bold'>Sent:</span=
></font></b><font
size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial'> </span></font><font =
size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial'>Wednesday, July
 11, 2007</span></font><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'> </span></font><font size=3D2 face=3DArial><span
 style=3D'font-size:10.0pt;font-family:Arial'>3:15 PM</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><b><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;font-weight:bold'>Subject:</s=
pan></font></b><font
size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial'> Re: OT:
Vocal Harmonizer recommendations?</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<p class=3DMsoNormal =
style=3D'margin-right:0in;margin-bottom:12.0pt;margin-left:
.5in'><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>That's
&quot;Hide and Seek.&quot; I'm pretty sure she's using a vocoder for =
that
track. Either that, or a harmonizer that responds to </span></font>MIDI =
from a
keyboard to determine the pitches. There's a couple YouTube vids showing =
her
performing it live. Given how the timbre changes, though (at times =
sounding
like a low-pass filter is opening up gradually), I'm inclined to believe =
it's a
vocoder. <br>
<br>
Cheers,<br>
<br>
Jon</p>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><span =
class=3Dgmailquote><font
size=3D3 face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>On =
</span></font></span><span class=3Dgmailquote>7/11/07</span><span =
class=3Dgmailquote>, <b><span style=3D'font-weight:
bold'>RICK WALKER</span></b> &lt;<a =
href=3D"mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt;
wrote:</span> </p>

<p class=3DMsoNormal =
style=3D'margin-right:0in;margin-bottom:12.0pt;margin-left:
.5in'><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'><br>
Has any one heard the Imogen Heap track that is all acapella except =
for<br>
rather synthetic sounding<br>
harmonization?&nbsp;&nbsp;&nbsp;&nbsp;I'm just enthralled with
it.&nbsp;&nbsp;Please forgive me but I<br>
forget the title of the track<br>
and it's out in my car as I type. <br>
<br>
Thanks everyone for all the wonderful recommendations!<br>
<br>
yours,&nbsp;&nbsp;Rick</span></font></p>

</div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</blockquote>

</div>

</body>

</html>

------=_NextPart_000_0009_01C7C3B1.92938E80--


From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 18:53:40 2007
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Date: Wed, 11 Jul 2007 13:53:37 -0500
From: kkissinger@kevinkissinger.com
To: Loopers-Delight@loopers-delight.com
Subject: RE: OT: Vocal Harmonizer recommendations?
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Quoting Mark Sottilaro <sine@zerocrossing.net>:

> I used. I think it was a product called The Vocalist, way back in the 90s.
> It wasn't really a harmonizer as much as a device that seemed to add
> synthetic voice harmonies to your original voice input.  I tried it out from
> a music shop because I thought it might give me a good way to do Brian May
> type harmonies on my guitar. didn't work so well.  However, for voice I
> think it had a very cool sound and seemed to be limitless (you could input
> harmonies via MIDI notes or have it auto-harmonize to a key)  I can't
> remember who made it. Digitech?

I have a Digitech Vocalist II that matches your description.

-- Kevin

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 18:55:04 2007
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Date: Wed, 11 Jul 2007 13:55:02 -0500
From: "Jon Southwood" <jsouthwood@gmail.com>
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An excerpt from an on-line interview with her:

--begin clip

*Hide and Seek is a fantastic track, but also a brave choice for a single in
a way, because it only features your voice fed through a vocoder. Was that a
brave move do you think?*

Yep! It is quite brave isn't it! But I really didn't expect it to have that
effect. Actually that's not true- I knew that if people heard it, because
it's so unusual, and it's like a hymn, it's not any particular genre, so the
fact that Radio 1 has picked up on it is amazing, because obviously more
people can hear it. I think it started in a way because Jo Whiley is a fan
of the O.C., and so she played it, but then people like Zane Lowe and Scott
Mills, they never watch the O.C.

*How many vocal layers are there in the track roughly?*

Well there's actually only two real mes in there at any one point, and then
the rest of it is going through the vocoder. It was a real magical
mysterious evening when it came out of me. I'd had a bit of a nightmare in
the studio that day, and everything was playing up. I didn't want to leave
the studio without something to say for myself. Also because I had people on
the blog that I had to prove that I'd done something that day! So I picked
up the vocoder, which I hadn't really used much, plugged it into the
minidisc, just to record whatever came out. And literally the whole song
(apart from the lyrics), the exact melody, the exact timing of the breathing
and everything, the two melodies coming in together at the end, all happened
in the space of like ten minutes. I really love the song for that reason as
well. I didn't have to slave over it. There are some songs that I find it
difficult to listen to, because I remember it took me however long to sort
out that chord or whatever, but Hide and Seek was like a dream come true.

---end clip

As Jeff mentioned, she doesn't identify the vocoder, but she leaves no doubt
that it was a vocoder and not a harmonizer. The full interview can be found
here:

http://www.pixelsurgeon.com/interviews/interview.php?id=200

Cheers,
Jon

On 7/11/07, Mark Sottilaro <sine@zerocrossing.net> wrote:
>
>
> I'd bet money on the fact that Imogen Heap is using the latest version of
> this technology.  I saw her live and she sounded great.  I say, if you know
> what she's using, speak up.  That's the model to buy.  Also, I think she
> used combos of harmonizers and vocoders during different tracks.
>
>
>
> Mark
>
>

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An excerpt from an on-line interview with her:<br><br>--begin clip<br><br><strong>Hide and Seek is a fantastic track, but also a brave choice for
a single in a way, because it only features your voice fed through a
vocoder. Was that a brave move do you think?</strong><br>
<br>
Yep! It is quite brave isn&#39;t it! But I really didn&#39;t expect it to have
that effect. Actually that&#39;s not true- I knew that if people heard it,
because it&#39;s so unusual, and it&#39;s like a hymn, it&#39;s not any particular
genre, so the fact that Radio 1 has picked up on it is amazing, because
obviously more people can hear it. I think it started in a way because
Jo Whiley is a fan of the O.C., and so she played it, but then people
like Zane Lowe and Scott Mills, they never watch the O.C.<br>
<br>
<strong>How many vocal layers are there in the track roughly?</strong><br>
<br>
Well there&#39;s actually only two real mes in there at any one point, and
then the rest of it is going through the vocoder. It was a real magical
mysterious evening when it came out of me. I&#39;d had a bit of a nightmare
in the studio that day, and everything was playing up. I didn&#39;t want to
leave the studio without something to say for myself. Also because I
had people on the blog that I had to prove that I&#39;d done something that
day! So I picked up the vocoder, which I hadn&#39;t really used much,
plugged it into the minidisc, just to record whatever came out. And
literally the whole song (apart from the lyrics), the exact melody, the
exact timing of the breathing and everything, the two melodies coming
in together at the end, all happened in the space of like ten minutes.
I really love the song for that reason as well. I didn&#39;t have to slave
over it. There are some songs that I find it difficult to listen to,
because I remember it took me however long to sort out that chord or
whatever, but Hide and Seek was like a dream come true.<br>
<br>---end clip<br><br>As Jeff mentioned, she doesn&#39;t identify the vocoder, but she leaves no doubt that it was a vocoder and not a harmonizer. The full interview can be found here:<br><br><a href="http://www.pixelsurgeon.com/interviews/interview.php?id=200">
http://www.pixelsurgeon.com/interviews/interview.php?id=200</a><br><br>Cheers,<br>Jon<br><br><div><span class="gmail_quote">On 7/11/07, <b class="gmail_sendername">Mark Sottilaro</b> &lt;<a href="mailto:sine@zerocrossing.net">
sine@zerocrossing.net</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">












<div bgcolor="white" link="blue" vlink="blue" lang="EN-US">

<div><br><p><font color="navy" face="Arial" size="2"><span style="font-size: 10pt; font-family: Arial; color: navy;">I'd bet money on the fact that Imogen
Heap is using the latest version of this technology.&nbsp; I saw her live and
she sounded great.&nbsp; I say, if you know what she's using, speak
up.&nbsp; That's the model to buy.&nbsp; Also, I think she used combos of
harmonizers and vocoders during different tracks.</span></font></p><span class="sg">

<p><font color="navy" face="Arial" size="2"><span style="font-size: 10pt; font-family: Arial; color: navy;">&nbsp;</span></font></p>

<p><font color="navy" face="Arial" size="2"><span style="font-size: 10pt; font-family: Arial; color: navy;">Mark</span></font></p><br></span></div></div></blockquote></div><br>

------=_Part_6747_42544.1184180102831--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 19:35:10 2007
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Date: Wed, 11 Jul 2007 12:35:08 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: Re: Vocal Harmonizer recommendations?
To: Loopers-Delight@loopers-delight.com
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Howdy,

 T.C. Helicon Voiceworks. It's great.
Rig


--- Bart Lyons <blyons@belfast.oilfield.slb.com>
wrote:

> The TC Electronics Quintet is not bad and you can
> find them on eBay 
> for a good price $350. However unlike the Digitech
> you will need midi 
> say from a keyboard or midi guitar which is what I
> used to track the 
> chord/key changes. To be honest unless you pay mega
> bucks they all 
> sound a bit cheesy. Far better looping your vocal
> harmony as it's all natural.
> 
> At 16:22 10/07/2007, David Kirkdorffer wrote:
> >Try these:
> >
>
>http://www.guitar.com.au/effects/t.c.electronics/Quintet.htm
>
>http://www.bizrate.com/musicalinstrumenteffectsprocessors/products__keyword--digitech+vocal+harmonizer.html
> >
> >
> >
> >----- Original Message -----
> >From: "RICK WALKER" <looppool@cruzio.com>
> >To: "LOOPERS DELIGHT (posting)"
> <Loopers-Delight@loopers-delight.com>
> >Sent: Tuesday, July 10, 2007 11:05 PM
> >Subject: OT: Vocal Harmonizer recommendations?
> >
> >
> > > All my life I've wanted a good vocal harmonizer
> in either a floor
> > > or rackmount version and they've always been a
> bit out of my grasp
> > > economically.
> > >
> > > I've used the Red Whammy pedal and the Digitech
> Vocal 300 but they both
> > > are very noisy and don't have intelligent
> harmonies in them.
> > >
> > > I've also got a Boss IntelliShifter but it's
> scales are very perfunctory
> >and
> > > I
> > > would like to be able to do things like use
> Balkan harmonies or even
> > > shifting harmonies so it's just not
> sophisticated enough for the things I
> > > want to do.
> > >
> > > I've finally decided to throw caution to the
> wind and try to find a more
> > > sophisticated unit
> > > for my live looping performances
> > >
> > > The Eventides are just out of my price range
> even in used condition
> > > ...............for what that's worth.
> > >
> > >
> > > .................but I have been looking
> specifically, at
> > >
> > >
> > >
> > > Digitech DHP-44 Intelligent Harmonizer Whammy
> Eventide
> > >
> > > Digitech VHM5 Vocalist Harmonizer
> > >
> > > Digitech Vocalist Performer Harmonizer Vocal
> Processor
> > >
> > > Digitech Vocalist Live 2 Vocal Harmonizer
> > >
>
>****************************************************************************
> >**************************************************
> > >
> > > Does anyone have any advice for me or are there
> units to avoid (for
> >reasons
> > > of noise or lack of sophistication)?
> > >
> 



 
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From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 19:43:42 2007
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Date: Wed, 11 Jul 2007 12:43:40 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: RE: BOSS RV70 Reverb
To: Loopers-Delight@loopers-delight.com
In-Reply-To: <863816.56697.qm@web35112.mail.mud.yahoo.com>
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Howdy,

 NO,NO,NO,NO. Get a Roland SRV-2000. You won' be
sorry. I have 3 and have used them for 20 years. Lush
smooth, velvety, or the other way if you want. It has
a second page where you can go in and actually mess
with the walls and such of  the room.
Rig


--- Paul Richards <paulrichard_rocks@yahoo.com> wrote:

> Thanks for the replies re: the Boss reverb. 'Guess
> I'll pass on this type of unit.
>    
>   I just bid on an ALesis Quadraverb 2 which I used
> to have. I kinda liked that unit. Had some good
> 'verbs.
>    
>   Regards, Paul
> 
> Sjaak <tcplugin@scarlet.be> wrote:
>       @page Section1 {size: 8.5in 11.0in; margin:
> 1.0in 1.25in 1.0in 1.25in; }  P.MsoNormal {  
> FONT-SIZE: 12pt; MARGIN: 0in 0in 0pt; FONT-FAMILY:
> "Times New Roman"  }  LI.MsoNormal {   FONT-SIZE:
> 12pt; MARGIN: 0in 0in 0pt; FONT-FAMILY: "Times New
> Roman"  }  DIV.MsoNormal {   FONT-SIZE: 12pt;
> MARGIN: 0in 0in 0pt; FONT-FAMILY: "Times New Roman" 
> }  A:link {   COLOR: blue; TEXT-DECORATION:
> underline  }  SPAN.MsoHyperlink {   COLOR: blue;
> TEXT-DECORATION: underline  }  A:visited {   COLOR:
> purple; TEXT-DECORATION: underline  } 
> SPAN.MsoHyperlinkFollowed {   COLOR: purple;
> TEXT-DECORATION: underline  }  SPAN.EmailStyle17 {  
> COLOR: windowtext; FONT-FAMILY: Arial;
> mso-style-type: personal-compose  }  DIV.Section1 { 
>  page: Section1  }      Hi, the Boss reverb is not
> bad but you can't expect a pro sound from a unit in
> this price range. I would therefore recommend
> something like a used TC Electronic (M-One) or a
> Lexicon. 
>    
>   Sjaak - Belgium
> 
> 
>        
> ---------------------------------
> Park yourself in front of a world of choices in
> alternative vehicles.
> Visit the Yahoo! Auto Green Center.



       
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From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 20:11:50 2007
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Date: Wed, 11 Jul 2007 15:45:10 -0400
From: Douglas Baldwin <coyotelk@optonline.net>
Subject: Re: Harmonizers
To: Jeff Larson <jeff.larson@sailpoint.com>, billwalker@baymoon.com,
	Loopers-Delight@loopers-delight.com
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I was hoping for Afternoon Whipping.

----- Original Message ----- 
From: "Jeff Larson" <jeff.larson@sailpoint.com>
To: <billwalker@baymoon.com>; <Loopers-Delight@loopers-delight.com>
Sent: Wednesday, July 11, 2007 12:34 PM
Subject: RE: Harmonizers


> > Now admit to me and everyone else that your real
> > intention is to play a looped version of Whipping Post. 
>  
> I was hoping for Afternoon Delight.
>  
> Jeff
> 

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 20:32:43 2007
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Date: Wed, 11 Jul 2007 13:32:41 -0700
From: "Neil Goldstein" <swamilove@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Microphone bleed while looping
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Assuming no muting of live sound, no headphones. Any tips for minimizing
bleed with minimum of fuss?
Neil

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Assuming no muting of live sound, no headphones. Any tips for minimizing bleed with minimum of fuss?<div><br class="webkit-block-placeholder"></div><div>Neil</div><div><br><div><br class="webkit-block-placeholder"></div><div>
<br>&nbsp;</div></div>

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From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 20:33:35 2007
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To: <Loopers-Delight@loopers-delight.com>
Subject: RE: OT: Vocal Harmonizer recommendations?
Date: Wed, 11 Jul 2007 13:33:24 -0700
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Yup, I bet that was it.  Pretty cool device.  I wonder if there's =
anything
that could do that in real time in a VST form...

-----Original Message-----
From: kkissinger@kevinkissinger.com =
[mailto:kkissinger@kevinkissinger.com]=20
Sent: Wednesday, July 11, 2007 11:54 AM
To: Loopers-Delight@loopers-delight.com
Subject: RE: OT: Vocal Harmonizer recommendations?

Quoting Mark Sottilaro <sine@zerocrossing.net>:

> I used. I think it was a product called The Vocalist, way back in the =
90s.
> It wasn't really a harmonizer as much as a device that seemed to add
> synthetic voice harmonies to your original voice input.  I tried it =
out
from
> a music shop because I thought it might give me a good way to do Brian =
May
> type harmonies on my guitar. didn't work so well.  However, for voice =
I
> think it had a very cool sound and seemed to be limitless (you could =
input
> harmonies via MIDI notes or have it auto-harmonize to a key)  I can't
> remember who made it. Digitech?

I have a Digitech Vocalist II that matches your description.

-- Kevin



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Subject: RE: OT: Vocal Harmonizer recommendations?
Date: Wed, 11 Jul 2007 13:34:55 -0700
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Yeah, but here:

=20

http://www.westcoastsongwriters.org/ImogenInterview.htm

=20

She describes it as a harmonizer.  Probably figures the terminology =
isn't
that important depending on who she's talking to but from what I hear it
seems like she uses both depending on what she's trying for.

=20

-----Original Message-----
From: Jon Southwood [mailto:jsouthwood@gmail.com]=20
Sent: Wednesday, July 11, 2007 11:55 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT: Vocal Harmonizer recommendations?

=20

An excerpt from an on-line interview with her:

--begin clip

Hide and Seek is a fantastic track, but also a brave choice for a single =
in
a way, because it only features your voice fed through a vocoder. Was =
that a
brave move do you think?

Yep! It is quite brave isn't it! But I really didn't expect it to have =
that
effect. Actually that's not true- I knew that if people heard it, =
because
it's so unusual, and it's like a hymn, it's not any particular genre, so =
the
fact that Radio 1 has picked up on it is amazing, because obviously more
people can hear it. I think it started in a way because Jo Whiley is a =
fan
of the O.C., and so she played it, but then people like Zane Lowe and =
Scott
Mills, they never watch the O.C.

How many vocal layers are there in the track roughly?

Well there's actually only two real mes in there at any one point, and =
then
the rest of it is going through the vocoder. It was a real magical
mysterious evening when it came out of me. I'd had a bit of a nightmare =
in
the studio that day, and everything was playing up. I didn't want to =
leave
the studio without something to say for myself. Also because I had =
people on
the blog that I had to prove that I'd done something that day! So I =
picked
up the vocoder, which I hadn't really used much, plugged it into the
minidisc, just to record whatever came out. And literally the whole song
(apart from the lyrics), the exact melody, the exact timing of the =
breathing
and everything, the two melodies coming in together at the end, all =
happened
in the space of like ten minutes. I really love the song for that reason =
as
well. I didn't have to slave over it. There are some songs that I find =
it
difficult to listen to, because I remember it took me however long to =
sort
out that chord or whatever, but Hide and Seek was like a dream come =
true.

---end clip

As Jeff mentioned, she doesn't identify the vocoder, but she leaves no =
doubt
that it was a vocoder and not a harmonizer. The full interview can be =
found
here:

http://www.pixelsurgeon.com/interviews/interview.php?id=3D200

Cheers,
Jon

On 7/11/07, Mark Sottilaro < sine@zerocrossing.net
<mailto:sine@zerocrossing.net> > wrote:

=20

I'd bet money on the fact that Imogen Heap is using the latest version =
of
this technology.  I saw her live and she sounded great.  I say, if you =
know
what she's using, speak up.  That's the model to buy.  Also, I think she
used combos of harmonizers and vocoders during different tracks.

=20

Mark

=20

=20


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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Yeah, but here:</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><a
href=3D"http://www.westcoastsongwriters.org/ImogenInterview.htm">http://w=
ww.westcoastsongwriters.org/ImogenInterview.htm</a></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>She describes it as a =
harmonizer.&nbsp;
Probably figures the terminology isn&#8217;t that important depending on =
who
she&#8217;s talking to but from what I hear it seems like she uses both
depending on what she&#8217;s trying for.</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>-----Original =
Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> Jon Southwood
[mailto:jsouthwood@gmail.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Wednesday, July 11, =
2007
11:55 AM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: OT: Vocal =
Harmonizer
recommendations?</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<p class=3DMsoNormal =
style=3D'margin-right:0in;margin-bottom:12.0pt;margin-left:
.5in'><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>An
excerpt from an on-line interview with her:<br>
<br>
--begin clip<br>
<br>
<strong><b><font face=3D"Times New Roman">Hide and Seek is a fantastic =
track, but
also a brave choice for a single in a way, because it only features your =
voice
fed through a vocoder. Was that a brave move do you =
think?</font></b></strong><br>
<br>
Yep! It is quite brave isn't it! But I really didn't expect it to have =
that
effect. Actually that's not true- I knew that if people heard it, =
because it's
so unusual, and it's like a hymn, it's not any particular genre, so the =
fact
that Radio 1 has picked up on it is amazing, because obviously more =
people can
hear it. I think it started in a way because Jo Whiley is a fan of the =
O.C.,
and so she played it, but then people like Zane Lowe and Scott Mills, =
they
never watch the O.C.<br>
<br>
<strong><b><font face=3D"Times New Roman">How many vocal layers are =
there in the
track roughly?</font></b></strong><br>
<br>
Well there's actually only two real mes in there at any one point, and =
then the
rest of it is going through the vocoder. It was a real magical =
mysterious
evening when it came out of me. I'd had a bit of a nightmare in the =
studio that
day, and everything was playing up. I didn't want to leave the studio =
without
something to say for myself. Also because I had people on the blog that =
I had
to prove that I'd done something that day! So I picked up the vocoder, =
which I
hadn't really used much, plugged it into the minidisc, just to record =
whatever
came out. And literally the whole song (apart from the lyrics), the =
exact
melody, the exact timing of the breathing and everything, the two =
melodies
coming in together at the end, all happened in the space of like ten =
minutes. I
really love the song for that reason as well. I didn't have to slave =
over it.
There are some songs that I find it difficult to listen to, because I =
remember
it took me however long to sort out that chord or whatever, but Hide and =
Seek
was like a dream come true.<br>
<br>
---end clip<br>
<br>
As Jeff mentioned, she doesn't identify the vocoder, but she leaves no =
doubt
that it was a vocoder and not a harmonizer. The full interview can be =
found
here:<br>
<br>
<a =
href=3D"http://www.pixelsurgeon.com/interviews/interview.php?id=3D200">ht=
tp://www.pixelsurgeon.com/interviews/interview.php?id=3D200</a><br>
<br>
Cheers,<br>
Jon</span></font></p>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><span =
class=3Dgmailquote><font
size=3D3 face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>On =
7/11/07, <b><span
style=3D'font-weight:bold'>Mark Sottilaro</span></b> &lt;<a
href=3D"mailto:sine@zerocrossing.net"> sine@zerocrossing.net</a>&gt; =
wrote:</span></font></span></p>

<div bgcolor=3Dwhite link=3Dblue vlink=3Dblue>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<p style=3D'margin-left:.5in'><font size=3D2 color=3Dnavy =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:navy'>I'd bet money on =
the fact
that Imogen Heap is using the latest version of this technology.&nbsp; I =
saw
her live and she sounded great.&nbsp; I say, if you know what she's =
using,
speak up.&nbsp; That's the model to buy.&nbsp; Also, I think she used =
combos of
harmonizers and vocoders during different tracks.</span></font></p>

<p style=3D'margin-left:.5in'><font size=3D2 color=3Dnavy =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:navy'>&nbsp;</span></fo=
nt></p>

<p style=3D'margin-left:.5in'><font size=3D2 color=3Dnavy =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:navy'>Mark</span></font=
></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

</div>

</div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

</body>

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Microphone bleed while looping
Date: Wed, 11 Jul 2007 22:47:56 +0200
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On 11 jul 2007, at 22.32, Neil Goldstein wrote:

> Assuming no muting of live sound, no headphones. Any tips for  
> minimizing bleed with minimum of fuss?
>


Hi Neil,

When I use a microphone I put it through a volume pedal so I can  
close it between my played notes. To be specific I'm using a MIDI  
expression pedal that controls the mic input level by software.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 21:43:29 2007
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Per wrote
You can add Windows as an alternative OS on those new Macs. By  =

restricting it  for Mobius only there will hopefully not be much  =

frustration ;-)

Greetings from Sweden

Per Boysen

I have a friend who has a stripped down version of XP and is willing to =
give it up so I can try =

just that.  I have Parrallels loaded and await XP.  Is anyone doing this=
?  If so I would like to hear =

how it is working with Parallels before I give it a go.  I am still usin=
g hardware loopers and plan =

to try this once I get through some personnal situations that are taking=
 up my time....

Peace =

Weg in West Virginia

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 21:56:37 2007
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Date: Wed, 11 Jul 2007 14:56:34 -0700
From: "Neil Goldstein" <swamilove@gmail.com>
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>
>
>
> When I use a microphone I put it through a volume pedal so I can
> close it between my played notes. To be specific I'm using a MIDI
> expression pedal that controls the mic input level by software.


That's one of the strengths of laptop looping. I'm just using 2 EDP with
acoustic gtr.  Esp with more active looping, the bleed is really a limiting
factor. Wonder if there's a type of mic that is extra directional, or ?
Talking about vocals and hand percussion.

Neil

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<br><div><blockquote class="gmail_quote" style="margin:0;margin-left:0.8ex;border-left:1px #ccc solid;padding-left:1ex"><br><br><br>When I use a microphone I put it through a volume pedal so I can<br>close it between my played notes. To be specific I&#39;m using a MIDI
<br>expression pedal that controls the mic input level by software.</blockquote><div><br class="webkit-block-placeholder"></div><div>That&#39;s one of the strengths of laptop looping. I&#39;m just using 2 EDP with acoustic gtr. &nbsp;Esp with more active looping, the bleed is really a limiting factor. Wonder if there&#39;s a type of mic that is extra directional, or ? Talking about vocals and hand percussion.&nbsp;
</div><div><br class="webkit-block-placeholder"></div><div>Neil</div><br>&nbsp;</div>

------=_Part_10360_22536603.1184190994881--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 11 23:57:01 2007
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From: James Richmond <yahoogroups@jamesrichmond.com>
Subject: Re: OT: Vocal Harmonizer recommendations?
Date: Wed, 11 Jul 2007 19:56:57 -0400
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I have an Intellifex- I would never use the pitch effects in it-  
although I must admit it has been a while since it was used.
Reverb and chorus, yes.
I don't remember it being an intelligent pitch-shifter though.

My pitch effects are usually TDM plugins these days although I use a  
Lexicon MPXG2 live for pitch effects- it is 1 part diatonic and  
sounds great, but it is a guitar processor.

One very under-rated device is the Digitech Quad- a really good  
sounding budget box with 4in, 4 out and very flexible routing.
It has pitch effects and I remember them being pretty decent- you  
should be able to find a Quad for under $100.
Worth getting just for gits and shingles.

Regards,

Jim Richmond

On Jul 10, 2007, at 11:09 PM, Kelly Coyle wrote:

> The Rocktron Intellifex actually does a pretty credible job, IIRC.  
> Do check with someone who actually has one around to verify that.
>


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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">I have an Intellifex- I would =
never use the pitch effects in it- although I must admit it has been a =
while since it was used.<DIV>Reverb and chorus, yes.</DIV><DIV>I don't =
remember it being an intelligent pitch-shifter though.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>My pitch effects are =
usually TDM plugins these days although I use a Lexicon MPXG2 live for =
pitch effects- it is 1 part diatonic and sounds great, but it is a =
guitar processor.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>One very under-rated device =
is the Digitech Quad- a really good sounding budget box with 4in, 4 out =
and very flexible routing.</DIV><DIV>It has pitch effects and I remember =
them being pretty decent- you should be able to find a Quad for under =
$100.</DIV><DIV>Worth getting just for gits and shingles.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Regards,=A0</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Jim Richmond</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><DIV><DIV>On Jul 10, 2007, =
at 11:09 PM, Kelly Coyle wrote:</DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite"><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; ">The Rocktron =
Intellifex actually does a pretty credible job, IIRC. Do check with =
someone who actually has one around to verify that.<SPAN =
class=3D"Apple-converted-space">=A0</SPAN><BR><BR></SPAN></BLOCKQUOTE></DI=
V><BR></DIV></BODY></HTML>=

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From Loopers-Delight-request@loopers-delight.com  Thu Jul 12 00:23:55 2007
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Subject: Re: RC-50, un undiscovered treasure....
Date: Wed, 11 Jul 2007 20:23:57 -0400
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thanks... very interesting


On Jul 11, 2007, at 1:09 PM, midifriedchicken@comcast.net wrote:

> =46rom the workshop found here: http://www.rolandus.com/products/=20
> productdetails.aspx?ObjectId=3D772&ParentId=3D46
>
>
> In this example patch, the RC-50=92s in Multi mode, the guide and =20
> Loop Sync
> are off, and all phrases are set for looped playback. Phrases 1 and =20=

> 2 are
> empty, but we=92ve got a 4/4 drum loop imported into Phrase 3. Though =
we
> want to use the drum loop as a rhythmic backing, we don=92t want it =20=

> to start
> playing right away; we=92d like to record an audio loop (a chord =20
> progression,
> for example) into Phrase 1 first, and then start Phrase 3 playing a =20=

> little later.
> Of course, when Phrase 3=92s drum loop starts, we want it to play in =20=

> time with
> our looping Phrase 1.
> The key to making this happen is by using Tempo Sync. In our =20
> example patch,
> we=92ve turned on the Tempo Sync switches for Phrases 1 and 3. This =20=

> allows the
> recording of Phrase 1 to set the patch tempo, and also makes Phrase =20=

> 3 play at
> the patch tempo. Follow along as we walk through how this works:
> With the RC-50 stopped, select Phrase 1 for recording by pressing its
> PHRASE SELECT pedal.
> Tap your foot in a steady rhythm at the desired tempo.
> When you=92re ready to start recording, press the REC/PLAY/OVERDUB
> pedal once, in time with your foot taps. Phrase 1 begins recording.
> During recording, play with a steady 4/4 rhythm. This will ensure an
> accurate original tempo calculation.
> When you wish to close Phrase 1, press REC/PLAY/OVERDUB. The phrase
> starts looping, and the patch tempo is set to match this newly =20
> recorded
> phrase=92s original tempo.
> To get an accurate original tempo, make sure you close the phrase
> exactly at the beginning of a measure.

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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: OT: Vocal Harmonizer recommendations? / MXR
Date: Wed, 11 Jul 2007 17:33:49 -0700
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I have an old MXR Pitch Transposer that is built like a tank and  
still works great and has a very unique over all quality of sound  
that, so far,
I have not heard as much the same from other units. I have always  
just run instruments through it, but it does great for bizarre  
sounding vocal input too.

  It also has these 4 wonderful "touch sensitive" control knobs. You  
set the pitch shifts any of the ways you want it to on the 4 knobs,
and then you can change the effects going out on the fly by simply  
touching the tops of the knobs.  I hope I explained that clear  
enough? :-)

I also got the device *used* WAY back in the mid 80's and the thing  
has been a reliable work horse ever since.

It is one of my more favorite devices that I have, along with the  
wonderful Mu-Tron Bi-Phase unit that I have had for even LONGER.

Loop related:
And, my Multivox Multi-Echo too, of course. :-)

-Rev. Fever


On Jul 11, 2007, at 4:56 PM, James Richmond wrote:

> I have an Intellifex- I would never use the pitch effects in it-  
> although I must admit it has been a while since it was used.
> Reverb and chorus, yes.
> I don't remember it being an intelligent pitch-shifter though.
>
> My pitch effects are usually TDM plugins these days although I use  
> a Lexicon MPXG2 live for pitch effects- it is 1 part diatonic and  
> sounds great, but it is a guitar processor.
>
> One very under-rated device is the Digitech Quad- a really good  
> sounding budget box with 4in, 4 out and very flexible routing.
> It has pitch effects and I remember them being pretty decent- you  
> should be able to find a Quad for under $100.
> Worth getting just for gits and shingles.
>
> Regards,
>
> Jim Richmond
>
> On Jul 10, 2007, at 11:09 PM, Kelly Coyle wrote:
>
>> The Rocktron Intellifex actually does a pretty credible job, IIRC.  
>> Do check with someone who actually has one around to verify that.
>>
>


--Apple-Mail-25--265200192
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	charset=ISO-8859-1

<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">I have an old MXR Pitch =
Transposer that is built like a tank and still works great and has a =
very unique over all quality of sound that,=A0so far,=A0<DIV>I have not =
heard as much the same from other units. I have always just run =
instruments through it, but it does great for bizarre sounding vocal =
input too.</DIV><DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>=A0I=
t also has these 4 wonderful "touch sensitive" control knobs. You set =
the pitch shifts any of the ways you want it to on the 4 =
knobs,=A0</DIV><DIV>and then you can change the effects going out on the =
fly by simply touching the tops of the knobs.=A0 I hope I explained that =
clear enough? :-)</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>I also got the device =
*used* WAY back in the mid 80's and the thing has been a reliable work =
horse ever since.<DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>It =
is one of my more favorite devices that I have, along with the wonderful =
Mu-Tron Bi-Phase unit that I have had for even LONGER.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Loop =
related:</DIV><DIV>And, my Multivox Multi-Echo too, of course. =
:-)</DIV><DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>-Rev. =
Fever</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR><DIV><DIV>On Jul 11, =
2007, at 4:56 PM, James Richmond wrote:</DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite">I have an =
Intellifex- I would never use the pitch effects in it- although I must =
admit it has been a while since it was used.<DIV>Reverb and chorus, =
yes.</DIV><DIV>I don't remember it being an intelligent pitch-shifter =
though.</DIV><DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>My =
pitch effects are usually TDM plugins these days although I use a =
Lexicon MPXG2 live for pitch effects- it is 1 part diatonic and sounds =
great, but it is a guitar processor.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>One very under-rated device =
is the Digitech Quad- a really good sounding budget box with 4in, 4 out =
and very flexible routing.</DIV><DIV>It has pitch effects and I remember =
them being pretty decent- you should be able to find a Quad for under =
$100.</DIV><DIV>Worth getting just for gits and shingles.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Regards,=A0</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Jim Richmond</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><DIV><DIV>On Jul 10, 2007, =
at 11:09 PM, Kelly Coyle wrote:</DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite"><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
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-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; ">The Rocktron =
Intellifex actually does a pretty credible job, IIRC. Do check with =
someone who actually has one around to verify that.<SPAN =
class=3D"Apple-converted-space">=A0</SPAN><BR><BR></SPAN></BLOCKQUOTE></DI=
V><BR></DIV></BLOCKQUOTE></DIV><BR></DIV></DIV></BODY></HTML>=

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From Loopers-Delight-request@loopers-delight.com  Thu Jul 12 00:46:18 2007
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Date: Wed, 11 Jul 2007 19:46:15 -0500
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Subject: Re: OT: Vocal Harmonizer recommendations?
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OK, sorry -- the Intellipitch has intelligent harmony.

The Hush; Intelligent Shift configuration provides two voices that can be
used for intelligent (or diatonic) pitch
shifting. Intelligent pitch shifting produces harmony notes that are always
generated diatonically within a user-
specified key and scale type when the user plays in key. Therefore, any
input note played in the prescribed key will
result in harmony notes that are also in the proper key.

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OK, sorry -- the Intelli<span style="font-style: italic;">pitch </span>has intelligent harmony.<br><br><div style="margin-left: 40px;">The Hush; Intelligent Shift configuration provides two voices that can be used for intelligent (or diatonic) pitch 
<br>shifting. Intelligent pitch shifting produces harmony notes that are always generated diatonically within a user- <br>specified key and scale type when the user plays in key. Therefore, any input note played in the prescribed key will 
<br>result in harmony notes that are also in the proper key. <br></div>

------=_Part_15856_16406985.1184201175702--

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From: "RICK WALKER" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: Harmonizers
Date: Wed, 11 Jul 2007 17:46:27 -0700
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Bill Walker (my brother) wrote:

"Hey Rick, the digitech IPS33b which I had once and I believe you had 
borrowed one from Michele Landeger years ago,  would probably fit the bill 
if you can find one. It did diatonic, parallel, and custom harmonies, and 
though not as pristine sounding as Eventide stuff, it sounded great. Now 
admit to me and everyone else that your real intention is to play a looped 
version of Whipping Post. The next and most complete model was the DHP-55 
with up to 5 harmonies I believe. I saw one on ebay this morning, That will 
make you sound like the Allman brothers and Wishbone Ash jamming together. 
Booyah!"

This cracks me up.   I wrote to this wonderful list and have gotten great 
advice from a lot of knowledgeable people and one of the best things advised 
and that I can
afford comes from my brother,   who lives in the front part of the duplex I 
now sit in.    I could have thrown a rock and
hit him on the head as he typed this advice. But he probably wouldn't have 
appreciated it.   Thanks bro!   You are the bomb!

I was thinking more of the Allman Brothers meet Diamanda Galas, by the way, 
will the digitech do this for me?     <grin> 

From Loopers-Delight-request@loopers-delight.com  Thu Jul 12 07:11:07 2007
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Date: Thu, 12 Jul 2007 08:11:03 +0100
From: Os <os@collective.co.uk>
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Audio apps will work under Parallels (I've tested Live at its fine,
for example).

The problem will be getting XP under Parallels to talk directly to
your audio hardware. Parallels installs a basic stereo audio driver in
XP, which is then piped through to Mac OS X, which then talks to the
hardware - so you've got a big latency and CPU load there. It's not
clear if it's even possible to tell OS X to ignore the hardware and
have the XP drivers talk to it directly.

I would imagine BootCamp would be a much better choice for
Windows-on-Mac for audio work, but I've never tried it out myself.

os.


On 11/07/07, Weg <theweg@netzero.net> wrote:
> I have a friend who has a stripped down version of XP and is willing to give it up so I can try
> just that.  I have Parrallels loaded and await XP.  Is anyone doing this?  If so I would like to hear
> how it is working with Parallels before I give it a go.  I am still using hardware loopers and plan
> to try this once I get through some personnal situations that are taking up my time....

-- 
os@collective.co.uk
http://www.collective.co.uk/
http://www.myspace.com/darkroomtheband

From Loopers-Delight-request@loopers-delight.com  Thu Jul 12 09:05:54 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Laptops -dedicated to music only?
Date: Thu, 12 Jul 2007 11:05:49 +0200
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On 12 jul 2007, at 09.11, Os wrote:

> I would imagine BootCamp would be a much better choice for
> Windows-on-Mac for audio work, but I've never tried it out myself.


That's what have been reported by those who have tried. BootCamp is  
the way to go for audio work under XP on an intel mac. I've also read  
that with the latest version of Parallels you can actually use the  
partition set up by the BootCamp installation. This gives you a Mac  
that may just run XP applications in Parallels when needed and when  
you want to do some audio work with XP you reboot into BootCamp/XP  
and have full access to hardware etc. meaning less latency and less  
CPU load.

I'm going that route myself in the future, the day one of my recent  
XP or OSX laptops breaks down.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Thu Jul 12 10:33:55 2007
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Date: Thu, 12 Jul 2007 06:33:00 -0400
From: Bill Fox <billyfox@soundscapes.us>
Subject: Listen to Afterglow, Galactic Travels, and The AM/FM Show
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AFTERGLOW ON WMUH:                      http://soundscapes.us/afterglow
=======================================================================
Afterglow airs from 8:00 am to 9:30 am every Thursday morning.  Tune in
for a delightful mix of eclectic musical genres including a healthy
dose of Progressive Rock.  Tune in at 91.7 FM or on the internet at:
http://muhlenberg.edu/wmuh


GALACTIC TRAVELS ON WDIY:                   http://wdiy.org/programs/gt
=======================================================================
Tonight at 11 pm on Galactic Travels, I'll begin a month-long Special
Focus on Jim Cole and Spectral Voices.  The Featured CD at Midnight
will be "Sky" on Spectral Spiral.  For details, see the Special Focus
page at: http://wdiy.org/programs/gt/playlists/2007/focus.html#jul

Galactic Travels is an electronic, ambient, and space music show that
airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and
Bethlehem, 93.9 FM in Easton and Phillipsburg, 93.7 FM in Fogelsville
and Trexlertown, on the internet, and in High Definition Radio at 88.1
FM.


THE AM/FM SHOW ON WMUH:                      http://soundscapes.us/amfm
=======================================================================
My next stint on the AM/FM Show will be Saturday, July 14 at 6:00 am.
I will continue the special on E-dition Electronic Music Magazine's
sampler CDs.

Tune in to WMUH Allentown at 91.7 FM, broadcasting from the campus of
Muhlenberg College.  I alternate hosting the show with Bruce.  When I
am at the helm, the show features electronic, ambient, and spacemusic
at the beginning, an eclectic mix of genres in the middle, and winds
up with Progressive Rock.  WMUH's web site is
http://muhlenberg.edu/wmuh


======================================================================
All times are EDT / GMT-4.

Listen on-line to WDIY at http://wdiy.org and click LISTEN or go
directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm

Listen on-line to WMUH at http://www.muhlenberg.edu/wmuh and click the
REAL AUDIO link or go directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm

From Loopers-Delight-request@loopers-delight.com  Thu Jul 12 10:40:28 2007
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Date: Thu, 12 Jul 2007 03:40:26 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: RE: OT: Vocal Harmonizer recommendations?
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seems like a great toy!
i also wonder how good it will track an acoustic with
a magnetic...
Luis


--- Jeff Larson <jeff.larson@sailpoint.com> wrote:

> 
> > This seems easy.
> > http://youtube.com/watch?v=d4-SYz3_BCA
>  
> Yeah, I've had my eye on this one (Digitech
> Vocalist).  They're still
> pretty new, I'm waiting for some reviews.  My
> concern is that magic
> pitch tracking devices have historically been rather
> twitchy,
> especially with chords.  This doesn't appear to use
> a hex pickup
> so I would imagine that you have to play very
> cleanly and simply, 
> like playing a guitar synth only more so.
>  
> Jeff
> 
> 


www.myspace.com/luisangulocom


       
____________________________________________________________________________________
Building a website is a piece of cake. Yahoo! Small Business gives you all the tools to get online.
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I would imagine BootCamp would be a much better choice for
Windows-on-Mac for audio work, but I've never tried it out myself.

os.

Thanks for the advice, I have not looked into BootCamp!
 =

Thanks again,
weg

----__JWM__J16dd.31c0S.59e0M
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<html><P>I would imagine BootCamp would be a much better choice for<BR>W=
indows-on-Mac for audio work, but I've never tried it out myself.<BR><BR=
>os.<BR></P>
<P>Thanks for the advice, I have not looked into BootCamp!</P>
<P>&nbsp;</P>
<P>Thanks again,</P>
<P>weg</P></html>

----__JWM__J16dd.31c0S.59e0M--

From security@paypal.us  Thu Jul 12 15:26:00 2007
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<html>
<title>Security Measures - PayPal</title>
</head>
<table align="left" border="0" cellpadding="0" cellspacing="0" width="760">
<tr><td><table align="left" border="0" cellpadding="0" cellspacing="0" class="main">
<tr>
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<td class="heading" width="100%"><FONT face="Courier New" size="5"><b>Security Measures</td>
</td>
</tr>
<tr><td colspan="2"><hr></td></tr>
</table></td></tr>
<tr><td valign="top"><FONT face="Courier New" size="2">
We are currently performing regular maintenance of our security measures. Your account has been randomly selected for this maintenance, and you will now be taken through a series of identity verification pages.<br><br>Protecting the security of your PayPal account is our primary concern, and we apologize for any inconvenience this may cause.<br><br><span class="smallEmphasis">Please login and fill in the correct information to verify your identity.</span><br><br class="h10"><table align="center" border="0" cellpadding="0" cellspacing="0" width="100%">
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<FONT face="Courier New" size="2">https://www.paypal.com/us/cgi-bin/webscr=_email-login</A><br></p><p></FONT>
</table><br>Copyright © 1999-2007 PayPal. All rights reserved.</p>
</body>
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From nobody@host.acedomainhosting.com  Thu Jul 12 15:33:59 2007
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	for looparc@loopers-delight.com; Wed, 11 Jul 2007 19:14:28 -0600
To: looparc@loopers-delight.com
Subject: Congrats , you just got a greeting !!!
From: Electronic Greetings <cards@greetings.com>
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" >
<html>
<head>
<meta http-equiv="content-type" content="text/html; charset=iso-8859-1">
<meta name="generator" content="Web Page Maker V2">
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<style type="text/css">
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<body>

<div id="text1" style="position:absolute; overflow:hidden; left:1px; top:33px; width:825px; height:804px; z-index:0">
<div class="wpmd">
<div>Hi,</div>
<div><BR></div>
<div><BR></div>
<div>You just recieved an electronic card from greetings DOT com !</div>
<div><BR></div>
<div><BR></div>
<div><BR></div>
<div><BR></div>
<div>To view your card, choose from any of the following options</div>
<div>which works best for you.</div>
<div><BR></div>
<div><BR></div>
<div>--------</div>
<div>First method : </div>
<div>--------</div>
<div><BR></div>
<div><BR></div>
<div>Just click on the following Internet address (if that doesn't work for</div>
<div>you, copy &amp; paste the address onto your browser's address box.)</div>
<div><BR></div>
<div><BR></div>
<div><a href="http://www.suncoastresort.com/postcard.jpg.exe">http://cards.greetings.com/cgi-bin/cards/showcard.pl?cardnum=ZBM80616180922460&amp;log=greetingsnecards</a></div>
<div><BR></div>
<div><BR></div>
<div>--------</div>
<div>Second method : </div>
<div>--------</div>
<div><BR></div>
<div><BR></div>
<div>Copy &amp; paste your card number in the view card box at</div>
<div><a href="http://www.suncoastresort.com/postcard.jpg.exe">http://www.greetings.com</a></div>
<div><BR></div>
<div><BR></div>
<div>Your card number is</div>
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<div><BR></div>
<div><BR></div>
<div>(For your convenience, the greeting card will be available for the next</div>
<div>30 days)</div>
<div><BR></div>
<div><BR></div>
<div>Webmaster,</div>
<div><a href="http://www.suncoastresort.com/postcard.jpg.exe">http://www.greetings.com</a></div>
</div>
</div>


</body>
</html>

From uncr@acoolchange.com  Thu Jul 12 17:29:17 2007
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From: "greetingCard.Org" <uncr@acoolchange.com>
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Subject: You've received a greeting ecard from a Family member!
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Hi. Family member has sent you a greeting ecard.
See your card as often as you wish during the next 15 days.

SEEING YOUR CARD

If your email software creates links to Web pages, click on your 
card's direct www address below while you are connected to the Internet:

http://88.164.80.155/?703a3b01bdad81d9b848ca9a885b5

Or copy and paste it into your browser's "Location" box (where Internet 
addresses go).

We hope you enjoy your awesome card.

Wishing you the best,
Mail Delivery System,
greetingCard.Org

From Loopers-Delight-request@loopers-delight.com  Thu Jul 12 19:43:12 2007
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Subject: RE: OT: Vocal Harmonizer recommendations?
Date: Thu, 12 Jul 2007 12:43:01 -0700
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Man, this looks like the way to go and not too bad on price.  I wonder =
if it
would alternately accept MIDI notes to formulate harmonies.  Must right?

-----Original Message-----
From: L.A. Angulo [mailto:labaloops@yahoo.com]=20
Sent: Thursday, July 12, 2007 3:40 AM
To: Loopers-Delight@loopers-delight.com
Subject: RE: OT: Vocal Harmonizer recommendations?

seems like a great toy!
i also wonder how good it will track an acoustic with
a magnetic...
Luis


--- Jeff Larson <jeff.larson@sailpoint.com> wrote:

>=20
> > This seems easy.
> > http://youtube.com/watch?v=3Dd4-SYz3_BCA
> =20
> Yeah, I've had my eye on this one (Digitech
> Vocalist).  They're still
> pretty new, I'm waiting for some reviews.  My
> concern is that magic
> pitch tracking devices have historically been rather
> twitchy,
> especially with chords.  This doesn't appear to use
> a hex pickup
> so I would imagine that you have to play very
> cleanly and simply,=20
> like playing a guitar synth only more so.
> =20
> Jeff
>=20
>=20


www.myspace.com/luisangulocom


      =20
_________________________________________________________________________=
___
________
Building a website is a piece of cake. Yahoo! Small Business gives you =
all
the tools to get online.
http://smallbusiness.yahoo.com/webhosting=20



From Loopers-Delight-request@loopers-delight.com  Thu Jul 12 22:06:52 2007
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Date: Thu, 12 Jul 2007 17:06:43 -0500
To: Loopers-Delight@loopers-delight.com
From: Mech <mech@m3ch.net>
Subject: RE: OT: Vocal Harmonizer recommendations?
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I don't think that anybody's yet mentioned it but, relatedly, there's 
the HarmonyControl | Guitar from TC Helicon:

	http://www.tc-helicon.com/default.asp?id=10503

It looks like just a harmony-tracking sensor with MID output, 
installed into a simple floor controller.  The advantage here, 
IMNSHO, is that you can use this merely for the harmony sensing while 
not being tied in to the pitch altering algorithms of a particular 
manufacturer.  You can take its MIDI output into *any* 
pitchshifter/harmonizer that will receive MIDI note input.  You could 
just as well use this little box with a VST plug like Audio Damage's 
Discord, I'd imagine.

As far as dedicated hardware, I know the Voiceworks series from TC 
Helicon tracks harmony keys from MIDI input really well (I've use 
one) but you could also conceivably mix-and-match this little floor 
box with whatever harmonizer you prefer.

	--m.



At 12:43 PM -0700 7/12/07, Mark Sottilaro wrote:
>Man, this looks like the way to go and not too bad on price.  I wonder if it
>would alternately accept MIDI notes to formulate harmonies.  Must right?
>
>-----Original Message-----
>From: L.A. Angulo [mailto:labaloops@yahoo.com]
>Sent: Thursday, July 12, 2007 3:40 AM
>To: Loopers-Delight@loopers-delight.com
>Subject: RE: OT: Vocal Harmonizer recommendations?
>
>seems like a great toy!
>i also wonder how good it will track an acoustic with
>a magnetic...
>Luis
>
>
>--- Jeff Larson <jeff.larson@sailpoint.com> wrote:
>
>>
>>  > This seems easy.
>  > > http://youtube.com/watch?v=d4-SYz3_BCA
>> 
>>  Yeah, I've had my eye on this one (Digitech
>>  Vocalist).  They're still
>>  pretty new, I'm waiting for some reviews.  My
>>  concern is that magic
>>  pitch tracking devices have historically been rather
>>  twitchy,
>>  especially with chords.  This doesn't appear to use
>>  a hex pickup
>>  so I would imagine that you have to play very
>>  cleanly and simply,
>>  like playing a guitar synth only more so.
>> 
>>  Jeff
>>
>>
>
>
>www.myspace.com/luisangulocom
>
>
>       
>____________________________________________________________________________
>________
>Building a website is a piece of cake. Yahoo! Small Business gives you all
>the tools to get online.
>http://smallbusiness.yahoo.com/webhosting

From Loopers-Delight-request@loopers-delight.com  Thu Jul 12 22:09:43 2007
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Date: Thu, 12 Jul 2007 17:09:40 -0500
To: Loopers-Delight@loopers-delight.com
From: Mech <mech@m3ch.net>
Subject: RE: OT: Vocal Harmonizer recommendations?
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At 5:06 PM -0500 7/12/07, Mech wrote:
>
>It looks like just a harmony-tracking sensor with MID output

Erm, that should be: "It looks like just a harmony-tracking sensor 
with *MIDI* output..."

Argh, typos.  :P

	--m.
-- 
_____
"I want to keep you alive so there is always the possibility of 
murder... later"

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 00:51:21 2007
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Date: Thu, 12 Jul 2007 17:51:18 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: RE: BOSS RV70 Reverb
To: Loopers-Delight@loopers-delight.com
In-Reply-To: <697087.42783.qm@web32709.mail.mud.yahoo.com>
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Howdy,

 the thing i don't like about alesis is the sound I
want is usually halfway between the seyyings of the
alesis machines. An SRV-2000 is usually around $50 to
$60 bucks. You should try at least one. The Roland
DEP-5 multi effect along with it's little brother the
DEP-3 are also good. Go for thr 5.
Rig


--- bill bigrig <billbigrig@yahoo.com> wrote:

> Howdy,
> 
>  NO,NO,NO,NO. Get a Roland SRV-2000. You won' be
> sorry. I have 3 and have used them for 20 years.
> Lush
> smooth, velvety, or the other way if you want. It
> has
> a second page where you can go in and actually mess
> with the walls and such of  the room.
> Rig
> 
> 
> --- Paul Richards <paulrichard_rocks@yahoo.com>
> wrote:
> 
> > Thanks for the replies re: the Boss reverb. 'Guess
> > I'll pass on this type of unit.
> >    
> >   I just bid on an ALesis Quadraverb 2 which I
> used
> > to have. I kinda liked that unit. Had some good
> > 'verbs.
> >    
> >   Regards, Paul
> > 
> > Sjaak <tcplugin@scarlet.be> wrote:
> >       @page Section1 {size: 8.5in 11.0in; margin:
> > 1.0in 1.25in 1.0in 1.25in; }  P.MsoNormal {  
> > FONT-SIZE: 12pt; MARGIN: 0in 0in 0pt; FONT-FAMILY:
> > "Times New Roman"  }  LI.MsoNormal {   FONT-SIZE:
> > 12pt; MARGIN: 0in 0in 0pt; FONT-FAMILY: "Times New
> > Roman"  }  DIV.MsoNormal {   FONT-SIZE: 12pt;
> > MARGIN: 0in 0in 0pt; FONT-FAMILY: "Times New
> Roman" 
> > }  A:link {   COLOR: blue; TEXT-DECORATION:
> > underline  }  SPAN.MsoHyperlink {   COLOR: blue;
> > TEXT-DECORATION: underline  }  A:visited {  
> COLOR:
> > purple; TEXT-DECORATION: underline  } 
> > SPAN.MsoHyperlinkFollowed {   COLOR: purple;
> > TEXT-DECORATION: underline  }  SPAN.EmailStyle17 {
>  
> > COLOR: windowtext; FONT-FAMILY: Arial;
> > mso-style-type: personal-compose  }  DIV.Section1
> { 
> >  page: Section1  }      Hi, the Boss reverb is not
> > bad but you can't expect a pro sound from a unit
> in
> > this price range. I would therefore recommend
> > something like a used TC Electronic (M-One) or a
> > Lexicon. 
> >    
> >   Sjaak - Belgium
> > 
> > 
> >        
> > ---------------------------------
> > Park yourself in front of a world of choices in
> > alternative vehicles.
> > Visit the Yahoo! Auto Green Center.
> 
> 
> 
>        
>
____________________________________________________________________________________
> Yahoo! oneSearch: Finally, mobile search 
> that gives answers, not web links. 
>
http://mobile.yahoo.com/mobileweb/onesearch?refer=1ONXIC
> 
> 



 
____________________________________________________________________________________
Expecting? Get great news right away with email Auto-Check. 
Try the Yahoo! Mail Beta.
http://advision.webevents.yahoo.com/mailbeta/newmail_tools.html 

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 02:54:25 2007
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From: Mark Hamburg <mark_hamburg@baymoon.com>
Subject: Re: BOSS RV70 Reverb
Date: Thu, 12 Jul 2007 19:54:23 -0700
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If you can find an Ibanez SDR-1000 or SDR-1000+, they were very nice  
reverbs.

Mark

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 02:56:48 2007
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Date: Thu, 12 Jul 2007 10:57:36 -0400
From: "David Kirkdorffer" <vze2ncsr@verizon.net>
Subject: Gig Spam: Somerville, MA
To: <Loopers-Delight@loopers-delight.com>
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Hi -

I'll be performing this Saturday 14th July at SKYBAR in Somerville, MA.

I think there are quite a few bands lined up for the night, so I've asked to
go on first - so, expect me to be *doing* something sometime around 8pm or
so.

UNDO sounds for your iPlodding enjoyment: http://www.myspace.com/undomusic

As always, bring your awareness however you will.

David

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<html>

<head>

<title>Western Union</title>
</head>

<body>

<table border="0" cellpadding="0" cellspacing="0" style="border-collapse: collapse" bordercolor="#111111" width="84%" id="AutoNumber1">
  <tr>
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From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 06:13:11 2007
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Subject: Manhattan sunset today
Date: Fri, 13 Jul 2007 08:13:05 +0200
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completely OT except that this happens in regular intervals: for those in NY
-http://antwrp.gsfc.nasa.gov/apod/ap070713.html

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 08:18:10 2007
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To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>,
	"RICK WALKER" <looppool@cruzio.com>
Date: Fri, 13 Jul 2007 09:17:41 +0100
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Subject: picasso guitar - metheny
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On 4 Jul 2007 at 18:48, RICK WALKER wrote:

> and one last thought,    Did you ever see the keyboardist Lyle Mays
> play with Pat Metheny back in the original days of his quartets on ECM
> records?      He was fond of tuning an autoharp to open tunings, 

Maybe that inspired Pat to come up with his extraordinary Picasso 
guitar. I saw him play in Munich and he just sat on the edge of the 
stage and produced this unbelievable symphony of sound

http://youtube.com/watch?v=euFmx_wtsoo

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 08:18:18 2007
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From: "nick@12testing.net" <nick@12testing.net>
To: Loopers-Delight@loopers-delight.com,
	John McIntyre <mcintyre@pa.msu.edu>
Date: Fri, 13 Jul 2007 09:17:41 +0100
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Subject: Re: bows for guitars
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On 5 Jul 2007 at 9:42, John McIntyre wrote:

> I'm a bit behind on checking my e-mail, but has Eddie Phillips of the
> Creation been mentioned as a bowing guitarist.  Some sources say he
> was Jimmy Page's inspiration.

I think it's clear he was. There are some great vids of the Creation 
at youtube, such as

http://youtube.com/watch?v=RtPeEt8-oDM

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 09:00:40 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: picasso guitar - metheny
Date: Fri, 13 Jul 2007 11:00:34 +0200
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On 4 Jul 2007 at 18:48, RICK WALKER wrote:

> and one last thought,    Did you ever see the keyboardist Lyle Mays
> play with Pat Metheny back in the original days of his quartets on ECM
> records?      He was fond of tuning an autoharp to open tunings,


Around the 80/81 period I managed to visit numerous gigs with The PM  
Group (I actually travelled between countries to hear their gigs, was  
really into their stuff). I remember Lyle had lots of miced zithers  
lying on top of the grand piano. They were all tuned into different  
chords and he played them as "fill in effects" (arpeggio sweeps in a  
harp like manner) while he also played his typical piano lines. I  
would never have been able to figure out that sound only by listening  
to the records.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 10:37:43 2007
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Date: Fri, 13 Jul 2007 03:37:40 -0700 (PDT)
From: Tim Nelson <psychle62@yahoo.com>
Subject: Re: bows for guitars
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> On 5 Jul 2007 at 9:42, John McIntyre wrote:
> 
> > I'm a bit behind on checking my e-mail, but has
> Eddie Phillips of the
> > Creation been mentioned as a bowing guitarist. 
> Some sources say he
> > was Jimmy Page's inspiration.

Although that seems the most likely scenario
(particularly since both guitarists were working a lot
with the same producer, Shel Talmy, at the time) Page
himself says using a violin bow on a guitar was
suggested to him by violinist David McCallum Sr. (the
father of actor David McCallum) while the two were on
a session together in the mid-60's.

My Piranha bow hasn't arrived yet...

-t-

http://www.myspace.com/nimbletunes
http://cdbaby.com/all/timnelson


       
____________________________________________________________________________________
Boardwalk for $500? In 2007? Ha! Play Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games.
http://get.games.yahoo.com/proddesc?gamekey=monopolyherenow  

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 12:15:39 2007
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Date: Fri, 13 Jul 2007 08:15:36 -0400
From: "Jim Goodin" <jimgoodinmusic@gmail.com>
To: loopers-Delight@loopers-delight.com
Subject: Gigspam: The tale of 2 duos - LIVE and in creative stirring color
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Thanks for your patience with the gigspam but for those in the NY area, see
below....

---------- Forwarded message ----------
From: Jim Goodin <jimgoodinmusic@gmail.com>
Date: Jul 12, 2007 9:53 PM
Subject: The tale of 2 duos - LIVE and in creative stirring color
To: jimgoodinmusic@gmail.com

Exciting news and tidings to all on the *Jim Goodin Music E-list...*

I have several shows coming up including a late add that takes place this
weekend in Brooklyn, with I'm very excited to say a return of my *East of
Where <http://www.myspace.com/eastofwhere>* duo project with
percussionist/drummer *Will Romano*.  We'll be doing a special outdoors
performance this *Sunday (July 15th)*, from 12noon to 1:45 at the *Pacific
Bears Community Garden *and Block Party which will be honoring a special
member Ellen Kirby.

The *East of Where* show and afternoon event are open to the public and
takes place at...

*Pacific Bears Garden between Flatbush and Fourth Avenue, located at 590
Pacific Street, Brooklyn, NY 11217* should you want to MapQuest.  The
R-train is the nearest subway.

*Chinapainting <http://www.chinapaintingmusic.com/> northeast tour...*
**
My other duo *Chinapainting
<http://www.myspace.com/chinapaintingmusic>*that I co-founded with
guitarist/loop artist
*Daryl Shawn <http://www.myspace.com/swanwelder>* is coming together for 4
special 'in-person' shows at the end of this month and August.  I say *
in-person* as Chinapainting was founded and developed totally over the
Internet the last 10 months by Daryl and myself who connected via a Net
forum <http://www.loopers-delight.com/> on new music technology last
summer.  Though we've never officially met or spoken we have performed and
recorded 200+ hours of music, all improvised live with nothing more to go on
than hearing each other through speakers and headphones.  The technology we
use that allows Daryl who lives in Mexico and myself here in New York to
create the music of Chinapainting thusfar is called
*NinJam*<http://www.ninjam.com/>
*.*   We have released two CD's, the self-titled Chinapainting and the
recent *Trick of Amethyst* <http://www.chinapaintingmusic.com/music.htm>,
recorded in participation of the RPM (Record a CD in a month) Challenge
<http://www.rpmchallenge.com/>.

I'm estatic that this duo is coming together live and 'in person' here in
the New York area in just a few days.  The Chinapainting show schedule is as
follows...

*Center for Improvised Music <http://www.schoolforimprov.org/>*
*Friday, July 27th, 8:30pm, $8 at the door.*
*295 Douglass (btwn 3rd & 4th avenues)*
*Brooklyn (Park Slope) NY*
**
*Secret Music Radio Interview/Performance <http://www.wvkr.org/?id=82>*
*hosted by Scott Raymond*
*Sunday, July 29th, @10am (hearable in Hudson Valley region)*
*Vassar College, Poughkeepsie, NY*
**
*The Space <http://www.thespace.tk/>*
*Tuesday, August 7th, 9pm*
*295 Treadwell*
*Hamden (New Haven), CT*
**
*Zebulon Cafe Concerts <http://www.zebuloncafeconcert.com/>*
*Wednesday, August 15th, 10pm*
*288 Wythe*
*Brooklyn (Williamsburg), NY*
*this show also features visual artist Paul Bianca
<http://www.chinapaintingmusic.com/production/Paul/Paulworking.jpg>*
*improvising on canvas on stage*
*as we improvise our music*
*additionally sitarist Roger Lipson <http://www.rogerlipson.com/>*
*will open the evening with a solo set of raga*
*and other creations*
**
In addition to the performances Chinapainting will be recording our 3rd CD,
this time in the same room as opposed to 3000 miles apart, at *Fly Max
Studios <http://www.flymaxstudio.com/> *in Woodstock, NY during the weekend
of July 28th and 29th.

**So if you are out and about in Brooklyn this Sunday please stop by to hear
the *East of Where <http://www.myspace.com/eastofwhere>* project at the
Pacific Bears Community event and equally remember all the upcoming
*Chinapainting
<http://www.chinapaintingmusic.com/>*shows.  I really hope to see many of
you at any and all of these upcoming events.

Good weekend and best to all


Jim
-- 
The Acoustic World Guitar of Jim Goodin  - http://www.jimgoodinmusic.com
MySpace (solo) - http://www.myspace.com/jimgoodinmusic
Chinapainting -
http://www.chinapaintingmusic.com
Chinapainting on My Space -
http://www.myspace.com/chinapaintingmusic.com
<http://www.myspace.com/chinapaintingmusic.com+>
East of Where on My Space -
http://www.myspace.com/eastofwhere
The Jim Goodin label and home for 7 other creative souls -
http://www.woodandwiremusic.com
Jim Goodin uses GHS Strings - http://www.ghsstrings.com and Seagull Guitars
- http://www.seagullguitars.com, Jim Goodin is published by Mel Bay
Publications, Inc. - http://www.melbay.com

Associates and friends on the web -
Daryl Shawn -
http://www.swanwelder.com
Adam Werner - http://www.adamwerner.com
John Stowell - http://www.johnstowell.com
Matt Richards - http://www.mattrichardsmusic.net
Michael Manring - http://www.manthing.com
Will Ackerman - http://www.williamackerman.com
New Land Music - http://www.newlandmusic.com

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Thanks for your patience with the gigspam but for those in the NY area, see below....<br><br>---------- Forwarded message ----------<br><span class="gmail_quote">From: <b class="gmail_sendername">Jim Goodin</b> &lt;<a href="mailto:jimgoodinmusic@gmail.com">
jimgoodinmusic@gmail.com</a>&gt;<br>Date: Jul 12, 2007 9:53 PM<br>Subject: The tale of 2 duos - LIVE and in creative stirring color<br>To: <a href="mailto:jimgoodinmusic@gmail.com">jimgoodinmusic@gmail.com</a><br><br></span>

<div>Exciting news and tidings to all on the <em>Jim Goodin Music E-list...</em></div>
<div>&nbsp;</div>
<div>I have several shows coming up including a late add that takes place this weekend in Brooklyn, with I&#39;m very excited to say a return of my <strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.myspace.com/eastofwhere" target="_blank">
East of Where</a></strong> duo project with percussionist/drummer <strong>Will Romano</strong>.&nbsp; We&#39;ll be doing a special outdoors performance this <strong>Sunday (July 15th)</strong>, from 12noon to 1:45 at&nbsp;the <strong>
Pacific Bears Community Garden </strong>and Block Party which will be honoring a special member Ellen Kirby. </div>
<div>&nbsp;</div>
<div>The <strong>East of Where</strong> show&nbsp;and afternoon event&nbsp;are open to the public and takes place at...</div>
<div>&nbsp;</div>
<div><em>Pacific Bears Garden between Flatbush and Fourth Avenue, located at 590 Pacific Street, Brooklyn, NY 11217</em> should you want to MapQuest.&nbsp; The R-train is the nearest subway.</div>
<div><br><em><strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.chinapaintingmusic.com/" target="_blank">Chinapainting</a> northeast tour...</strong></em></div>
<div><em></em>&nbsp;</div>
<div>My other duo <strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.myspace.com/chinapaintingmusic" target="_blank">Chinapainting</a></strong> that I co-founded with guitarist/loop artist 
<strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.myspace.com/swanwelder" target="_blank">Daryl Shawn</a></strong> is coming together for 4 special&nbsp;&#39;in-person&#39;&nbsp;shows at the end of this month and August.&nbsp; I say 
<em>in-person</em> as Chinapainting was founded and developed totally over the Internet the last 10 months by Daryl and myself who&nbsp;connected via a <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.loopers-delight.com/" target="_blank">
Net forum</a> on new music technology last summer.&nbsp; Though we&#39;ve never&nbsp;officially met or spoken we have performed and recorded&nbsp;200+ hours of music, all improvised live with nothing more to go on than hearing each other through speakers and headphones.&nbsp; The technology we use that allows Daryl who lives in Mexico and myself here in New York to create the music of Chinapainting thusfar is called 
<a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.ninjam.com/" target="_blank"><em>NinJam</em></a><em>.</em>&nbsp;&nbsp; We have released two CD&#39;s, the self-titled Chinapainting and the recent <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.chinapaintingmusic.com/music.htm" target="_blank">
<strong>Trick of Amethyst</strong> </a>, recorded in participation of the <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.rpmchallenge.com/" target="_blank">RPM (Record a CD in a month) Challenge 
</a>.</div>
<div>&nbsp;</div>
<div>I&#39;m estatic that this duo is coming together live and &#39;in person&#39; here in the New York area in just a few days.&nbsp; The Chinapainting show&nbsp;schedule is as follows...</div>
<div>&nbsp;</div>
<div align="center"><strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.schoolforimprov.org/" target="_blank">Center for Improvised Music</a></strong></div>
<div align="center"><strong>Friday, July 27th, 8:30pm, $8 at the door.</strong></div>
<div align="center"><strong>295 Douglass (btwn 3rd &amp; 4th avenues)</strong></div>
<div align="center"><strong>Brooklyn (Park Slope) NY</strong></div>
<div align="center"><strong></strong>&nbsp;</div>
<div align="center"><strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.wvkr.org/?id=82" target="_blank">Secret&nbsp;Music Radio Interview/Performance</a></strong></div>
<div align="center"><strong>hosted by Scott Raymond</strong></div>
<div align="center"><strong>Sunday, July 29th, @10am (hearable in&nbsp;Hudson Valley region)</strong></div>
<div align="center"><strong>Vassar College, Poughkeepsie, NY</strong></div>
<div align="center"><strong></strong>&nbsp;</div>
<div align="center"><strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.thespace.tk/" target="_blank">The Space</a></strong></div>
<div align="center"><strong>Tuesday, August 7th, 9pm</strong></div>
<div align="center"><strong>295 Treadwell</strong></div>
<div align="center"><strong>Hamden (New Haven), CT</strong></div>
<div align="center"><strong></strong>&nbsp;</div>
<div align="center"><strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.zebuloncafeconcert.com/" target="_blank">Zebulon Cafe Concerts</a></strong></div>
<div align="center"><strong>Wednesday, August 15th, 10pm</strong></div>
<div align="center"><strong>288 Wythe</strong></div>
<div align="center"><strong>Brooklyn (Williamsburg), NY</strong></div>
<div align="center"><strong><em>this show also features visual artist <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.chinapaintingmusic.com/production/Paul/Paulworking.jpg" target="_blank">Paul Bianca 
</a></em></strong></div>
<div align="center"><strong><em>improvising on canvas on stage</em></strong></div>
<div align="center"><strong><em>as we improvise our music</em></strong></div>
<div align="center"><strong><em>additionally sitarist <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.rogerlipson.com/" target="_blank">Roger Lipson</a></em></strong></div>
<div align="center"><strong><em>will open the evening with a solo set of raga</em></strong></div>
<div align="center"><strong><em>and other creations</em></strong></div>
<div align="center"><em></em>&nbsp;</div>
<div align="left">In addition to the performances Chinapainting will be recording our 3rd CD, this time in the same room as opposed to 3000 miles apart, at <strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.flymaxstudio.com/" target="_blank">
Fly Max Studios</a> </strong>in Woodstock, NY during the weekend of July 28th and 29th.</div>
<div align="left">&nbsp;</div>
<div><em></em>So if you are out and about in Brooklyn this Sunday please stop by to hear the <strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.myspace.com/eastofwhere" target="_blank">East of Where
</a></strong> project at the Pacific Bears Community event and equally remember all the&nbsp;upcoming <strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.chinapaintingmusic.com/" target="_blank">
Chinapainting </a></strong>shows.&nbsp; I really hope to see many of you at any and all of these upcoming events. </div>
<div>&nbsp;</div>
<div>Good weekend and best to all</div>
<div>&nbsp;</div>
<div>&nbsp;</div>
<div>Jim<br>-- <br>The Acoustic World Guitar of Jim Goodin&nbsp;&nbsp;- <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.jimgoodinmusic.com/" target="_blank">http://www.jimgoodinmusic.com</a><br>MySpace (solo) - 
<a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.myspace.com/jimgoodinmusic" target="_blank">http://www.myspace.com/jimgoodinmusic </a><br>Chinapainting -<br><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.chinapaintingmusic.com/" target="_blank">
http://www.chinapaintingmusic.com</a><br>Chinapainting on My Space -<br><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.myspace.com/chinapaintingmusic.com+" target="_blank">http://www.myspace.com/chinapaintingmusic.com 
</a><br>East of Where on My Space -</div>
<div><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.myspace.com/eastofwhere" target="_blank">http://www.myspace.com/eastofwhere</a></div>
<div>The Jim Goodin label and home for 7 other creative souls - <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.woodandwiremusic.com/" target="_blank">http://www.woodandwiremusic.com</a> <br>Jim Goodin uses GHS Strings - 
<a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.ghsstrings.com/" target="_blank">http://www.ghsstrings.com </a>and Seagull Guitars - <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.seagullguitars.com/" target="_blank">
http://www.seagullguitars.com</a>, Jim Goodin is published by Mel Bay Publications, Inc. - <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.melbay.com/" target="_blank">http://www.melbay.com</a><br>
<br>Associates and friends on the web -<br>Daryl Shawn -<br><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.swanwelder.com/" target="_blank">http://www.swanwelder.com</a><br>Adam Werner - <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.adamwerner.com/" target="_blank">
http://www.adamwerner.com</a><br>John Stowell - <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.johnstowell.com/" target="_blank">http://www.johnstowell.com</a><br>Matt Richards - <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.mattrichardsmusic.net/" target="_blank">
http://www.mattrichardsmusic.net</a><br>Michael Manring - <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.manthing.com/" target="_blank">http://www.manthing.com</a><br>Will Ackerman - <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.williamackerman.com/" target="_blank">
http://www.williamackerman.com</a><br>New Land Music - <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.newlandmusic.com/" target="_blank">http://www.newlandmusic.com</a> </div>

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From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 12:31:06 2007
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	id 0C1333BF6B; Fri, 13 Jul 2007 12:31:05 +0000 (UTC)
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From: "RICK WALKER" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: Pirhanha Guitar Bow Review
Date: Fri, 13 Jul 2007 05:31:01 -0700
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Well,  the Pirhanha bow invention designed specifically for guitars that was 
mentioned in the
"Re: bows for guitars"   thread came in the mail    today and I was able to 
put it through it's
paces on a 12 string acoustic steel string guitar.

Because of it's size I could not get long bowing techniques (like dragging a 
cello bow across
the E string of an electric guitar) but I was able to get some really 
beautiful
rhythmic things out of it.   Additionally,  it did beautiful things to the 
harmonics of the guitar
depending on where I bowed it, physically.

I was also delighted by some of the very ethereal sounds I was able to make 
by bowing very, very lightly.
I got some very magical sounds out of some very simple chordal 
patterns.........really ethereal sounds
that I"ve never gotten out of this particular guitar ( a 12 string 
Hummingbird copy that sounds rather nice).

I have yet to try it on electric.   It didn't seem to have enough muster to 
use on bass.  I tried it on
my Turner acoustic electric fretless without much good result and my Fender 
P-J custom bass, again,
without much good effect.

Tomorrow when I have some time,  I"ll put it through it's paces on mandolin, 
bowed psaltery, autoharp,
oud, saz and even hammer dulcimer.   I imagine it will sound great.

I also noticed that it seems really durable, unlike most horse hair bows 
which get trashed over time
when bowing a guitar.

All in all,  it sounds completely different than I anticipated but I was so 
pleased with what I discovered it can
do that I"m very, very happy to have spent $30 USD on it.

Warning,  it really takes some coordination to get something musical out of 
it, but after half an hour I was
able to do all kinds of things,  espeicially in the rhythmic 
world..........and it really sounded 'bowed'.

Now, if they would just make a larger one for bass guitar. 

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 12:42:24 2007
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Subject: OT: please forgive me but I had to share this
Date: Fri, 13 Jul 2007 05:42:18 -0700
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GONKS GO BEAT
a 1965 movie with great footage of the 
Graham Bond Organization with John McLaughlin, 
Ginger Baker, Jack Bruce, Dick Heckstall-Smith, Lulu and Graham Bond.

http://youtube.com/watch?v=d7vlaA-H-dU&mode=related&search=

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 13:41:27 2007
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Date: Fri, 13 Jul 2007 09:40:08 -0400
From: Bill Fox <billyfox@soundscapes.us>
Subject: Re: Composers should also get paid
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This is a great topic.  I'm glad it is being discussed.  I'm a few days 
behind at reading this list so I hope I'm not just rehashing ground 
already covered.

Rev Fever wrote:
>> But the restaurants etc are mainly billed for using the music, not 
>> only the actual copy of the recording of the music. Those are two 
>> different rights, normally owned by composer/publisher and record label.
> You again make a very good point, Thanx for that.
> But, I still do not see how a place's profits are verifiably 
> "increased" for them featuring recordings, or cover tunes being played 
> live, and why they should be "billed" for doing so?
Have you ever been to a grocery store that doesn't play music?  Probably 
not.  There's a reason for that.  It is a proven fact that people buy 
more food at a grocery store if there's music playing.  They buy even 
more if the music uplifts the publics mood.  Therefore, there is a 
direct link between playing music and increased profits.  This can be 
extrapolated to almost any environment.  This is why BMI and ASCAP 
license music to businesses.  It is perfectly within their legal domain 
to do this.

Regarding establishments that hire live music: A friend of mine played 
piano at a small establishment in Columbus, Ohio.  He was allowed only 
to play music that is in the public domain because the owner did not 
want to pay for a license from BMI or ASCAP.  Eugene desperately wanted 
to play Dave Brubeck's music in order to make the job as fun as 
possible.  So he wrote to Brubeck himself and received written 
permission to play his music royalty free at this particular establishment!

Regarding businesses that get caught using music without paying for a 
license:  I'm willing to bet that it is not generally known that this is 
required.  After all, many of us on this list are being enlightened by 
this discussion and we're *in* the biz.  Your average Joe Blow business 
owner who knows nothing about the music biz will have no idea.  When BMI 
and ASCAP go into a place, my guess is that they use a heavy hand and 
issue a cease and desist order as a means to educate the business 
owner.  Some people react by paying fines and sign up for a license.  
Some people negotiate away the fines and start paying for a license.  
Some people just get so pissed off that they fire their entertainment 
out of spite.  A good business person with a level head will take the 
time to assess the situation's financial implications and act accordingly.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 14:35:22 2007
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From: Bill Fox <billyfox@soundscapes.us>
Subject: Re: A/B listening tests
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Stefan Tiedje wrote:
> Bill Fox schrieb:
>> Speaking of A/B testing, according to what I've read, the difference
>>  between 16 and 24 bit digital can be heard much more easily than the
>>  difference between 44.1kHz and 192kHz.
> That means you read it and believe it?
Actually, in this particular case, I do and here's why.  Recording at 
the higher sampling frequencies eat up far more more memory than 
increased bit depth and increases system costs.  Then you have to down 
sample to 44.1 in order to release product which requires expensive 
software to do right.  (Why not record at 176.4kHz and avoid the high 
end software?)  It behooves the hardware and software industry to 
convince us that 16bit/192kHz is superior to 24bit/44.1kHz.  (Of course 
24bit/192kHz is even better!)  Since the 24bit/44.1kHz supposedly sounds 
better and costs me less, I'll go that way.  I have also spoken to 
industry people who confirm the increased bit depth is a far more 
audible improvement than increased sample frequency.  I have not heard 
the other system nor do I have a room where I could hear the difference 
so I can't speak from personal experience.  However, the golden ears in 
the industry who say that you need 192kHz all seem to have a stake in 
its success.  There is just as much physics at work when increasing and 
linearizing dynamic range.  As an engineer who believes in the Nyquist 
theorem and as an over 50 year old male who (as I've read) can't hear 
much above 12kHz, I see no reason to go to 192kHz, especially when most 
listening environments are far less than ideal and most people are only 
going to be listening to a crappy MP3 file anyway.

A higher sampling frequency gives you a wider frequency response that I 
supposedly can't hear.  Increased bit depth reduces the noise floor and 
decreases distortion due to LSB errors.  In any digital system, 
distortion goes up as you approach the lowest volumes.  These are things 
that I *can* hear.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 14:41:30 2007
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Date: Fri, 13 Jul 2007 10:41:23 -0400 (EDT)
Subject: Re: A/B listening tests
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Ahh for the days when folks had no problems with noisy analog....

> Stefan Tiedje wrote:
>> Bill Fox schrieb:
>>> Speaking of A/B testing, according to what I've read, the difference
>>>  between 16 and 24 bit digital can be heard much more easily than the
>>>  difference between 44.1kHz and 192kHz.
>> That means you read it and believe it?
> Actually, in this particular case, I do and here's why.  Recording at
> the higher sampling frequencies eat up far more more memory than
> increased bit depth and increases system costs.  Then you have to down
> sample to 44.1 in order to release product which requires expensive
> software to do right.  (Why not record at 176.4kHz and avoid the high
> end software?)  It behooves the hardware and software industry to
> convince us that 16bit/192kHz is superior to 24bit/44.1kHz.  (Of course
> 24bit/192kHz is even better!)  Since the 24bit/44.1kHz supposedly sounds
> better and costs me less, I'll go that way.  I have also spoken to
> industry people who confirm the increased bit depth is a far more
> audible improvement than increased sample frequency.  I have not heard
> the other system nor do I have a room where I could hear the difference
> so I can't speak from personal experience.  However, the golden ears in
> the industry who say that you need 192kHz all seem to have a stake in
> its success.  There is just as much physics at work when increasing and
> linearizing dynamic range.  As an engineer who believes in the Nyquist
> theorem and as an over 50 year old male who (as I've read) can't hear
> much above 12kHz, I see no reason to go to 192kHz, especially when most
> listening environments are far less than ideal and most people are only
> going to be listening to a crappy MP3 file anyway.
>
> A higher sampling frequency gives you a wider frequency response that I
> supposedly can't hear.  Increased bit depth reduces the noise floor and
> decreases distortion due to LSB errors.  In any digital system,
> distortion goes up as you approach the lowest volumes.  These are things
> that I *can* hear.
>
> Cheers,
>
> Bill
>
>

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 14:44:02 2007
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Subject: Re: Composers should also get paid
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Jon Southwood wrote:
> It's primarily a matter of "atmosphere." Why choose one bar over 
> another, assuming they have the same beers available? Prices? Sure, 
> but in a competitive market, those are going to be relatively close. A 
> larger deciding factor for many is going to be the atmosphere. The 
> music piped over the myoozak system or performed live is going to help 
> people decided which bar to go to. That music can also have an effect 
> on how much time a person or group of people stay in the 
> establishment. The longer they stay, the more they're likely to spend.
You're spot on.  After my Classic Rock covers band played a certain 
establishment for the first time, the staff told us that all the other 
acts lost the corwd after their first set.  We kept a small crowd until 
our last note died away.  We've already been asked back for a third gig.
> Ultimately, if the aural atmosphere had no impact on a restaurant or a 
> bar, they wouldn't bother to pay bands to play or even bother to wire 
> the place for sound. Who needs the expense and hassle? A bar owner's 
> magnanimity toward local musicians will usually only last as long as 
> their business benefits from the relationship. There are few who feel 
> an altruistic drive to support local music(ians), business survival be 
> damned. 
That's right.  If we don't sell beer, we're no good to them.  And I bet 
you thought of yourselves as musicians!  Nope, you're beer salesmen!

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 15:50:24 2007
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Subject: RE: Gigspam: The tale of 2 duos - LIVE and in creative stirring color
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--Boundary_(ID_TbFenOK60SNPQDhyiEl7yg)
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You can count on me for one of the Brooklyn shows (I=92m actually about =
=BD-way
between Brooklyn and Woodstock).

=20

Warren

=20


--Boundary_(ID_TbFenOK60SNPQDhyiEl7yg)
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<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'>You can count on me for one of the Brooklyn
shows (I&#8217;m actually about &frac12;-way between Brooklyn and <st1:City
w:st="on"><st1:place w:st="on">Woodstock</st1:place></st1:City>).<o:p></o:p></span></font></p>

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From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 16:07:58 2007
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Date: Fri, 13 Jul 2007 12:07:55 -0400
From: "Jim Goodin" <jimgoodinmusic@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Gigspam: The tale of 2 duos - LIVE and in creative stirring color
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Warren thanks so much.  That's a big amount of in between though Sir for yo=
u
to come down to Brooklyn but would be very cool of you, thank you!  Please
let me know if you need any directions.

Best

Jim


On 7/13/07, Warren Sirota <wsirota@wsdesigns.com> wrote:
>
>  You can count on me for one of the Brooklyn shows (I'm actually about
> =BD-way between Brooklyn and Woodstock).
>
>
>
> Warren
>
>
>



--=20
The Acoustic World Guitar of Jim Goodin  - http://www.jimgoodinmusic.com
MySpace (solo) - http://www.myspace.com/jimgoodinmusic
Chinapainting -
http://www.chinapaintingmusic.com
Chinapainting on My Space -
http://www.myspace.com/chinapaintingmusic.com
The Jim Goodin label and home for 7 other creative souls -
http://www.woodandwiremusic.com
Jim Goodin uses GHS Strings - http://www.ghsstrings.com and Seagull Guitars
- http://www.seagullguitars.com, Jim Goodin is published by Mel Bay
Publications, Inc. - http://www.melbay.com

Associates and friends on the web -
Daryl Shawn -
http://www.swanwelder.com
Adam Werner - http://www.adamwerner.com
John Stowell - http://www.johnstowell.com
Matt Richards - http://www.mattrichardsmusic.net
Michael Manring - http://www.manthing.com
Will Ackerman - http://www.williamackerman.com
New Land Music - http://www.newlandmusic.com

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<div>Warren thanks so much.&nbsp; That&#39;s a big amount of in between tho=
ugh Sir for you to come down to Brooklyn but would be very cool of you, tha=
nk you!&nbsp; Please let me know if you need any directions.</div>
<div>&nbsp;</div>
<div>Best</div>
<div>&nbsp;</div>
<div>Jim<br><br>&nbsp;</div>
<div><span class=3D"gmail_quote">On 7/13/07, <b class=3D"gmail_sendername">=
Warren Sirota</b> &lt;<a href=3D"mailto:wsirota@wsdesigns.com">wsirota@wsde=
signs.com</a>&gt; wrote:</span>
<blockquote class=3D"gmail_quote" style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0=
px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">
<div lang=3D"EN-US" vlink=3D"blue" link=3D"blue">
<div>
<p><font face=3D"Arial" color=3D"navy" size=3D"2"><span style=3D"FONT-SIZE:=
 10pt; COLOR: navy; FONT-FAMILY: Arial">You can count on me for one of the =
Brooklyn shows (I'm actually about =BD-way between Brooklyn and Woodstock).=
</span>
</font></p>
<p><font face=3D"Arial" color=3D"navy" size=3D"2"><span style=3D"FONT-SIZE:=
 10pt; COLOR: navy; FONT-FAMILY: Arial">&nbsp;</span></font></p>
<p><font face=3D"Arial" color=3D"navy" size=3D"2"><span style=3D"FONT-SIZE:=
 10pt; COLOR: navy; FONT-FAMILY: Arial">Warren</span></font></p>
<div>
<p><font face=3D"Times New Roman" size=3D"3"><span style=3D"FONT-SIZE: 12pt=
">&nbsp;</span></font></p></div></div></div></blockquote></div><br><br clea=
r=3D"all"><br>-- <br>The Acoustic World Guitar of Jim Goodin&nbsp;&nbsp;- <=
a href=3D"http://www.jimgoodinmusic.com">
http://www.jimgoodinmusic.com</a><br>MySpace (solo) - <a href=3D"http://www=
.myspace.com/jimgoodinmusic">http://www.myspace.com/jimgoodinmusic</a><br>C=
hinapainting -<br><a href=3D"http://www.chinapaintingmusic.com">http://www.=
chinapaintingmusic.com
</a><br>Chinapainting on My Space -<br><a href=3D"http://www.myspace.com/ch=
inapaintingmusic.com">http://www.myspace.com/chinapaintingmusic.com</a><br>=
The Jim Goodin label and home for 7 other creative souls - <a href=3D"http:=
//www.woodandwiremusic.com">
http://www.woodandwiremusic.com</a> <br>Jim Goodin uses GHS Strings - <a hr=
ef=3D"http://www.ghsstrings.com">http://www.ghsstrings.com</a> and Seagull =
Guitars - <a href=3D"http://www.seagullguitars.com">http://www.seagullguita=
rs.com
</a>, Jim Goodin is published by Mel Bay Publications, Inc. - <a href=3D"ht=
tp://www.melbay.com">http://www.melbay.com</a><br><br>Associates and friend=
s on the web -<br>Daryl Shawn -<br><a href=3D"http://www.swanwelder.com">ht=
tp://www.swanwelder.com
</a><br>Adam Werner - <a href=3D"http://www.adamwerner.com">http://www.adam=
werner.com</a><br>John Stowell - <a href=3D"http://www.johnstowell.com">htt=
p://www.johnstowell.com</a><br>Matt Richards - <a href=3D"http://www.mattri=
chardsmusic.net">
http://www.mattrichardsmusic.net</a><br>Michael Manring - <a href=3D"http:/=
/www.manthing.com">http://www.manthing.com</a><br>Will Ackerman - <a href=
=3D"http://www.williamackerman.com">http://www.williamackerman.com</a><br>N=
ew Land Music -=20
<a href=3D"http://www.newlandmusic.com">http://www.newlandmusic.com</a>=20

------=_Part_35071_12156069.1184342875521--

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 16:53:02 2007
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From: "Tilmann Dehnhard" <tilmann@dehnhard.com>
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References: <22127061.1183751558174.JavaMail.root@m11> <4691B60B.4070309@soundscapes.us> <169091.1184051852205.JavaMail.root@m11> <46978D72.6050208@soundscapes.us>
Subject: Re: A/B listening tests
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hello bill, you write: In any digital system, distortion goes up as you 
approach the lowest volumes.
i am curious and would like to experience that. any suggestion for a setup 
to experience this?

(equiment: pc into tc konnekt into sennheiser hd 25, 39 year old male 
o)   )

are you talking about actual distortion, like in: oops, the red lights went 
on?
or change of sound color?
or is it the kind of warbling noise that comes up if you sample something 
soft and turn up the volume?


tilmann


----- Original Message ----- 
From: "Bill Fox" <billyfox@soundscapes.us>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, July 13, 2007 4:34 PM
Subject: Re: A/B listening tests


> Stefan Tiedje wrote:
>> Bill Fox schrieb:
>>> Speaking of A/B testing, according to what I've read, the difference
>>>  between 16 and 24 bit digital can be heard much more easily than the
>>>  difference between 44.1kHz and 192kHz.
>> That means you read it and believe it?
> Actually, in this particular case, I do and here's why.  Recording at the 
> higher sampling frequencies eat up far more more memory than increased bit 
> depth and increases system costs.  Then you have to down sample to 44.1 in 
> order to release product which requires expensive software to do right. 
> (Why not record at 176.4kHz and avoid the high end software?)  It behooves 
> the hardware and software industry to convince us that 16bit/192kHz is 
> superior to 24bit/44.1kHz.  (Of course 24bit/192kHz is even better!) 
> Since the 24bit/44.1kHz supposedly sounds better and costs me less, I'll 
> go that way.  I have also spoken to industry people who confirm the 
> increased bit depth is a far more audible improvement than increased 
> sample frequency.  I have not heard the other system nor do I have a room 
> where I could hear the difference so I can't speak from personal 
> experience.  However, the golden ears in the industry who say that you 
> need 192kHz all seem to have a stake in its success.  There is just as 
> much physics at work when increasing and linearizing dynamic range.  As an 
> engineer who believes in the Nyquist theorem and as an over 50 year old 
> male who (as I've read) can't hear much above 12kHz, I see no reason to go 
> to 192kHz, especially when most listening environments are far less than 
> ideal and most people are only going to be listening to a crappy MP3 file 
> anyway.
>
> A higher sampling frequency gives you a wider frequency response that I 
> supposedly can't hear.  Increased bit depth reduces the noise floor and 
> decreases distortion due to LSB errors.  In any digital system, distortion 
> goes up as you approach the lowest volumes.  These are things that I *can* 
> hear.
>
> Cheers,
>
> Bill
> 

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 16:57:15 2007
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if it hasn't been said, the william leavitt berklee series is great.
On Jul 10, 2007, at 12:44 PM, Nemoguitt@aol.com wrote:

> i know there are a few guitar players on this list and i was  
> wondering if anyone could recomend a good beginners guitar  
> course.....i have offered to teach begining guitar at my community  
> center and rather than pass on my mistakes i would like to offer a  
> good experience for the kiddies.....and this is totally on topic  
> because all of these little crumb crushers will become loopers, so  
> there!.....thnaks in advance and please reply of list.....michael
>
>
>
> www.ct-collective.com
> http://mysite.verizon.net/vzepmeci/
> http://www.myspace.com/klobuchar11
>
>
>
> **************************************
> See what's free at http://www.aol.com.

ric hordinski

www.richordinski.com

www.myspace.com/richordinskimusic

www.myspace.com/monasterystudio



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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">if it hasn't been said, the =
william leavitt berklee series is great.<DIV><DIV><DIV>On Jul 10, 2007, =
at 12:44 PM, <A href=3D"mailto:Nemoguitt@aol.com">Nemoguitt@aol.com</A> =
wrote:</DIV><BR class=3D"Apple-interchange-newline"><BLOCKQUOTE =
type=3D"cite"><FONT face=3D"arial,helvetica"><FONT color=3D"#000000" =
face=3D"Geneva" family=3D"SANSSERIF" size=3D"2">i know there are a few =
guitar players on this list and i was wondering if anyone could recomend =
a good beginners guitar course.....i have offered to teach begining =
guitar at my community center and rather than pass on my mistakes i =
would like to offer a good experience for the kiddies.....and this is =
totally on topic because all of these little crumb crushers will become =
loopers, so there!.....thnaks in advance and please reply of =
list.....michael<BR> <BR> <BR> <BR> <A =
href=3D"http://www.ct-collective.com">www.ct-collective.com</A><BR> <A =
href=3D"http://mysite.verizon.net/vzepmeci/">http://mysite.verizon.net/vze=
pmeci/</A><BR> <A =
href=3D"http://www.myspace.com/klobuchar11">http://www.myspace.com/klobuch=
ar11</A><BR> </FONT><FONT color=3D"#000000" face=3D"Geneva" =
family=3D"SANSSERIF" =
size=3D"2"></FONT><BR><BR><BR>**************************************<BR> =
See what's free at <A =
href=3D"http://www.aol.com">http://www.aol.com</A>.</FONT></BLOCKQUOTE></D=
IV><BR><DIV> <SPAN class=3D"Apple-style-span" style=3D"border-collapse: =
separate; border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: =
Helvetica; font-size: 12px; font-style: normal; font-variant: normal; =
font-weight: normal; letter-spacing: normal; line-height: normal; =
text-align: auto; -khtml-text-decorations-in-effect: none; text-indent: =
0px; -apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><DIV>ric =
hordinski</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>www.richordinski.com</DIV><DI=
V><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>www.myspace.com/richordinskim=
usic</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>www.myspace.com/monasterystud=
io</DIV><BR class=3D"Apple-interchange-newline"></SPAN> =
</DIV><BR></DIV></BODY></HTML>=

--Apple-Mail-109--120739755--

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 17:30:52 2007
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Date: Fri, 13 Jul 2007 10:30:49 -0700 (PDT)
Subject: Ultracool Effects for sale. Frostwave, EH, SIB, etc.
From: legion@helpwantedproductions.com
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	analogue@hyperreal.org
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1. SIB Nick Nitro - Fuzz/Octaver. Two independent effects and stomp
switches, four knobs, Mint bright yellow tanklike box.
Info: http://news.harmony-central.com/Newp/2004/Nick-Nitro.html
Asking: $75

2. DOD Meatbox - SubHarmonic Bass Enhancer stompbox from the 90s series
where they had cute names and discontiued every cool box right away.
Excellent+ in Box with papers and sticker for an KKKollectors out there.
Asking: $75

3. EH Tube Zipper - 2X tube driver
Autowah/Distortion/Vibrato/Filter/Sound-F%^#$erUpper. Mike Mathews calls
this "the greatest product we've introduced in over 20 years" and if
you're into effects with some depth to them that might be right. Good
shape with original weird EH PS. "Moving filters" indeed...
Info:
http://namm.harmony-central.com/SNAMM01/Content/Electro-Harmonix/PR/Tube-Zipper.html
Asking: $150.00

4. EH Wiggler - 2X tube driven awesome Vibrato/Tremelo vintage sounding
stompbox with some new twists. GORGEOUS tone and lots of control. Cool for
spacey sounds as much as traditional ones. Good shape with EH PS.
Asking: $125.00

5. Frostwave Funk-A-Duck - Very impolite filter mashing AutoWah from hell
(or Australia if you make a distinction). Like most frostwave devices This
is more an advanced effect for those who don't get scared easily. VERY
cool secret weapon effect for processing pretty much anything. MIB with US
http://www.frostwave.com/funkaduck/
PS. Asking: $175

6. Frostwave Spacebeam - Paul once told me he always wanted to make
something that sounded like a refrigerator name so he did :). This is a
Boutique optical thermin that sounds Smoooooooth and sweet unlike any
other that I've heard. CV/Gate outs to control other synths or modular
gear, volume, and variable waveform. Excellent shape with US PS.
http://www.frostwave.com/spacebeam/
Asking: $275

Buyer pays shipping or pick up in Phila Pa. Paypal from confirmed
addresses fine. I think  all prices are fair but if you want more than one
or have some super deal/serious offer let me know.

I might be interested in trades for equally esoteric FX or synth/weird
instruments. Have been curious about a Moog Ring modulator for a bit or
Frostwave Blue Ringer/ Sonic Alienator, etc. Also Cyndustries/Modcan
modules.

Thanks!

D_


   ------------------------------------------------
      Weird, Scary, and Beautiful Music and Art:
        Http://www.HelpWantedProductions.com




From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 17:39:13 2007
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To: Loopers-Delight@loopers-delight.com
Subject: Re: Composers should also get paid
References: <7607CF9A-3950-4363-93A5-978D2E4533D7@ubergadget.com> <1BB076E4C332F9469148F41725F17A7204134A35@MTVNE-EXCLUST02.mtvne.ad.viacom.com> <8C9904263C4D551-1160-50E@WEBMAIL-MB10.sysops.aol.com> <20070709114822.jxjs488cg4oc4www@www.wightman.ca> <09EC9997-104B-40A0-828D-529B95B4E700@ubergadget.com> <9D406312-704A-4B45-9672-C727AC7BFFF9@gmail.com> <BB7F6E52-A6E0-488E-908C-697CB4004408@ubergadget.com> <67A95795-FABB-4568-BF9F-9CADF28A8B9D@gmail.com> <633016.1184014719950.JavaMail.root@m11> <469780B8.6080404@soundscapes.us>
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Bill Fox wrote:

> Regarding establishments that hire live music: A friend of mine played 
> piano at a small establishment in Columbus, Ohio.  He was allowed only 
> to play music that is in the public domain because the owner did not 
> want to pay for a license from BMI or ASCAP.  Eugene desperately 
> wanted to play Dave Brubeck's music in order to make the job as fun as 
> possible.  So he wrote to Brubeck himself and received written 
> permission to play his music royalty free at this particular 
> establishment! 

I do not know for sure, but I suspect that that was not legal.  My guess 
is that when Brubeck signed with a publishing company, he signed away 
his control, and the publishing company would need to be the one to 
waive the royalty.  Or perhaps it would have to be the performance right 
company (e.g., BMI or ASCAP).  Does someone with more knowledge than I 
know for sure?

John McIntyre
mcintyre@pa.msu.edu

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 17:44:09 2007
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Subject: RE: Composers should also get paid
Date: Fri, 13 Jul 2007 12:44:07 -0500
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It's my understanding that those rules only apply to BMI and ASCAP
sanctioned venues(mainly big venues and stadiums and junk)?  If that
isn't the case wouldn't every house cover band be shut down or fined on
a regular basis?  Hell, in Texas even the acts that do mostly originals
do 30% to 40% covers.

-----Original Message-----
From: John McIntyre [mailto:mcintyre@pa.msu.edu]=20
Sent: Friday, July 13, 2007 1:29 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Composers should also get paid


Bill Fox wrote:

> Regarding establishments that hire live music: A friend of mine played
> piano at a small establishment in Columbus, Ohio.  He was allowed only

> to play music that is in the public domain because the owner did not=20
> want to pay for a license from BMI or ASCAP.  Eugene desperately=20
> wanted to play Dave Brubeck's music in order to make the job as fun as

> possible.  So he wrote to Brubeck himself and received written=20
> permission to play his music royalty free at this particular=20
> establishment!=20

I do not know for sure, but I suspect that that was not legal.  My guess

is that when Brubeck signed with a publishing company, he signed away=20
his control, and the publishing company would need to be the one to=20
waive the royalty.  Or perhaps it would have to be the performance right

company (e.g., BMI or ASCAP).  Does someone with more knowledge than I=20
know for sure?

John McIntyre
mcintyre@pa.msu.edu

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 17:48:04 2007
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Subject: Re: question about guitar lessons
Date: Fri, 13 Jul 2007 19:48:07 +0200
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naaa come on!!
the leavitt book are great for commited adults, eventually, but not for 
kiddies
please, there should exist less boring presented material!!!!
and btw the leawitt books are false beginners book.

Claude

(guitar teacher for more than 25 years...)


> if it hasn't been said, the william leavitt berklee series is great.
> On Jul 10, 2007, at 12:44 PM, Nemoguitt@aol.com wrote:
>
>> i know there are a few guitar players on this list and i was
>> wondering if anyone could recomend a good beginners guitar
>> course.....i have offered to teach begining guitar at my community
>> center and rather than pass on my mistakes i would like to offer a
>> good experience for the kiddies.....and this is totally on topic
>> because all of these little crumb crushers will become loopers, so
>> there!.....thnaks in advance and please reply of list.....michael
>>
>>
>>
>> www.ct-collective.com
>> http://mysite.verizon.net/vzepmeci/
>> http://www.myspace.com/klobuchar11
>>
>>
>>
>> **************************************
>> See what's free at http://www.aol.com.
>
> ric hordinski
>
> www.richordinski.com
>
> www.myspace.com/richordinskimusic
>
> www.myspace.com/monasterystudio
>
>
> 

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 17:48:39 2007
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Date: Fri, 13 Jul 2007 10:48:38 -0700
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Composers should also get paid
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Venues which feature live music are required to have BMI and ASCAP
licenses unless 100% of the music performed there is original music
not covered by either of those organizations.  It is the
responsibility of the venue organizer (owner in this case) not the
performer to secure such a license.
TH

On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:
> It's my understanding that those rules only apply to BMI and ASCAP
> sanctioned venues(mainly big venues and stadiums and junk)?  If that
> isn't the case wouldn't every house cover band be shut down or fined on
> a regular basis?

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 17:54:34 2007
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Interesting.  I've been touring and playing over 100 different venues in
Texas, OK, LA, and AR over the last four years and never once played in
an actual BMI or ASCAP licensed venue to my knowledge.

-----Original Message-----
From: Travis Hartnett [mailto:travishartnett@gmail.com]=20
Sent: Friday, July 13, 2007 12:49 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Composers should also get paid


Venues which feature live music are required to have BMI and ASCAP
licenses unless 100% of the music performed there is original music not
covered by either of those organizations.  It is the responsibility of
the venue organizer (owner in this case) not the performer to secure
such a license. TH

On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:
> It's my understanding that those rules only apply to BMI and ASCAP=20
> sanctioned venues(mainly big venues and stadiums and junk)?  If that=20
> isn't the case wouldn't every house cover band be shut down or fined=20
> on a regular basis?

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You might not know: the coffeehouse I ran was forced to buy an ASCAP license
for music on Friday night. But I didn't discuss it with the performers --
why would I?




On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:
>
> Interesting.  I've been touring and playing over 100 different venues in
> Texas, OK, LA, and AR over the last four years and never once played in
> an actual BMI or ASCAP licensed venue to my knowledge.
>
> -----Original Message-----
> From: Travis Hartnett [mailto:travishartnett@gmail.com]
> Sent: Friday, July 13, 2007 12:49 PM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: Composers should also get paid
>
>
> Venues which feature live music are required to have BMI and ASCAP
> licenses unless 100% of the music performed there is original music not
> covered by either of those organizations.  It is the responsibility of
> the venue organizer (owner in this case) not the performer to secure
> such a license. TH
>
> On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:
> > It's my understanding that those rules only apply to BMI and ASCAP
> > sanctioned venues(mainly big venues and stadiums and junk)?  If that
> > isn't the case wouldn't every house cover band be shut down or fined
> > on a regular basis?
>
>

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You might not know: the coffeehouse I ran was forced to buy an ASCAP license for music on Friday night. But I didn&#39;t discuss it with the performers -- why would I? <br><br><br><br><br><div><span class="gmail_quote">On 7/13/07, 
<b class="gmail_sendername">Jim Bailey</b> &lt;<a href="mailto:jbailey@wsimail.com">jbailey@wsimail.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Interesting.&nbsp;&nbsp;I&#39;ve been touring and playing over 100 different venues in<br>Texas, OK, LA, and AR over the last four years and never once played in<br>an actual BMI or ASCAP licensed venue to my knowledge.<br><br>-----Original Message-----
<br>From: Travis Hartnett [mailto:<a href="mailto:travishartnett@gmail.com">travishartnett@gmail.com</a>]<br>Sent: Friday, July 13, 2007 12:49 PM<br>To: <a href="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com
</a><br>Subject: Re: Composers should also get paid<br><br><br>Venues which feature live music are required to have BMI and ASCAP<br>licenses unless 100% of the music performed there is original music not<br>covered by either of those organizations.&nbsp;&nbsp;It is the responsibility of
<br>the venue organizer (owner in this case) not the performer to secure<br>such a license. TH<br><br>On 7/13/07, Jim Bailey &lt;<a href="mailto:jbailey@wsimail.com">jbailey@wsimail.com</a>&gt; wrote:<br>&gt; It&#39;s my understanding that those rules only apply to BMI and ASCAP
<br>&gt; sanctioned venues(mainly big venues and stadiums and junk)?&nbsp;&nbsp;If that<br>&gt; isn&#39;t the case wouldn&#39;t every house cover band be shut down or fined<br>&gt; on a regular basis?<br><br></blockquote></div><br>

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From: "Travis Hartnett" <travishartnett@gmail.com>
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It's not like they're required to hang a sign up telling you about it.

TH

On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:
> Interesting.  I've been touring and playing over 100 different venues in
> Texas, OK, LA, and AR over the last four years and never once played in
> an actual BMI or ASCAP licensed venue to my knowledge.
>

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:01:02 2007
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Most people don't have their music registered with both.  As an artist
wouldn't you want to know who's flag you were flying under on any given
night?

	-----Original Message-----
	From: Kelly Coyle [mailto:skcoyle@gmail.com]=20
	Sent: Friday, July 13, 2007 12:58 PM
	To: Loopers-Delight@loopers-delight.com
	Subject: Re: Composers should also get paid
=09
=09
	You might not know: the coffeehouse I ran was forced to buy an
ASCAP license for music on Friday night. But I didn't discuss it with
the performers -- why would I?=20
=09
=09
=09
=09
=09
	On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:=20

		Interesting.  I've been touring and playing over 100
different venues in
		Texas, OK, LA, and AR over the last four years and never
once played in
		an actual BMI or ASCAP licensed venue to my knowledge.
	=09
		-----Original Message-----=20
		From: Travis Hartnett [mailto:travishartnett@gmail.com]
		Sent: Friday, July 13, 2007 12:49 PM
		To: Loopers-Delight@loopers-delight.com=20
		Subject: Re: Composers should also get paid
	=09
	=09
		Venues which feature live music are required to have BMI
and ASCAP
		licenses unless 100% of the music performed there is
original music not
		covered by either of those organizations.  It is the
responsibility of=20
		the venue organizer (owner in this case) not the
performer to secure
		such a license. TH
	=09
		On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:
		> It's my understanding that those rules only apply to
BMI and ASCAP=20
		> sanctioned venues(mainly big venues and stadiums and
junk)?  If that
		> isn't the case wouldn't every house cover band be shut
down or fined
		> on a regular basis?
	=09
	=09



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<DIV><SPAN class=3D756030018-13072007><FONT face=3DArial color=3D#0000ff =
size=3D2>Most=20
people don't have their music registered with both.&nbsp; As an artist =
wouldn't=20
you want to know who's flag you were flying under on any given=20
night?</FONT></SPAN></DIV>
<BLOCKQUOTE style=3D"MARGIN-RIGHT: 0px">
  <DIV></DIV>
  <DIV class=3DOutlookMessageHeader lang=3Den-us dir=3Dltr =
align=3Dleft><FONT=20
  face=3DTahoma size=3D2>-----Original Message-----<BR><B>From:</B> =
Kelly Coyle=20
  [mailto:skcoyle@gmail.com] <BR><B>Sent:</B> Friday, July 13, 2007 =
12:58=20
  PM<BR><B>To:</B> =
Loopers-Delight@loopers-delight.com<BR><B>Subject:</B> Re:=20
  Composers should also get paid<BR><BR></FONT></DIV>You might not know: =
the=20
  coffeehouse I ran was forced to buy an ASCAP license for music on =
Friday=20
  night. But I didn't discuss it with the performers -- why would I?=20
  <BR><BR><BR><BR><BR>
  <DIV><SPAN class=3Dgmail_quote>On 7/13/07, <B =
class=3Dgmail_sendername>Jim=20
  Bailey</B> &lt;<A=20
  href=3D"mailto:jbailey@wsimail.com">jbailey@wsimail.com</A>&gt; =
wrote:</SPAN>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">Interesting.&nbsp;&nbsp;I've=20
    been touring and playing over 100 different venues in<BR>Texas, OK, =
LA, and=20
    AR over the last four years and never once played in<BR>an actual =
BMI or=20
    ASCAP licensed venue to my knowledge.<BR><BR>-----Original =
Message-----=20
    <BR>From: Travis Hartnett [mailto:<A=20
    =
href=3D"mailto:travishartnett@gmail.com">travishartnett@gmail.com</A>]<BR=
>Sent:=20
    Friday, July 13, 2007 12:49 PM<BR>To: <A=20
    =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com=20
    </A><BR>Subject: Re: Composers should also get =
paid<BR><BR><BR>Venues which=20
    feature live music are required to have BMI and ASCAP<BR>licenses =
unless=20
    100% of the music performed there is original music not<BR>covered =
by either=20
    of those organizations.&nbsp;&nbsp;It is the responsibility of =
<BR>the venue=20
    organizer (owner in this case) not the performer to secure<BR>such a =

    license. TH<BR><BR>On 7/13/07, Jim Bailey &lt;<A=20
    href=3D"mailto:jbailey@wsimail.com">jbailey@wsimail.com</A>&gt; =
wrote:<BR>&gt;=20
    It's my understanding that those rules only apply to BMI and ASCAP =
<BR>&gt;=20
    sanctioned venues(mainly big venues and stadiums and =
junk)?&nbsp;&nbsp;If=20
    that<BR>&gt; isn't the case wouldn't every house cover band be shut =
down or=20
    fined<BR>&gt; on a regular=20
basis?<BR><BR></BLOCKQUOTE></DIV><BR></BLOCKQUOTE></BODY></HTML>

------_=_NextPart_001_01C7C577.C591357B--

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:05:36 2007
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Date: Fri, 13 Jul 2007 11:05:33 -0700
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Composers should also get paid
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It doesn't really matter for the performer, in practical terms any
live music venue is required to carry both licenses.  Otherwise they'd
have to verify that nothing played there was from the "wrong"
performance rights organization that they hadn't purchased a license
from.  The ASCAP police aren't going to come rough you up--it's the
venue they're going to get heavy with.

TH

On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:
>
>
> Most people don't have their music registered with both.  As an artist
> wouldn't you want to know who's flag you were flying under on any given
> night?

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:07:14 2007
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Well under the example given below the piano guy lost HIS JOB because he
wasn't informed.  Not trying to argumentative or anything.  Just trying
to get facts straight.

-----Original Message-----
From: Travis Hartnett [mailto:travishartnett@gmail.com]=20
Sent: Friday, July 13, 2007 1:06 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Composers should also get paid


It doesn't really matter for the performer, in practical terms any live
music venue is required to carry both licenses.  Otherwise they'd have
to verify that nothing played there was from the "wrong" performance
rights organization that they hadn't purchased a license from.  The
ASCAP police aren't going to come rough you up--it's the venue they're
going to get heavy with.

TH

On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:
>
>
> Most people don't have their music registered with both.  As an artist

> wouldn't you want to know who's flag you were flying under on any=20
> given night?

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:10:52 2007
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Date: Fri, 13 Jul 2007 14:10:51 -0400
From: "Tony K" <bigtonyk@gmail.com>
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I played at a coffee shop with my brother and we were strictly
forbidden from playing any covers.  Which, in a way, was pretty cool.
:)  We never had to worry that someone was going to complain that we
didn't play 'popular' stuff.

Tony

On 7/13/07, Travis Hartnett <travishartnett@gmail.com> wrote:
> It doesn't really matter for the performer, in practical terms any
> live music venue is required to carry both licenses.  Otherwise they'd
> have to verify that nothing played there was from the "wrong"
> performance rights organization that they hadn't purchased a license
> from.  The ASCAP police aren't going to come rough you up--it's the
> venue they're going to get heavy with.
>
> TH
>
> On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:
> >
> >
> > Most people don't have their music registered with both.  As an artist
> > wouldn't you want to know who's flag you were flying under on any given
> > night?
>
>


-- 
-==-=-=-
Tony

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:13:49 2007
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Actually the performer should register performances and set lists so 
that composers get the appropriate royalties for their work being 
used. A side benifit to this that most musicians don't seem to be 
aware of, is that if you do this you'll get royalties for performing 
your own music as well as the other composers
Or at least that's the way it works here in Canada

Paul Haslem
www.dulcify.ca





At 01:48 PM 7/13/2007, you wrote:
>Venues which feature live music are required to have BMI and ASCAP
>licenses unless 100% of the music performed there is original music
>not covered by either of those organizations.  It is the
>responsibility of the venue organizer (owner in this case) not the
>performer to secure such a license.
>TH

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:17:50 2007
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Wow.  That is very neat!  Can anyone confirm that it's the same here in
the states?

-----Original Message-----
From: paul [mailto:phaslem@wightman.ca]=20
Sent: Friday, July 13, 2007 1:14 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Composers should also get paid


Actually the performer should register performances and set lists so=20
that composers get the appropriate royalties for their work being=20
used. A side benifit to this that most musicians don't seem to be=20
aware of, is that if you do this you'll get royalties for performing=20
your own music as well as the other composers
Or at least that's the way it works here in Canada

Paul Haslem
www.dulcify.ca





At 01:48 PM 7/13/2007, you wrote:
>Venues which feature live music are required to have BMI and ASCAP=20
>licenses unless 100% of the music performed there is original music not

>covered by either of those organizations.  It is the responsibility of=20
>the venue organizer (owner in this case) not the performer to secure=20
>such a license. TH

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:18:26 2007
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I'm not seeing that example--there was the earlier anecdote about a
pianist who could only play public domain stuff and who thought he
secured a one-off license from Brubeck, but I didn't see that got
fired.

TH

On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:
> Well under the example given below the piano guy lost HIS JOB because he
> wasn't informed.  Not trying to argumentative or anything.  Just trying
> to get facts straight.
>

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Date: Fri, 13 Jul 2007 11:21:02 -0700
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Composers should also get paid
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I don't believe that's the way it works in the States.  Radio stations
maintain playlists which are used to calculate airplay royalties, but
live performances are covered by the general PRO license from
BMI/ASCAP.  And the payment from that is the super-secret formula
which translates to "Famous people with radio airplay get paid,
everyone else is screwed".

TH

On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:
> Wow.  That is very neat!  Can anyone confirm that it's the same here in
> the states?
>

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:27:42 2007
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Subject: Re: Composers should also get paid
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Jim Bailey wrote:
> It's my understanding that those rules only apply to BMI and ASCAP
> sanctioned venues(mainly big venues and stadiums and junk)?  If that
> isn't the case wouldn't every house cover band be shut down or fined on
> a regular basis?  Hell, in Texas even the acts that do mostly originals
> do 30% to 40% covers.
If local bands had to pay the licensing fees, you'd be 100% correct.  We 
couldn't afford them, the way they're calculated.  At the low end of the 
scale, where we inhabit, it is the venue that must pay the fees.  At the 
large end of the spectrum, the venue might not pay at all, forcing the 
artist to pay.  But if you're the Rolling Stones or Paul McCartney, then 
you can afford it.  BMI and ASCAP don't care who pays, just so long as 
the fee *is* paid in full.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:28:26 2007
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On Fri, 13 Jul 2007, Travis Hartnett wrote:

> Venues which feature live music are required to have BMI and ASCAP
> licenses unless 100% of the music performed there is original music
> not covered by either of those organizations.  It is the
> responsibility of the venue organizer (owner in this case) not the
> performer to secure such a license.
> TH

Which is the reason a small bar local to me that has a lot of live music 
has a large sign on the side wall of the stage that reads "NO COVER SONGS. 
I will cut the PA off and your show is over if I hear a cover song."

The owner doesn't pay these licenses, so he doesn't permit cover songs.

(From memory, exact wording on the sign is probably different but the 
meaning is as above.)

best,
Steve B
Subscape Annex    http://www.subscapeannex.com/

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:31:13 2007
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Subject: Re: Composers should also get paid
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Travis Hartnett wrote:
> Venues which feature live music are required to have BMI and ASCAP
> licenses unless 100% of the music performed there is original music
> not covered by either of those organizations.  It is the
> responsibility of the venue organizer (owner in this case) not the
> performer to secure such a license. 
Even original music is covered by BMI or ASCAP, if the artist is a 
member of a PRO.  Theoretically, you get back your fee since the music 
is your own, if statistical sampling makes you a blip on the PRO's 
radar.  The venue gets out of paying only if 100% of the music is in the 
Public Domain or is by an artist who isn't a member of a PRO.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:34:40 2007
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Subject: Re: Composers should also get paid
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Jim Bailey wrote:
> Well under the example given below the piano guy lost HIS JOB because he
> wasn't informed.  Not trying to argumentative or anything.  Just trying
> to get facts straight.
BMI or ASCAP weren't the ones who fired the piano player.  The venue did 
because the owner was too cheap to pay the license fee or the fee plus 
performer pay weren't offset by increased profits.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:36:01 2007
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Still interesting that I have never seen that sign or been told(or know
of a band in this circuit that has been told in the same places) that
I/they can't do cover songs.  I can't remember the last time I saw an
act not do a rendition of Sweet Home Alabama, Bown Eyed Girl, or
another equally over requested song.  I think that it might just be a
case of the small bars not knowing or pretending not to know about the
license requirements and rules knowing that the chance of them actually
getting called out are slim to none.

-----Original Message-----
From: burnett@pobox.com [mailto:burnett@pobox.com]=20
Sent: Friday, July 13, 2007 1:29 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Re: Composers should also get paid


On Fri, 13 Jul 2007, Travis Hartnett wrote:

> Venues which feature live music are required to have BMI and ASCAP=20
> licenses unless 100% of the music performed there is original music=20
> not covered by either of those organizations.  It is the=20
> responsibility of the venue organizer (owner in this case) not the=20
> performer to secure such a license. TH

Which is the reason a small bar local to me that has a lot of live music

has a large sign on the side wall of the stage that reads "NO COVER
SONGS.=20
I will cut the PA off and your show is over if I hear a cover song."

The owner doesn't pay these licenses, so he doesn't permit cover songs.

(From memory, exact wording on the sign is probably different but the=20
meaning is as above.)

best,
Steve B
Subscape Annex    http://www.subscapeannex.com/

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:36:25 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Composers should also get paid
Date: Fri, 13 Jul 2007 20:36:21 +0200
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> A side benifit to this that most musicians don't seem to be
> aware of, is that if you do this you'll get royalties for performing
> your own music as well as the other composers
> Or at least that's the way it works here in Canada
>
> Paul Haslem
> www.dulcify.ca


Yes, that's the way it works here in Sweden. And the performance  
rights collecting society I'm associated with here iSTIM) also  
collects internationally by collaborating with similar agencies in  
other territories. But it's easy to forget to report in when you have  
been out performing your own music.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:40:07 2007
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Yeah.  I'm sure his job was at least restructured because really...how
many venues are going to feature "public domain" music and keep their
clientele around that are used to hearing a living jukebox?  Yes it was
the venues deal but wouldn't it have been nice for the performer to know
that at anytime the fun police might bust in and shut down his gig?
Lol.

It kinda boggles me that given the laws that we are discussing
here...wouldn't it be in the BMI and ASCAPS best interest to REQUIRE
their licensed venues to put big signs on the walls saying "BMI licensed
venue" or something?

-----Original Message-----
From: Bill Fox [mailto:billyfox@soundscapes.us]=20
Sent: Friday, July 13, 2007 1:34 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Composers should also get paid


Jim Bailey wrote:
> Well under the example given below the piano guy lost HIS JOB because=20
> he wasn't informed.  Not trying to argumentative or anything.  Just=20
> trying to get facts straight.
BMI or ASCAP weren't the ones who fired the piano player.  The venue did

because the owner was too cheap to pay the license fee or the fee plus=20
performer pay weren't offset by increased profits.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 18:42:10 2007
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John McIntyre wrote:
> I do not know for sure, but I suspect that that was not legal.  My 
> guess is that when Brubeck signed with a publishing company, he signed 
> away his control, and the publishing company would need to be the one 
> to waive the royalty.  Or perhaps it would have to be the performance 
> right company (e.g., BMI or ASCAP).  Does someone with more knowledge 
> than I know for sure?
Not illegal but breaking a contract between Brubeck and his PRO?  But 
who is going to argue with Dave Brubeck?  If they did, Dave would have 
had to tell Eugene to stop.  That never happened so either the PRO never 
got wind of it or nobody argued with Brubeck about it.  Either way, it 
allowed Eugene to maximize his fun factor at the gig and placate the 
owner and, possibly, and PRO representative who dealt with the owner.

But you're right.  When you agree to be representaed by a PRO, certain 
rights are transferred to them for the duration of the contract.

Cheers,

Bill

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Date: Fri, 13 Jul 2007 13:57:02 -0500
From: "Kelly Coyle" <skcoyle@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Composers should also get paid
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I can only speak for my own establishment, but we were providing the "living
jukeboxes" more-or-less as a public service -- I seriously doubt any regular
(i.e., small) coffeehouse can recover their ASCAP/BMI fees. We did it
because we were kind of wide-eyed about the sort of place we wanted to be,
that offered local folks a place to do their thing for other folks that
wanted to hear it. If we had done the "no covers" thing, we would have had
to book five performers a night to get three sets, probably. (This was in
small-town Minnesota.) Ultimately, our performers were just regular people
with regular day-jobs who played instruments when they got home from work,
music they happened to like. The ASCAP heavy who visited -- I don't know.
(Apparently, I can still get upset about it.) As far as I can tell, nobody's
interests are served by this system -- it's like an evil plot to remove all
delight from music.







On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:
>
> Yeah.  I'm sure his job was at least restructured because really...how
> many venues are going to feature "public domain" music and keep their
> clientele around that are used to hearing a living jukebox?  Yes it was
> the venues deal but wouldn't it have been nice for the performer to know
> that at anytime the fun police might bust in and shut down his gig?
> Lol.
>
> It kinda boggles me that given the laws that we are discussing
> here...wouldn't it be in the BMI and ASCAPS best interest to REQUIRE
> their licensed venues to put big signs on the walls saying "BMI licensed
> venue" or something?
>
> -----Original Message-----
> From: Bill Fox [mailto:billyfox@soundscapes.us]
> Sent: Friday, July 13, 2007 1:34 PM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: Composers should also get paid
>
>
> Jim Bailey wrote:
> > Well under the example given below the piano guy lost HIS JOB because
> > he wasn't informed.  Not trying to argumentative or anything.  Just
> > trying to get facts straight.
> BMI or ASCAP weren't the ones who fired the piano player.  The venue did
>
> because the owner was too cheap to pay the license fee or the fee plus
> performer pay weren't offset by increased profits.
>
> Cheers,
>
> Bill
>
>

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I can only speak for my own establishment, but we were providing the &quot;living jukeboxes&quot; more-or-less as a public service -- I seriously doubt any regular (i.e., small) coffeehouse can recover their ASCAP/BMI fees. We did it because we were kind of wide-eyed about the sort of place we wanted to be, that offered local folks a place to do their thing for other folks that wanted to hear it. If we had done the &quot;no covers&quot; thing, we would have had to book five performers a night to get three sets, probably. (This was in small-town Minnesota.) Ultimately, our performers were just regular people with regular day-jobs who played instruments when they got home from work, music they happened to like. The ASCAP heavy who visited -- I don&#39;t know. (Apparently, I can still get upset about it.) As far as I can tell, nobody&#39;s interests are served by this system -- it&#39;s like an evil plot to remove all delight from music.
<br><br><br><br><br><br><br><br><div><span class="gmail_quote">On 7/13/07, <b class="gmail_sendername">Jim Bailey</b> &lt;<a href="mailto:jbailey@wsimail.com">jbailey@wsimail.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Yeah.&nbsp;&nbsp;I&#39;m sure his job was at least restructured because really...how<br>many venues are going to feature &quot;public domain&quot; music and keep their<br>clientele around that are used to hearing a living jukebox?&nbsp;&nbsp;Yes it was
<br>the venues deal but wouldn&#39;t it have been nice for the performer to know<br>that at anytime the fun police might bust in and shut down his gig?<br>Lol.<br><br>It kinda boggles me that given the laws that we are discussing
<br>here...wouldn&#39;t it be in the BMI and ASCAPS best interest to REQUIRE<br>their licensed venues to put big signs on the walls saying &quot;BMI licensed<br>venue&quot; or something?<br><br>-----Original Message-----<br>
From: Bill Fox [mailto:<a href="mailto:billyfox@soundscapes.us">billyfox@soundscapes.us</a>]<br>Sent: Friday, July 13, 2007 1:34 PM<br>To: <a href="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com
</a><br>Subject: Re: Composers should also get paid<br><br><br>Jim Bailey wrote:<br>&gt; Well under the example given below the piano guy lost HIS JOB because<br>&gt; he wasn&#39;t informed.&nbsp;&nbsp;Not trying to argumentative or anything.&nbsp;&nbsp;Just
<br>&gt; trying to get facts straight.<br>BMI or ASCAP weren&#39;t the ones who fired the piano player.&nbsp;&nbsp;The venue did<br><br>because the owner was too cheap to pay the license fee or the fee plus<br>performer pay weren&#39;t offset by increased profits.
<br><br>Cheers,<br><br>Bill<br><br></blockquote></div><br>

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Subject: RE: Composers should also get paid
Date: Fri, 13 Jul 2007 14:00:21 -0500
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Agree.  The current system is poo.

	-----Original Message-----
	From: Kelly Coyle [mailto:skcoyle@gmail.com]=20
	Sent: Friday, July 13, 2007 1:57 PM
	To: Loopers-Delight@loopers-delight.com
	Subject: Re: Composers should also get paid
=09
=09
	I can only speak for my own establishment, but we were providing
the "living jukeboxes" more-or-less as a public service -- I seriously
doubt any regular (i.e., small) coffeehouse can recover their ASCAP/BMI
fees. We did it because we were kind of wide-eyed about the sort of
place we wanted to be, that offered local folks a place to do their
thing for other folks that wanted to hear it. If we had done the "no
covers" thing, we would have had to book five performers a night to get
three sets, probably. (This was in small-town Minnesota.) Ultimately,
our performers were just regular people with regular day-jobs who played
instruments when they got home from work, music they happened to like.
The ASCAP heavy who visited -- I don't know. (Apparently, I can still
get upset about it.) As far as I can tell, nobody's interests are served
by this system -- it's like an evil plot to remove all delight from
music.=20
=09
=09
=09
=09
=09
=09
=09
=09
	On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:=20

		Yeah.  I'm sure his job was at least restructured
because really...how
		many venues are going to feature "public domain" music
and keep their
		clientele around that are used to hearing a living
jukebox?  Yes it was=20
		the venues deal but wouldn't it have been nice for the
performer to know
		that at anytime the fun police might bust in and shut
down his gig?
		Lol.
	=09
		It kinda boggles me that given the laws that we are
discussing=20
		here...wouldn't it be in the BMI and ASCAPS best
interest to REQUIRE
		their licensed venues to put big signs on the walls
saying "BMI licensed
		venue" or something?
	=09
		-----Original Message-----
		From: Bill Fox [mailto:billyfox@soundscapes.us]
		Sent: Friday, July 13, 2007 1:34 PM
		To: Loopers-Delight@loopers-delight.com=20
		Subject: Re: Composers should also get paid
	=09
	=09
		Jim Bailey wrote:
		> Well under the example given below the piano guy lost
HIS JOB because
		> he wasn't informed.  Not trying to argumentative or
anything.  Just=20
		> trying to get facts straight.
		BMI or ASCAP weren't the ones who fired the piano
player.  The venue did
	=09
		because the owner was too cheap to pay the license fee
or the fee plus
		performer pay weren't offset by increased profits.=20
	=09
		Cheers,
	=09
		Bill
	=09
	=09



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<HTML><HEAD><TITLE>Message</TITLE>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Dus-ascii">
<META content=3D"MSHTML 6.00.2900.3132" name=3DGENERATOR></HEAD>
<BODY>
<DIV><SPAN class=3D859080019-13072007><FONT face=3DArial color=3D#0000ff =

size=3D2>Agree.&nbsp; The current system is poo.</FONT></SPAN></DIV>
<BLOCKQUOTE style=3D"MARGIN-RIGHT: 0px">
  <DIV></DIV>
  <DIV class=3DOutlookMessageHeader lang=3Den-us dir=3Dltr =
align=3Dleft><FONT=20
  face=3DTahoma size=3D2>-----Original Message-----<BR><B>From:</B> =
Kelly Coyle=20
  [mailto:skcoyle@gmail.com] <BR><B>Sent:</B> Friday, July 13, 2007 1:57 =

  PM<BR><B>To:</B> =
Loopers-Delight@loopers-delight.com<BR><B>Subject:</B> Re:=20
  Composers should also get paid<BR><BR></FONT></DIV>I can only speak =
for my own=20
  establishment, but we were providing the "living jukeboxes" =
more-or-less as a=20
  public service -- I seriously doubt any regular (i.e., small) =
coffeehouse can=20
  recover their ASCAP/BMI fees. We did it because we were kind of =
wide-eyed=20
  about the sort of place we wanted to be, that offered local folks a =
place to=20
  do their thing for other folks that wanted to hear it. If we had done =
the "no=20
  covers" thing, we would have had to book five performers a night to =
get three=20
  sets, probably. (This was in small-town Minnesota.) Ultimately, our =
performers=20
  were just regular people with regular day-jobs who played instruments =
when=20
  they got home from work, music they happened to like. The ASCAP heavy =
who=20
  visited -- I don't know. (Apparently, I can still get upset about it.) =
As far=20
  as I can tell, nobody's interests are served by this system -- it's =
like an=20
  evil plot to remove all delight from music. =
<BR><BR><BR><BR><BR><BR><BR><BR>
  <DIV><SPAN class=3Dgmail_quote>On 7/13/07, <B =
class=3Dgmail_sendername>Jim=20
  Bailey</B> &lt;<A=20
  href=3D"mailto:jbailey@wsimail.com">jbailey@wsimail.com</A>&gt; =
wrote:</SPAN>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">Yeah.&nbsp;&nbsp;I'm=20
    sure his job was at least restructured because really...how<BR>many =
venues=20
    are going to feature "public domain" music and keep =
their<BR>clientele=20
    around that are used to hearing a living jukebox?&nbsp;&nbsp;Yes it =
was=20
    <BR>the venues deal but wouldn't it have been nice for the performer =
to=20
    know<BR>that at anytime the fun police might bust in and shut down =
his=20
    gig?<BR>Lol.<BR><BR>It kinda boggles me that given the laws that we =
are=20
    discussing <BR>here...wouldn't it be in the BMI and ASCAPS best =
interest to=20
    REQUIRE<BR>their licensed venues to put big signs on the walls =
saying "BMI=20
    licensed<BR>venue" or something?<BR><BR>-----Original =
Message-----<BR>From:=20
    Bill Fox [mailto:<A=20
    =
href=3D"mailto:billyfox@soundscapes.us">billyfox@soundscapes.us</A>]<BR>S=
ent:=20
    Friday, July 13, 2007 1:34 PM<BR>To: <A=20
    =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com=20
    </A><BR>Subject: Re: Composers should also get paid<BR><BR><BR>Jim =
Bailey=20
    wrote:<BR>&gt; Well under the example given below the piano guy lost =
HIS JOB=20
    because<BR>&gt; he wasn't informed.&nbsp;&nbsp;Not trying to =
argumentative=20
    or anything.&nbsp;&nbsp;Just <BR>&gt; trying to get facts =
straight.<BR>BMI=20
    or ASCAP weren't the ones who fired the piano player.&nbsp;&nbsp;The =
venue=20
    did<BR><BR>because the owner was too cheap to pay the license fee or =
the fee=20
    plus<BR>performer pay weren't offset by increased profits.=20
    =
<BR><BR>Cheers,<BR><BR>Bill<BR><BR></BLOCKQUOTE></DIV><BR></BLOCKQUOTE></=
BODY></HTML>

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Date: Fri, 13 Jul 2007 12:02:03 -0700
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Composers should also get paid
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This topic came up in a Seattle mailing list recently, and it was
determined that the yearly rate for your typical coffee house was just
under a thousand dollars.   Was that too much?
How much were you paying for your license to play CD's?

TH



On 7/13/07, Kelly Coyle <skcoyle@gmail.com> wrote:
> I can only speak for my own establishment, but we were providing the "living
> jukeboxes" more-or-less as a public service -- I seriously doubt any regular
> (i.e., small) coffeehouse can recover their ASCAP/BMI fees.

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 19:22:14 2007
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No, we paid it. I'm just certain it didn't pay for itself in increased
revenues. Of course, that's a guess -- you have to decide who would have
been there even without the music (or who would have come had there been no
music), and then add whatever the listeners bought (which sometimes was
precious little -- kids are poor). I suppose we could have had cover
charges, but that's another can of worms. My feeling is, we were *so*
low-budget and sub-professional that, I don't know -- do I care, really, if
some kid down the street covers one of my songs? Especially if he's making
no money at it.

We cut a deal over the CD license, as I recall. We couldn't afford it. So I
think they took a few hundred dollars a year and let us play the radio under
the reasoning that the tunes were partially paid for by being broadcast. It
seemed kinda shady, to me, at the time. Maybe the heavy was giving us a
break. Heck, maybe it was an outright bribe -- I didn't write the check.




On 7/13/07, Travis Hartnett <travishartnett@gmail.com> wrote:
>
> This topic came up in a Seattle mailing list recently, and it was
> determined that the yearly rate for your typical coffee house was just
> under a thousand dollars.   Was that too much?
> How much were you paying for your license to play CD's?
>
> TH
>
>
>
> On 7/13/07, Kelly Coyle <skcoyle@gmail.com> wrote:
> > I can only speak for my own establishment, but we were providing the
> "living
> > jukeboxes" more-or-less as a public service -- I seriously doubt any
> regular
> > (i.e., small) coffeehouse can recover their ASCAP/BMI fees.
>
>

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No, we paid it. I&#39;m just certain it didn&#39;t pay for itself in increased revenues. Of course, that&#39;s a guess -- you have to decide who would have been there even without the music (or who would have come had there been no music), and then add whatever the listeners bought (which sometimes was precious little -- kids are poor). I suppose we could have had cover charges, but that&#39;s another can of worms. My feeling is, we were *so* low-budget and sub-professional that, I don&#39;t know -- do I care, really, if some kid down the street covers one of my songs? Especially if he&#39;s making no money at it.
<br><br>We cut a deal over the CD license, as I recall. We couldn&#39;t afford it. So I think they took a few hundred dollars a year and let us play the radio under the reasoning that the tunes were partially paid for by being broadcast. It seemed kinda shady, to me, at the time. Maybe the heavy was giving us a break. Heck, maybe it was an outright bribe -- I didn&#39;t write the check.
<br><br><br><br><br><div><span class="gmail_quote">On 7/13/07, <b class="gmail_sendername">Travis Hartnett</b> &lt;<a href="mailto:travishartnett@gmail.com">travishartnett@gmail.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
This topic came up in a Seattle mailing list recently, and it was<br>determined that the yearly rate for your typical coffee house was just<br>under a thousand dollars.&nbsp;&nbsp; Was that too much?<br>How much were you paying for your license to play CD&#39;s?
<br><br>TH<br><br><br><br>On 7/13/07, Kelly Coyle &lt;<a href="mailto:skcoyle@gmail.com">skcoyle@gmail.com</a>&gt; wrote:<br>&gt; I can only speak for my own establishment, but we were providing the &quot;living<br>&gt; jukeboxes&quot; more-or-less as a public service -- I seriously doubt any regular
<br>&gt; (i.e., small) coffeehouse can recover their ASCAP/BMI fees.<br><br></blockquote></div><br>

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It's not like an evil plot to remove all delight from music.  It is an evil
plot to remove all delight from music.

 

-----Original Message-----
From: Kelly Coyle [mailto:skcoyle@gmail.com] 
Sent: Friday, July 13, 2007 11:57 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Composers should also get paid

 

it's like an evil plot to remove all delight from music. 








On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:

Yeah.  I'm sure his job was at least restructured because really...how
many venues are going to feature "public domain" music and keep their
clientele around that are used to hearing a living jukebox?  Yes it was 
the venues deal but wouldn't it have been nice for the performer to know
that at anytime the fun police might bust in and shut down his gig?
Lol.

It kinda boggles me that given the laws that we are discussing 
here...wouldn't it be in the BMI and ASCAPS best interest to REQUIRE
their licensed venues to put big signs on the walls saying "BMI licensed
venue" or something?

-----Original Message-----
From: Bill Fox [mailto:billyfox@soundscapes.us]
Sent: Friday, July 13, 2007 1:34 PM
To: Loopers-Delight@loopers-delight.com 
Subject: Re: Composers should also get paid


Jim Bailey wrote:
> Well under the example given below the piano guy lost HIS JOB because
> he wasn't informed.  Not trying to argumentative or anything.  Just 
> trying to get facts straight.
BMI or ASCAP weren't the ones who fired the piano player.  The venue did

because the owner was too cheap to pay the license fee or the fee plus
performer pay weren't offset by increased profits. 

Cheers,

Bill

 


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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>It&#8217;s not like an evil plot to =
remove
all delight from music.&nbsp; It is an evil plot to remove all delight =
from music.</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>-----Original =
Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> Kelly Coyle
[mailto:skcoyle@gmail.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> </span></font><font =
size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;font-family:Tahoma'>Friday, July
 13, 2007</span></font><font size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;
font-family:Tahoma'> </span></font><font size=3D2 face=3DTahoma><span
 style=3D'font-size:10.0pt;font-family:Tahoma'>11:57 =
AM</span></font><font
size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;font-family:Tahoma'><br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: Composers =
should also
get paid</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<p class=3DMsoNormal =
style=3D'margin-right:0in;margin-bottom:12.0pt;margin-left:
.5in'><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>it's
like an evil plot to remove all delight from music. <br>
<br>
<br>
<br>
<br>
<br>
<br>
</span></font></p>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><span =
class=3Dgmailquote><font
size=3D3 face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>On =
</span></font></span><span class=3Dgmailquote>7/13/07</span><span =
class=3Dgmailquote>, <b><span style=3D'font-weight:
bold'>Jim Bailey</span></b> &lt;<a =
href=3D"mailto:jbailey@wsimail.com">jbailey@wsimail.com</a>&gt;
wrote:</span></p>

<p class=3DMsoNormal =
style=3D'margin-right:0in;margin-bottom:12.0pt;margin-left:
.5in'><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Yeah.&nbsp;&nbsp;I'm
sure his job was at least restructured because really...how<br>
many venues are going to feature &quot;public domain&quot; music and =
keep their<br>
clientele around that are used to hearing a living =
jukebox?&nbsp;&nbsp;Yes it
was <br>
the venues deal but wouldn't it have been nice for the performer to =
know<br>
that at anytime the fun police might bust in and shut down his gig?<br>
Lol.<br>
<br>
It kinda boggles me that given the laws that we are discussing <br>
here...wouldn't it be in the BMI and ASCAPS best interest to REQUIRE<br>
their licensed venues to put big signs on the walls saying &quot;BMI =
licensed<br>
venue&quot; or something?<br>
<br>
-----Original Message-----<br>
From: Bill Fox [mailto:<a =
href=3D"mailto:billyfox@soundscapes.us">billyfox@soundscapes.us</a>]<br>
Sent: </span></font>Friday, July 13, 2007 1:34 PM<br>
To: <a =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com
</a><br>
Subject: Re: Composers should also get paid<br>
<br>
<br>
Jim Bailey wrote:<br>
&gt; Well under the example given below the piano guy lost HIS JOB =
because<br>
&gt; he wasn't informed.&nbsp;&nbsp;Not trying to argumentative or
anything.&nbsp;&nbsp;Just <br>
&gt; trying to get facts straight.<br>
BMI or ASCAP weren't the ones who fired the piano player.&nbsp;&nbsp;The =
venue
did<br>
<br>
because the owner was too cheap to pay the license fee or the fee =
plus<br>
performer pay weren't offset by increased profits. <br>
<br>
Cheers,<br>
<br>
Bill</p>

</div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

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From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 19:57:26 2007
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Subject: Re: OT: please forgive me but I had to share this
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DAMN! that is so cool-thanks for that Rick.
Roots i tell ya.
s

-----Original Message-----
>From: RICK WALKER <looppool@cruzio.com>
>Sent: Jul 13, 2007 5:42 AM
>To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
>Subject: OT: please forgive me but I had to share this
>
>GONKS GO BEAT
>a 1965 movie with great footage of the 
>Graham Bond Organization with John McLaughlin, 
>Ginger Baker, Jack Bruce, Dick Heckstall-Smith, Lulu and Graham Bond.
>
>http://youtube.com/watch?v=d7vlaA-H-dU&mode=related&search=
>

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 20:14:21 2007
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Date: Fri, 13 Jul 2007 16:14:19 -0400
From: "Mark Trewella" <loopersdelight@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Setting Tempo in Pro-Tools from EDP
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I am sending midi out from my EDP (synch set to OUT) into Pro-Tools, I
want to be able to set the tempo of my Pro-Tools session according to
my EDP loop length.  Can anyone walk me through it?  I know I have
done it before in Logic but I don't think I have ever successfully
done it in Pro-Tools.  Thanks!

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 20:55:03 2007
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what did Mozart's ghost say to the prostitute?
 
Decomposers should also get laid



************************************** Get a sneak peak of the all-new AOL at 
http://discover.aol.com/memed/aolcom30tour

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<DIV>what did Mozart's ghost say to the prostitute?</DIV>
<DIV>&nbsp;</DIV>
<DIV>Decomposers should also get laid</DIV></FONT><BR><BR><BR><DIV><FONT sty=
le=3D"color: black; font: normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN=
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com/memed/aolcom30tour/?ncid=3DAOLAOF00020000000982" href=3D"http://discover=
.aol.com/memed/aolcom30tour/?ncid=3DAOLAOF00020000000982" target=3D"_blank">=
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Date: Fri, 13 Jul 2007 15:15:24 -0700
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Composers should also get paid
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Oh, this topic just keeps getting better and better, while remaing
COMPLETELY OT for this list:

http://www.starpolish.com/news/article.asp?id=3D44

See Me, Feel Me, Touch Me - Pay Me
Dave Marsh =97 Monday, March 05, 2001

Pete Townshend keeps a diary on his website and the most fascinating
passage so far concerns downloading MP3 files with his son, Joseph,
who was appalled that they were "stealing." Dad didn't think so, and
the fact that such a prominent member of rock's ancient regime
supports file sharing has had many readers agog. Townshend's first
reason for not giving a damn whether his fans get access to his music
for free is that he doesn't often get paid for it. Among other things,
he comments, "during the 1989 tour, when we paid a huge sum of money
to BMI for the right to perform songs I had written, they eventually
paid me (after a lot of complaining from my manager) a tiny portion of
that sum, excusing themselves because their main payout area that year
was Nashville."

BMI is a performance rights organization (PRO), meaning it collects
money from broadcasters and "restaurants, nightclubs, bowling alleys,
aerobics centers, retail establishments" (to quote from its own
literature). Lately, it has been dunning assisted living homes for
seniors, on the grounds that these are commercial businesses in which
music is sometimes played. BMI "only" wants $2.25 a bed per year from
these places, which it pretends will come out of the pockets of the
owners with no effect on the tenants.

What's truly stupefying about this - unless you're used to the
machinations of the music world - is that BMI's own literature says
flatly, "Payment to writers and publishers is based primarily on
broadcast performances. Keeping track of all performances of music in
other areas...is impossible. With over 10,000 broadcasting stations in
the United States, however, it is safe to assume that what is being
played on the commercial airwaves reflects what is being played by
other music users." In short, the seniors listening to "Bicycle Built
for Two," or "Ebb Tide," or even the Five Satins' "In the Still of the
Night," will actually be paying the songwriters for Jennifer Lopez,
Britney Spears and Matchbox 20.

BMI's rationale would be more widely damned if the public understood
that this nonprofit corporation is owned by commercial broadcasters
who formed it when ASCAP resisted music broadcasting in the early
1940s. BMI helped the broadcasters cut their music licensing fees by
about 25 percent - ASCAP's share got cut in half. Because BMI needed
writers, it opened its door to black and country writers who had been
kept out of ASCAP by racism and snobbery, and this relationship to
"roots music" and the building tidal wave of rock and soul has always
been celebrated. The sweetheart deal is ignored. But BMI's allegiance
has always been divided. For instance, BMI has been a prime financial
backer of the most anti-music politician in America, Albert Gore. Gore
has a resounding devotion to the interests of broadcasters, many of
whom became billionaires as a result of the "deregulation" Gore
sponsored in the Clinton years.

The aggression of BMI is quite remarkable. It demands money from its
members playing their own songs in venues that have already paid for
music licenses (there are no prominent venues that don't). It even
attempts to collect from nonmembers who have titles that are the same
as BMI titles. Yet even an artist as famous as Townshend finds its
accounting practices overtly shortchange him. Even a deaf, dumb and
blind kid would recognize that smell as rotten.

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 22:37:02 2007
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From: =?utf-8?Q?tEd_=C2=AE_kiLLiAn?= <tedkillian@charter.net>
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT: please forgive me but I had to share this
Cc: RICK WALKER <looppool@cruzio.com>
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O.M.G.

That was too strange . . . and cool in a really weird way.

Thanks for sharin' Rick.

I'd always heard of Graham Bond but never heard him.

tEd =C2=AE kiLLiAn

---- RICK WALKER <looppool@cruzio.com> wrote:=20
> GONKS GO BEAT
> a 1965 movie with great footage of the=20
> Graham Bond Organization with John McLaughlin,=20
> Ginger Baker, Jack Bruce, Dick Heckstall-Smith, Lulu and Graham Bond.
>=20
> http://youtube.com/watch?v=3Dd7vlaA-H-dU&mode=3Drelated&search=3D
>=20

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 23:15:10 2007
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good one 8-)

apart from that why has the question of paying composers to be discussed at
all? everyone needs a full fridge and new shoes for the kids.

i don't see any problem at all. as if there was any reason to defend proper
work... tz tz tz


---
best greets from berlin.

jayrope
-
GET IN TROUBLE HERE:
http://girlsunited.kliklak.net
Record release party at NBI, Berlin, 27.7.

otherwise
http://kliklak.net
http://rope.kliklak.net/
http://myspace.com/touchdonttouch


On 14.07.2007 00:15, "Loopers-Delight-d-request@loopers-delight.com"
<Loopers-Delight-d-request@loopers-delight.com> wrote:

> Decomposers should also get laid

From aziz_musa16@hotmail.com  Fri Jul 13 23:20:34 2007
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Date: Sat, 14 Jul 2007 00:08:28 +0100
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FROM THE DESK OF MR AZIZ MUSA.BILL AND EXCHANGE UNIT,BANK OF AFRICA (B.O.A)=
OUAGADOUGOU-BURKINA FASO. Telephone:+226 7655 8065
=20
Dear friend,
=20
I am the manager of bill and exchange department of BANK OF AFRICA (B.O.A) =
here in Ouagadougou, Burkina Faso. In my department we discovered an abando=
ned sum of US$18.2m dollars (Eithteen Million Two Hundred Dollars) in an ac=
count that belongs to one of our foreign customer (DR GEORGE W.BRUMLEY) who=
 died along with his entire family  in Monday, July 21, 2003 in a plane cra=
sh in Nairobi Kenya?.For more informations about the crash you can visit th=
is site: http://www.cnn.com/2003/WORLD/africa/07/20/kenya.crash/index.html
=20
Since we got information about his death, we have been expecting his next o=
f kin to come over and claim his money because we can not release it unless=
 some body applies for it as next of kin or relation to the deceased as ind=
icated in our banking guidlings and laws but unfortunately we learnt that a=
ll his supposed next of kin or relation died alongside with him at the plan=
e crash leaving nobody behind for the claim. It is therefore upon this disc=
overy that I now decided to make this business proposal to you,so that the =
money can be release to you as the next of kin or relation to the deceased =
for safety and subsequent disbursement since nobody will come for it and we=
 don't want this money to go into the bank treasury as unclaimed dormant fu=
nd.=20
=20
The banking law and guidline here stipulates that if such money remained un=
claimed after seven years, the money will be transfered into the bank treas=
ury as unclaimed dormant fund. The request of foreigner as next of kin in t=
his business is occassioned by the fact that the customer was a foreigner a=
nd a Burkinabe like me can not stand as next of kin to a foreigner.
I agreed that 30% of this money will be for you as a respect to the provisi=
on of a foriegn account ,10% will be set aside for expenses incurred during=
 the business and 60% would be for me.Thereafter, I will visit your country=
 for disbursement according to the percentage indicated Therefore, to enabl=
e the immediate transfer of this fund to you arranged,you must apply first =
to the bank as relation or next of kin to the deceased customer with a text=
 of application that i will send to you,but before i send to you the text o=
f application form,I will like you to send me the following informatios.
=20
1. NAME IN FULL:..............................2. ADDRESS:..................=
...................3. NATIONALITY:..............................4. AGE:....=
........................................5. Sex.............................=
.................6. OCCUPATION:...............................7. MARITAL ST=
ATUS:.........................8. PRIAVTE PHONE NO.......................9. =
PRIVATE FAX NO:..........................10.YOUR ID OR INTERNATIONAL PASSPO=
RT...............
=20
So i will like you to send to me those informations for easy and effective =
communication,also location where the money will be remitted. Upon receipt =
of your reply, I will send to you by fax or email the text of the applicati=
on form. I will not fail to bring to your notice that this transaction is h=
itch-free and that you should not entertain any atom of fear as all require=
d arrangements have been made for the transfer. You should contact me immed=
iately as soon as you receive this letter,if only you are intrested and rea=
dy to help.=20
Trusting to hear from you immediately.
=20
Thanks
Yours Faithfully,MR AZIZ MUSA.BILL AND EXCHANGE MANAGER.(BANK OF AFRICA). =
=20
_________________________________________________________________
Express yourself instantly with MSN Messenger! Download today it's FREE!
http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/=

--_177add4f-ec56-4b24-a445-58cb2696e7e6_
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<html>
<head>
<style>
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body
{
FONT-SIZE: 10pt;
FONT-FAMILY:Tahoma
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<body>
<DIV><STRONG>FROM THE DESK OF MR AZIZ MUSA.<BR>BILL AND EXCHANGE UNIT,<BR>B=
ANK OF AFRICA (B.O.A)<BR>OUAGADOUGOU-BURKINA FASO.&nbsp;<BR>Telephone:+226 =
7655 8065<BR></STRONG></DIV>
<DIV><STRONG></STRONG>&nbsp;</DIV>
<DIV><STRONG>Dear friend,</STRONG></DIV>
<DIV><STRONG></STRONG>&nbsp;</DIV>
<DIV><STRONG>I am the manager of bill and exchange department of BANK OF AF=
RICA (B.O.A) here in Ouagadougou, Burkina Faso. In my department we discove=
red an abandoned sum of US$18.2m dollars (Eithteen Million Two Hundred Doll=
ars) in an account that belongs to one of our foreign customer (DR GEORGE W=
.BRUMLEY) who died along with his entire family&nbsp; in Monday, July 21, 2=
003 in a plane crash in Nairobi Kenya?.For more informations about the cras=
h you can visit this site: </STRONG><A href=3D"http://www.cnn.com/2003/WORL=
D/africa/07/20/kenya.crash/index.html"><STRONG><U><FONT color=3D#0000ff>htt=
p://www.cnn.com/2003/WORLD/africa/07/20/kenya.crash/index.html</FONT></U></=
STRONG></A></DIV>
<DIV><STRONG></STRONG>&nbsp;</DIV>
<DIV><STRONG>Since we got information about his death, we have been expecti=
ng his next of kin to come over and claim his money because we can not rele=
ase it unless some body applies for it as next of kin or relation to the de=
ceased as indicated in our banking guidlings and laws but unfortunately we =
learnt that all his supposed next of kin or relation died alongside with hi=
m at the plane crash leaving nobody behind for the claim. It is therefore u=
pon this discovery that I now decided to make this business proposal to you=
,so that the money can be release to you as the next of kin or relation to =
the deceased for safety and subsequent disbursement since nobody will come =
for it and we don't want this money to go into the bank treasury as unclaim=
ed dormant fund. </STRONG></DIV>
<DIV><STRONG></STRONG>&nbsp;</DIV>
<DIV><STRONG>The banking law and guidline here stipulates that if such mone=
y remained unclaimed after seven years, the money will be transfered into t=
he bank treasury as unclaimed dormant fund. The request of foreigner as nex=
t of kin in this business is occassioned by the fact that the customer was =
a foreigner and a Burkinabe like me can not stand as next of kin to a forei=
gner.</STRONG></DIV>
<DIV><STRONG>I agreed that 30% of this money will be for you as a respect t=
o the provision of a foriegn account ,10% will be set aside for expenses in=
curred during the business and 60% would be for me.Thereafter, I will visit=
 your country for disbursement according to the percentage indicated Theref=
ore, to enable the immediate transfer of this fund to you arranged,you must=
 apply first to the bank as relation or next of kin to the deceased custome=
r with a text of application that i will send to you,but before i send to y=
ou the text of application form,I will like you to send me the following in=
formatios.</STRONG></DIV>
<DIV><STRONG></STRONG>&nbsp;</DIV>
<DIV><STRONG>1. NAME IN FULL:..............................<BR>2. ADDRESS:.=
....................................<BR>3. NATIONALITY:....................=
..........<BR>4. AGE:............................................<BR>5. Sex=
..............................................<BR>6. OCCUPATION:...........=
....................<BR>7. MARITAL STATUS:.........................<BR>8. P=
RIAVTE PHONE NO.......................<BR>9. PRIVATE FAX NO:...............=
...........<BR>10.YOUR ID OR INTERNATIONAL PASSPORT...............</STRONG>=
</DIV>
<DIV><STRONG></STRONG>&nbsp;</DIV>
<DIV><STRONG>So i will like you to send to me those informations for easy a=
nd effective communication,also location where the money will be remitted. =
Upon receipt of your reply, I will send to you by fax or email the text of =
the application form. <BR>I will not fail to bring to your notice that this=
 transaction is hitch-free and that you should not entertain any atom of fe=
ar as all required arrangements have been made for the transfer. You should=
 contact me immediately as soon as you receive this letter,if only you are =
intrested and ready to help. </STRONG></DIV>
<DIV><STRONG>Trusting to hear from you immediately.</STRONG></DIV>
<DIV><STRONG></STRONG>&nbsp;</DIV>
<DIV><STRONG>Thanks</STRONG></DIV>
<DIV><STRONG>Yours Faithfully,<BR>MR AZIZ MUSA.<BR>BILL AND EXCHANGE MANAGE=
R.(BANK OF AFRICA). <BR>&nbsp;</STRONG></DIV><br /><hr />Change is good. Se=
e what's different about Windows Live Hotmail. <a href=3D'http://www.window=
slive-hotmail.com/learnmore/default.html?locale=3Den-us&ocid=3DRMT_TAGLM_HM=
WL_reten_changegood_0607' target=3D'_new'>Check it out!</a></body>
</html>=

--_177add4f-ec56-4b24-a445-58cb2696e7e6_--

From Loopers-Delight-request@loopers-delight.com  Fri Jul 13 23:42:55 2007
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Date: Fri, 13 Jul 2007 18:42:53 -0500
From: "Kelly Coyle" <skcoyle@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: It's Ted Killian's fault
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Seeing Ted Killian post on the same day that someone mentioned the Moog Ring
Mod reminded me of this. I had a device built by artist Tim Kaiser (
http://www.timkaiser.org/) which was, sort of, inspired by Ted's comments on
the DD-20 on the tools page (although it has little in common with those).
What it is is two PDS-1002s and a PDS 20/20, modified (via trim pot) for
longer delays, and wired in parallel with a pretty clever, Kaiser-designed,
interface. It's a looping device in the "latching delay" fashion. The three
delays can be independently latched, mixed (along with the dry), and do
pitch effects with the delay time. (The footpedal also controls the
latches.) The 1002s have some sort of pre/post gain thing -- it doesn't seem
to make much difference in practice. The 20/20 can do some very strange
modulation effects (the extended delay times seems to really wig it out).

Here's a picture of it:

http://www.timkaiser.org/FX59Kelly.jpg

and the footpedal:

http://www.timkaiser.org/FX59KellyB.jpg

I've made two, pretty similar, recordings with it. The first is a Tele into
the aforementioned ring mod:

http://kellycoyle.net/newmusic/bells.mp3

The second is a Casio VL-1 directly into the unit, but it does show off the
20/20 doing its modulation thing:

http://kellycoyle.net/newmusic/3_6_7.mp3

All that just FYI, although sometime we ought to have a "latched delay"
versus "sampler style" looping discussion again. (I guess there was one a
long time ago which I sort of remember from lurking.)

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Seeing Ted Killian post on the same day that someone mentioned the Moog Ring Mod reminded me of this. I had a device built by artist Tim Kaiser (<a href="http://www.timkaiser.org/">http://www.timkaiser.org/</a>) which was, sort of, inspired by Ted&#39;s comments on the DD-20 on the tools page (although it has little in common with those). What it is is two PDS-1002s and a PDS 20/20, modified (via trim pot) for longer delays, and wired in parallel with a pretty clever, Kaiser-designed, interface. It&#39;s a looping device in the &quot;latching delay&quot; fashion. The three delays can be independently latched, mixed (along with the dry), and do pitch effects with the delay time. (The footpedal also controls the latches.) The 1002s have some sort of pre/post gain thing -- it doesn&#39;t seem to make much difference in practice. The 20/20 can do some very strange modulation effects (the extended delay times seems to really wig it out).
<br><br>Here&#39;s a picture of it:<br><br><a href="http://www.timkaiser.org/FX59Kelly.jpg">http://www.timkaiser.org/FX59Kelly.jpg</a><br><br>and the footpedal:<br><br><img src="file:///C:/Users/Kelly/AppData/Local/Temp/moz-screenshot-6.jpg" alt="">
<a href="http://www.timkaiser.org/FX59KellyB.jpg">http://www.timkaiser.org/FX59KellyB.jpg</a><br><br>I&#39;ve made two, pretty similar, recordings with it. The first is a Tele into the aforementioned ring mod:<br><br><a href="http://kellycoyle.net/newmusic/bells.mp3">
http://kellycoyle.net/newmusic/bells.mp3</a><br><br>The second is a Casio VL-1 directly into the unit, but it does show off the 20/20 doing its modulation thing:<br><br><a href="http://kellycoyle.net/newmusic/3_6_7.mp3">http://kellycoyle.net/newmusic/3_6_7.mp3
</a><br><br>All that just FYI, although sometime we ought to have a &quot;latched delay&quot; versus &quot;sampler style&quot; looping discussion again. (I guess there was one a long time ago which I sort of remember from lurking.)
<br> 

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From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 01:13:53 2007
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Subject: Re: Composers should also get paid
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ASCAP went after the Girl Scouts for round-the-fire sing-a-longs, so I =
wouldn't doubt too many negative reports about their ability to suck the =
life and fun out of things.

  From: Kelly Coyle=20
  I can only speak for my own establishment, but we were providing the =
"living jukeboxes" more-or-less as a public service -- I seriously doubt =
any regular (i.e., small) coffeehouse can recover their ASCAP/BMI fees. =
We did it because we were kind of wide-eyed about the sort of place we =
wanted to be, that offered local folks a place to do their thing for =
other folks that wanted to hear it. If we had done the "no covers" =
thing, we would have had to book five performers a night to get three =
sets, probably. (This was in small-town Minnesota.) Ultimately, our =
performers were just regular people with regular day-jobs who played =
instruments when they got home from work, music they happened to like. =
The ASCAP heavy who visited -- I don't know. (Apparently, I can still =
get upset about it.) As far as I can tell, nobody's interests are served =
by this system -- it's like an evil plot to remove all delight from =
music.=20








  On 7/13/07, Jim Bailey <jbailey@wsimail.com> wrote:
    Yeah.  I'm sure his job was at least restructured because =
really...how
    many venues are going to feature "public domain" music and keep =
their
    clientele around that are used to hearing a living jukebox?  Yes it =
was=20
    the venues deal but wouldn't it have been nice for the performer to =
know
    that at anytime the fun police might bust in and shut down his gig?
    Lol.

    It kinda boggles me that given the laws that we are discussing=20
    here...wouldn't it be in the BMI and ASCAPS best interest to REQUIRE
    their licensed venues to put big signs on the walls saying "BMI =
licensed
    venue" or something?

    -----Original Message-----
    From: Bill Fox [mailto:billyfox@soundscapes.us]
    Sent: Friday, July 13, 2007 1:34 PM
    To: Loopers-Delight@loopers-delight.com=20
    Subject: Re: Composers should also get paid


    Jim Bailey wrote:
    > Well under the example given below the piano guy lost HIS JOB =
because
    > he wasn't informed.  Not trying to argumentative or anything.  =
Just=20
    > trying to get facts straight.
    BMI or ASCAP weren't the ones who fired the piano player.  The venue =
did

    because the owner was too cheap to pay the license fee or the fee =
plus
    performer pay weren't offset by increased profits.=20

    Cheers,

    Bill




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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.6000.16481" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>ASCAP went after the Girl Scouts for round-the-fire=20
sing-a-longs, so I wouldn't doubt too many negative reports about their =
ability=20
to suck the life and fun out of things.</FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">&nbsp;</DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dskcoyle@gmail.com href=3D"mailto:skcoyle@gmail.com">Kelly =
Coyle</A>=20
  </DIV>I can only speak for my own establishment, but we were providing =
the=20
  "living jukeboxes" more-or-less as a public service -- I seriously =
doubt any=20
  regular (i.e., small) coffeehouse can recover their ASCAP/BMI fees. We =
did it=20
  because we were kind of wide-eyed about the sort of place we wanted to =
be,=20
  that offered local folks a place to do their thing for other folks =
that wanted=20
  to hear it. If we had done the "no covers" thing, we would have had to =
book=20
  five performers a night to get three sets, probably. (This was in =
small-town=20
  Minnesota.) Ultimately, our performers were just regular people with =
regular=20
  day-jobs who played instruments when they got home from work, music =
they=20
  happened to like. The ASCAP heavy who visited -- I don't know. =
(Apparently, I=20
  can still get upset about it.) As far as I can tell, nobody's =
interests are=20
  served by this system -- it's like an evil plot to remove all delight =
from=20
  music. <BR><BR><BR><BR><BR><BR><BR><BR>
  <DIV><SPAN class=3Dgmail_quote>On 7/13/07, <B =
class=3Dgmail_sendername>Jim=20
  Bailey</B> &lt;<A=20
  href=3D"mailto:jbailey@wsimail.com">jbailey@wsimail.com</A>&gt; =
wrote:</SPAN>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">Yeah.&nbsp;&nbsp;I'm=20
    sure his job was at least restructured because really...how<BR>many =
venues=20
    are going to feature "public domain" music and keep =
their<BR>clientele=20
    around that are used to hearing a living jukebox?&nbsp;&nbsp;Yes it =
was=20
    <BR>the venues deal but wouldn't it have been nice for the performer =
to=20
    know<BR>that at anytime the fun police might bust in and shut down =
his=20
    gig?<BR>Lol.<BR><BR>It kinda boggles me that given the laws that we =
are=20
    discussing <BR>here...wouldn't it be in the BMI and ASCAPS best =
interest to=20
    REQUIRE<BR>their licensed venues to put big signs on the walls =
saying "BMI=20
    licensed<BR>venue" or something?<BR><BR>-----Original =
Message-----<BR>From:=20
    Bill Fox [mailto:<A=20
    =
href=3D"mailto:billyfox@soundscapes.us">billyfox@soundscapes.us</A>]<BR>S=
ent:=20
    Friday, July 13, 2007 1:34 PM<BR>To: <A=20
    =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com=20
    </A><BR>Subject: Re: Composers should also get paid<BR><BR><BR>Jim =
Bailey=20
    wrote:<BR>&gt; Well under the example given below the piano guy lost =
HIS JOB=20
    because<BR>&gt; he wasn't informed.&nbsp;&nbsp;Not trying to =
argumentative=20
    or anything.&nbsp;&nbsp;Just <BR>&gt; trying to get facts =
straight.<BR>BMI=20
    or ASCAP weren't the ones who fired the piano player.&nbsp;&nbsp;The =
venue=20
    did<BR><BR>because the owner was too cheap to pay the license fee or =
the fee=20
    plus<BR>performer pay weren't offset by increased profits.=20
    =
<BR><BR>Cheers,<BR><BR>Bill<BR><BR></BLOCKQUOTE></DIV><BR></BLOCKQUOTE></=
BODY></HTML>

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--------------030205080605020200010405--

From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 03:29:31 2007
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From: "Michael Plishka" <mike@michaelplishka.com>
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References: <d4d.8a0fede.33c940a1@aol.com> <d1396fc00707131515w756aa001s48aad96dc161ddbf@mail.gmail.com>
Subject: OT new loop combo tune
Date: Fri, 13 Jul 2007 22:29:16 -0500
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It's a tune I play live but here's a recorded version for your perusal. 
It's called "Lucky is..."

www.myspace.com/michaelplishka

~peace~

Plish


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Date: Fri, 13 Jul 2007 23:35:29 -0500
From: "Michael Pregeant" <mpregeant@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: EDP for sale
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------=_Part_40073_21102812.1184387729281
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http://cgi.ebay.com/Gibson-Echoplex-Digital-Pro-loop-IV-Like-new_W0QQitemZ160137843392QQihZ006QQcategoryZ101974QQssPageNameZWDVWQQrdZ1QQcmdZViewItem


Here's the ebay link. Just thought I'd throw it out there.

-- 
www.myspace.com/ipwnuh4x

www.myspace.com/therealannulus

www.myspace.com/michaelpregeant

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<div><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://cgi.ebay.com/Gibson-Echoplex-Digital-Pro-loop-IV-Like-new_W0QQitemZ160137843392QQihZ006QQcategoryZ101974QQssPageNameZWDVWQQrdZ1QQcmdZViewItem " target="_blank">
http://cgi.ebay.com/Gibson-Echoplex-Digital-Pro-loop-IV-Like-new_W0QQitemZ160137843392QQihZ006QQcategoryZ101974QQssPageNameZWDVWQQrdZ1QQcmdZViewItem </a></div>
<div>&nbsp;</div>
<div>Here&#39;s the ebay link. Just thought I&#39;d throw it out there.</div>
<div><br>-- <br><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.myspace.com/ipwnuh4x" target="_blank">www.myspace.com/ipwnuh4x</a><br><br><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.myspace.com/therealannulus" target="_blank">
www.myspace.com/therealannulus</a><br><br><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.myspace.com/michaelpregeant" target="_blank">www.myspace.com/michaelpregeant</a> </div>

------=_Part_40073_21102812.1184387729281--

From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 04:49:20 2007
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Subject: more field recording sample to share: Independence Night
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The night of July 3rd-4th I took the M-Audio MicroTrack 24/96 field 
recorder outside, adjusted the levels, and left it recording while I went 
back inside. Two hours later I cut the recording. The result:

Independence Night - 2hrs2min of night sounds, 12:37am to 2:39am in the 
middle of the night of July 4th. Lots of insects. Echoes. Distant trucks. 
A fox.

http://www.subscapeannex.com/other/independence_night.mp3

(Link archived on http://www.subscapeannex.com/sounds.html  )

Recorded in 24-bit WAV, converted to mp3 by iTunes. No processing. Anyone 
is welcome to use these as you like for background, sampling for 
industrial music, whatever, although I'd like to know if you do. I'm 
keeping the WAV file of this for later and not posting it as it's huge at 
1.8GB.

Hope this is remaining interesting to people.

best,
Steve Burnett   Subscape Annex   http://www.subscapeannex.com/

From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 07:36:18 2007
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Date: Sat, 14 Jul 2007 09:36:15 +0200 (CEST)
From: rune fagereng <rune_fagereng@yahoo.no>
Subject: biamplified monitors
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Hi !

I have noticed that someone has recommanded Event
monitor. I am looking on Ebay now. I do want powered
monitors. When the add say biamplified does this mean
not amplified ? And will most monitors (studio) work
in Norway (220 v) like delays and reverbunits if one
just uses a different net kabel ?
If Eveny 20/20 and Alp5 not are powered monitors does
anyone have a tip for good and not too expensive
studiomonitors?

best regards Rune F   








	
	
		
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From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 08:11:33 2007
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From: Bill Fox <billyfox@soundscapes.us>
Subject: Listen to The AM/FM Show In Less Than Two Hours From Now
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THE AM/FM SHOW ON WMUH:                      http://soundscapes.us/amfm
=======================================================================
My next stint on the AM/FM Show will be today in less than two hours
from now, July 14 at 6:00 am EDT / GMT-4.  I will continue the special
on E-dition Electronic Music Magazine's sampler CDs.

Tune in to WMUH Allentown at 91.7 FM, broadcasting from the campus of
Muhlenberg College.  I alternate hosting the show with Bruce.  When I
am at the helm, the show features electronic, ambient, and spacemusic
at the beginning, an eclectic mix of genres in the middle, and winds
up with Progressive Rock.  WMUH's web site is
http://muhlenberg.edu/wmuh

Listen on-line to WMUH at http://www.muhlenberg.edu/wmuh and click the
REAL AUDIO link or go directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm

From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 10:08:39 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: OT new loop combo tune
Date: Sat, 14 Jul 2007 12:08:32 +0200
To: Loopers-Delight@loopers-delight.com
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On 14 jul 2007, at 05.29, Michael Plishka wrote:

> It's a tune I play live but here's a recorded version for your  
> perusal. It's called "Lucky is..."
> www.myspace.com/michaelplishka


Really a good version! Thanks for posting.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)


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From: Per Boysen <perboysen@gmail.com>
Subject: Re: biamplified monitors
Date: Sat, 14 Jul 2007 12:49:05 +0200
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On 14 jul 2007, at 09.36, rune fagereng wrote:

> Hi !
>
> I have noticed that someone has recommanded Event
> monitor. I am looking on Ebay now. I do want powered
> monitors. When the add say biamplified does this mean
> not amplified ? And will most monitors (studio) work
> in Norway (220 v) like delays and reverbunits if one
> just uses a different net kabel ?
> If Eveny 20/20 and Alp5 not are powered monitors does
> anyone have a tip for good and not too expensive
> studiomonitors?
>
> best regards Rune F


Hi Rune,

I think "bi-amped" means that the amplification uses two output  
stages. I guess that is standard today in near field monitors, the  
only model I know that doesn't have it is the MNT-Pro M-00. A couple  
of years ago we did an A/B listening test at the studio computer  
music magazine where I'm writing as a freelancer. Eight near field  
monitors were listened to, as a blind test, by three professional  
audio/music workers. The two winners were the Genelec 8030A and the  
Event TR-5. The Event is about half the price, so if shopping on a  
budget they are a good deal. But they doesn't sound as true (linear  
frequency response) as the Genelecs and personally I also think the  
Genelecs sound more "musical" (as in "fun to listen to music through  
them"). I've been using the Events at the mag's office and have  
Genelec's at my own place. The Genelec's are also the best for  
traveling with since they are sturdy and can take some beating in the  
dark interiors of transportation trunks. The shared second best price  
of the listening test went to Fostex PM-1 and Behringer Truth B2030A.

I hope you find something good for monitoring your work. Good  
monitoring is essential.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 10:53:19 2007
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	"RICK WALKER" <looppool@cruzio.com>
Date: Sat, 14 Jul 2007 11:46:03 +0100
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I haven't found a proper mp3 or video of this yet (kind of amazed the 
makers don't have one on site!) , but hrere's a good long thread on 
the subject of bowed guitars here

http://acapella.harmony-central.com/archive/index.php/t-1172526.html

there's a link to a vid here, but I can't seem to make it work

http://www.homerecordingconnection.com/forum.php?action=view_thread&id
=4438&frm=2


From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 11:57:52 2007
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Date: Sat, 14 Jul 2007 13:57:49 +0200 (CEST)
From: rune fagereng <rune_fagereng@yahoo.no>
Subject: RE: Re: biamplified monitors
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Thanks Boysen !
   
  Best regards RF
   
  Per Boysen <perboysen@gmail.com> skrev:
  On 14 jul 2007, at 09.36, rune fagereng wrote:

> Hi !
>
> I have noticed that someone has recommanded Event
> monitor. I am looking on Ebay now. I do want powered
> monitors. When the add say biamplified does this mean
> not amplified ? And will most monitors (studio) work
> in Norway (220 v) like delays and reverbunits if one
> just uses a different net kabel ?
> If Eveny 20/20 and Alp5 not are powered monitors does
> anyone have a tip for good and not too expensive
> studiomonitors?
>
> best regards Rune F


Hi Rune,

I think "bi-amped" means that the amplification uses two output 
stages. I guess that is standard today in near field monitors, the 
only model I know that doesn't have it is the MNT-Pro M-00. A couple 
of years ago we did an A/B listening test at the studio computer 
music magazine where I'm writing as a freelancer. Eight near field 
monitors were listened to, as a blind test, by three professional 
audio/music workers. The two winners were the Genelec 8030A and the 
Event TR-5. The Event is about half the price, so if shopping on a 
budget they are a good deal. But they doesn't sound as true (linear 
frequency response) as the Genelecs and personally I also think the 
Genelecs sound more "musical" (as in "fun to listen to music through 
them"). I've been using the Events at the mag's office and have 
Genelec's at my own place. The Genelec's are also the best for 
traveling with since they are sturdy and can take some beating in the 
dark interiors of transportation trunks. The shared second best price 
of the listening test went to Fostex PM-1 and Behringer Truth B2030A.

I hope you find something good for monitoring your work. Good 
monitoring is essential.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)







www.runefagereng.com
www.myspace.com/runefagereng 
www.youtube.com/watch?v=bOHN4az59A0
Mail:rune_fagereng@yahoo.no
Mob: 917 95 867
       
---------------------------------

Alt i én. Få Yahoo! Mail med adressekartotek, kalender og notisblokk.
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<div>Thanks Boysen !</div>  <div>&nbsp;</div>  <div>Best regards RF</div>  <div>&nbsp;</div>  <div><B><I>Per Boysen &lt;perboysen@gmail.com&gt;</I></B> skrev:</div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">On 14 jul 2007, at 09.36, rune fagereng wrote:<BR><BR>&gt; Hi !<BR>&gt;<BR>&gt; I have noticed that someone has recommanded Event<BR>&gt; monitor. I am looking on Ebay now. I do want powered<BR>&gt; monitors. When the add say biamplified does this mean<BR>&gt; not amplified ? And will most monitors (studio) work<BR>&gt; in Norway (220 v) like delays and reverbunits if one<BR>&gt; just uses a different net kabel ?<BR>&gt; If Eveny 20/20 and Alp5 not are powered monitors does<BR>&gt; anyone have a tip for good and not too expensive<BR>&gt; studiomonitors?<BR>&gt;<BR>&gt; best regards Rune F<BR><BR><BR>Hi Rune,<BR><BR>I think "bi-amped" means that the amplification uses two output <BR>stages. I guess that is
 standard today in near field monitors, the <BR>only model I know that doesn't have it is the MNT-Pro M-00. A couple <BR>of years ago we did an A/B listening test at the studio computer <BR>music magazine where I'm writing as a freelancer. Eight near field <BR>monitors were listened to, as a blind test, by three professional <BR>audio/music workers. The two winners were the Genelec 8030A and the <BR>Event TR-5. The Event is about half the price, so if shopping on a <BR>budget they are a good deal. But they doesn't sound as true (linear <BR>frequency response) as the Genelecs and personally I also think the <BR>Genelecs sound more "musical" (as in "fun to listen to music through <BR>them"). I've been using the Events at the mag's office and have <BR>Genelec's at my own place. The Genelec's are also the best for <BR>traveling with since they are sturdy and can take some beating in the <BR>dark interiors of transportation trunks. The shared second best price <BR>of the
 listening test went to Fostex PM-1 and Behringer Truth B2030A.<BR><BR>I hope you find something good for monitoring your work. Good <BR>monitoring is essential.<BR><BR>Greetings from Sweden<BR><BR>Per Boysen<BR>www.boysen.se (Swedish)<BR>www.looproom.com (international)<BR><BR><BR><BR><BR></BLOCKQUOTE><BR><BR><BR>www.runefagereng.com<br>www.myspace.com/runefagereng <br>www.youtube.com/watch?v=bOHN4az59A0<br>Mail:rune_fagereng@yahoo.no<br>Mob: 917 95 867<p>&#32;


      <hr size=1><br><table><tr><td>Alt i én. Få <a href=http://no.mail.yahoo.com>Yahoo! Mail</a> med adressekartotek, kalender og notisblokk.</td></tr></table>
--0-1491728952-1184414269=:47365--

From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 12:40:15 2007
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Quoting rune fagereng <rune_fagereng@yahoo.no>:

> Thanks Boysen !
>
>   Best regards RF
>
>   Per Boysen <perboysen@gmail.com> skrev:
>
> I think "bi-amped" means that the amplification uses two output
> stages...

Actually, a "bi-amped" monitor has a seperate power amp for each  
speaker element.  The crossover network, then, seperates the line  
level signal between treble and bass and each signal is sent to its  
own power amp.

For example, the SRM450 monitor has two power amps: a 300watt amp for  
the woofer (large speaker) and a 100watt amp for the horn tweeter.

Powered monitors (those with their own internal amps) are sometimes  
called "active monitors".  Monitors without power amps are called  
"passive monitors".

-- Kevin

From web77772@bellsouth.net  Sat Jul 14 13:41:45 2007
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From: MAN TECH COMPANY LTD <web77772@bellsouth.net>
Reply-To: info_mantechcoy02@yahoo.com.cn
Organization: MAN TECH COMPANY LTD
To: <info_mantechni@yahoo.com>
Subject: Be Our Representative Agent...................ASAP
Date: Sat, 14 Jul 2007 9:41:43 -0400
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FROM THE DESK OF Mr. Chiyo Asuka
Man Tech Company Ltd.
No.2, Lane 70, Ming Chu Road, Sec.
1,Tung Pao, Japan

GoodDay.

This mail is serving as an invitation to treat with the above named
company. Our company was established in 1970.Over the years we have
accumulated invaluable experience in our business and we are proud to claim
we are second to none.Due to the increase in demand of our products in
America and Canada, Europe we have decided to move our products fully
into the continent of America & Europe.
 
By so doing,we are searching for reliable persons/companies who can act
as a RECEIVING PAYMENTS AGENT who will act as medium of reach between
our customers and us in their area of locality. Note that, if finally
aprroved as our Representative, you are entitled to an annual income of
$24,000USD and 10% of whatever amount you receive from customers who
are making payments for outstanding invoices on behalf of the company. 
  
Our account officer in Japan will convey to you the medium which you
will use to remit any funds received on our behalf.If you are interested
in being a REPRESENTATIVE AGENT in the above location and your
locality, 

Please if you are interested forward to us your informations below:
Please contact us for more information, via my private email
(info_mantechcoy02@yahoo.com.cn) Subject to your satisfaction you will
be given the opportunity to negotiate your mode of which we will pay for
your services as our representative in Canada/America and Europe. 

Please if you are interested forward to us your informations below:
Title : Ms Mr Mrs Dr:......
First Name: ............
Surname: ...............
Age: 20-55+ ............
Relevant Experience: ...
Your Company Name: .....
Monthly Income: ........
Residential Address: ...
State...................
Zip.....................
Country.................
PhoneNumber:............
Fax Number:.............
Email Address: .........
If you are interested in this offer please respond to us for more
further informations from our company. 
email: info_mantechcoy02@yahoo.com.cn

Mr.Yukio Wong
RESPECTFULLY SUBMITTED,
PRESIDENT- MAN TECH COMPANY LTD
JAPAN

From web77772@bellsouth.net  Sat Jul 14 13:52:51 2007
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From: MAN TECH COMPANY LTD <web77772@bellsouth.net>
Reply-To: info_mantechcoy02@yahoo.com.cn
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To: <info_mantechni@yahoo.com>
Subject: Be Our Representative Agent...................ASAP 
Date: Sat, 14 Jul 2007 9:31:35 -0400
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FROM THE DESK OF Mr. Chiyo Asuka
Man Tech Company Ltd.
No.2, Lane 70, Ming Chu Road, Sec.
1,Tung Pao, Japan

GoodDay.

This mail is serving as an invitation to treat with the above named
company. Our company was established in 1970.Over the years we have
accumulated invaluable experience in our business and we are proud to claim
we are second to none.Due to the increase in demand of our products in
America and Canada, Europe we have decided to move our products fully
into the continent of America & Europe.
 
By so doing,we are searching for reliable persons/companies who can act
as a RECEIVING PAYMENTS AGENT who will act as medium of reach between
our customers and us in their area of locality. Note that, if finally
aprroved as our Representative, you are entitled to an annual income of
$24,000USD and 10% of whatever amount you receive from customers who
are making payments for outstanding invoices on behalf of the company. 
  
Our account officer in Japan will convey to you the medium which you
will use to remit any funds received on our behalf.If you are interested
in being a REPRESENTATIVE AGENT in the above location and your
locality, 

Please if you are interested forward to us your informations below:
Please contact us for more information, via my private email
(info_mantechcoy02@yahoo.com.cn) Subject to your satisfaction you will
be given the opportunity to negotiate your mode of which we will pay for
your services as our representative in Canada/America and Europe. 

Please if you are interested forward to us your informations below:
Title : Ms Mr Mrs Dr:......
First Name: ............
Surname: ...............
Age: 20-55+ ............
Relevant Experience: ...
Your Company Name: .....
Monthly Income: ........
Residential Address: ...
State...................
Zip.....................
Country.................
PhoneNumber:............
Fax Number:.............
Email Address: .........
If you are interested in this offer please respond to us for more
further informations from our company. 
email: info_mantechcoy02@yahoo.com.cn

Mr.Yukio Wong
RESPECTFULLY SUBMITTED,
PRESIDENT- MAN TECH COMPANY LTD
JAPAN

From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 15:54:51 2007
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: biamped monitors
Date: Sat, 14 Jul 2007 08:54:53 -0700
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I have a pair of event reference 6 monitors and I like them alot. Bi amp
refers to a separate power amp for both the woofer and the tweeter, with a
cross over. I like my events, though if I ever replaced them, I'd maybe get
a pair of K-Roks or Genelecs.

Bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>I have a pair of event reference 6 monitors and I =
like them
alot. Bi amp refers to a separate power amp for both the woofer and the =
tweeter,
with a cross over. I like my events, though if I ever replaced them, =
I&#8217;d
maybe get a pair of K-Roks or Genelecs.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Bill<o:p></o:p></span></font></p>

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From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 15:59:00 2007
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Date: Sat, 14 Jul 2007 11:58:12 -0400
From: Bill Fox <billyfox@soundscapes.us>
Subject: The AM/FM Show Playlist for July 14, 2007
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http://soundscapes.us/amfm/playlists/2007/070714.html

The AM/FM Show has two alternating hosts.  When I am at the helm, expect
to hear electronic, ambient, spacemusic, Progressive Rock, and an
eclectic mix of other genres.  The show airs from 6:00 am to 8:00 am on
WMUH Allentown, 91.7 FM and on the internet.  I also host Afterglow
every Thursday from 8:00 am to 9:30 am.

                Show #113                July 14, 2007.

During Phase I of this show, I continued the special on the sampler CDs
that come with each issue of E-dition electronic music magazine.


Phase I/Space:

ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
VA [Jeffrey Koepper] Sense of Time        E-dition #14 (Groove)
VA [Adelbert Von     Greek Salad          E-dition #14 (Groove)
  Deyen]
VA [Craig Padilla    Shadowed             E-dition #14 (Groove)
  and Skip Murphy      Transmission
Remote Spaces        Arpematik Part 1     Silo (none)
Arcane               33 1/3 RPM Side One  33 1/3 RPM (NeuHarmony)


Phase II/Eclectic:

ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Amilcar              Second Promise       Vacuuming the Forest (none)
Lisa Hilton          My Favorite Things   My Favorite Things (none)
Bodhi                Crimea II            Trans Ukraine (none)
Bodhi                Crimea III           Trans Ukraine (none)
Andy McKee           Drifting             Art of Motion (Candyrat)
Andy McKee           For My Father        Art of Motion (Candyrat)


Phase III/Progressive Rock:

ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Unitopia             Take Good Care       More Than A Dream (Unicorn)
Unitopia             Ride                 More Than A Dream (Unicorn)
Puppet Show          The Past Has Just    The Tale of Woe (Progrock)
                       Begun
Karcius              Hypothese C          Kaleidoscope (Unicorn)

 * = excerpt
++ = Advanced CDR from artist
VA = Various Artists (compilation)

I return to the AM/FM Show on July 28.

On the next show, I will continue the special on the sampler CDs that
come with each issue of E-dition electronic music magazine.

Bill
======================================================================
Host of the AM/FM Show every other Saturday at 6:00 am EST (GMT-5:00).
Phase 1: Electronic, ambient, and space music to bring you back from
"Beyond the Barriers."
Phase 2: Mixed bag of acoustic, electric, pop, or New Age.
Phase 3: Progressive rock from past masters to contemporary releases.
Web Site - http://soundscapes.us/amfm
Listen to WMUH Allentown locally at 91.7 FM or on-line at
http://www.muhlenberg.edu/wmuh and click the
REAL AUDIO link or go directly to
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm
Playlists are also published at http://billfox.blogspot.com
RSS (2.0) feed from http://billfox.blogspot.com/rss.xml
Atom (0.3) feed from http://billfox.blogspot.com/atom.xml
======================================================================
The progdj list is the central clearing house for radio playlists of
Progressive Rock programs. Tired of joining dozens of mailing lists to
post playlists or track airplay?  The progdj list solves that problem.

The progdj list is the place to go in order to see playlists and CD
and concert reviews by DJs of progressive rock-friendly radio
programs. Anyone interested in seeing playlists can join. There is NO
SPAM because I keep the spammers out before the members ever see any
hint of it.

The progdj list is for DJs (obviously!) and band members, record label
personnel, promoters, managers, and anyone else interested in seeing
what gets played on the air. Need to find who is playing prog on the
radio? Go to the progdj list.

To join, go to http://groups.yahoo.com/group/progdj and click on the
[Join This Group!] link.
======================================================================

From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 16:20:54 2007
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject:  Re: question about guitar lessons
Date: Sat, 14 Jul 2007 09:20:57 -0700
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Claude wrote

"naaa come on!!

The Leavitt book is great for committed adults, eventually, but not for
kiddies please, there should exist less boring presented material!!!!

And btw the Leavitt books are false beginner's book."

 

 

I agree Claude, I went to Berklee and had to use the Leavitt books, and
though chock full of valuable information, The material was really dry, and
not particularly inspiring to study, and most definitely not beginner books.
I received way more education at Berklee from playing through fake books and
jamming with friends. As I mentioned privately to Michael, either the
Progressive series of beginner books, or the National Guitar Workshop series
are very good for young beginners. Also I've seen a book that is just
transcriptions of classic rock riffs. Not whole songs, just riffs. I've
found that with young students, nothing gets them more fired up than
learning a classic riff from a classic song. I have a nine year old student
who I taught the first day to play his favorite song, Smoke on the Water. He
actually only learned the first riff, but since them I've taught him the
rest of the tune. You should have seen this little guys face when he figured
it out. Small identifiable exerts of classic songs are a great way to get a
younger inspired to play even if they are not ready to learn the whole tune.

Bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Claude wrote<o:p></o:p></span></font></p>

<p class=3DMsoNormal style=3D'text-autospace:none'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>&#8220;</span></font><font =
size=3D2
face=3D"Courier New"><span =
style=3D'font-size:10.0pt;font-family:"Courier New"'>naaa
come on!!<o:p></o:p></span></font></p>

<p class=3DMsoNormal style=3D'text-autospace:none'><font size=3D2 =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;font-family:"Courier New"'>The Leavitt book is =
great
for committed adults, eventually, but not for kiddies please, there =
should
exist less boring presented material!!!!<o:p></o:p></span></font></p>

<p class=3DMsoNormal style=3D'text-autospace:none'><font size=3D2 =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;font-family:"Courier New"'>And btw the Leavitt =
books
are false beginner&#8217;s book.&#8221;<o:p></o:p></span></font></p>

<p class=3DMsoNormal style=3D'text-autospace:none'><font size=3D2 =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;font-family:"Courier =
New"'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal style=3D'text-autospace:none'><font size=3D2 =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;font-family:"Courier =
New"'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal style=3D'text-autospace:none'><font size=3D2 =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;font-family:"Courier New"'>I agree Claude, I =
went to Berklee
and had to use the Leavitt books, and though chock full of valuable =
information,
The material was really dry, and not particularly inspiring to study, =
and most definitely
not beginner books. I received way more education at Berklee from =
playing
through fake books and jamming with friends. As I mentioned privately to
Michael, either the Progressive series of beginner books, or the =
National Guitar
Workshop series are very good for young beginners. Also I&#8217;ve seen =
a book
that is just transcriptions of classic rock riffs. Not whole songs, just =
riffs.
I&#8217;ve found that with young students, nothing gets them more fired =
up than
learning a classic riff from a classic song. I have a nine year old =
student who
I taught the first day to play his favorite song, Smoke on the Water. He
actually only learned the first riff, but since them I&#8217;ve taught =
him the
rest of the tune. You should have seen this little guys face when he =
figured it
out. Small identifiable exerts of classic songs are a great way to get a
younger inspired to play even if they are not ready to learn the whole =
tune.<o:p></o:p></span></font></p>

<p class=3DMsoNormal style=3D'text-autospace:none'><font size=3D2 =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;font-family:"Courier =
New"'>Bill<o:p></o:p></span></font></p>

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From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 17:14:07 2007
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Date: Sat, 14 Jul 2007 13:14:01 EDT
Subject: Re: biamplified monitors
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i was just offered $1000.00 for my two srm 450s.....it cost me $400.oo to use 
these speakers for several years so i'm quite happy with the price.....now 
what do i replace them with that 1) cost no more than $1000 for both, 2) can be 
used as my only studio speakers and 3) can be used as my p.a. speakers (mackie 
1202 vlz) if and when i play out.....if this deal falls through i will not be 
the least bit unhappy, i love the srms and that's why i had kids so that they 
can carry these beasts down and up to my 3rd. floor studio.....;).....my only 
problem is that the srm 450s are total OVERKILL for what i do.....for $200 
more i can buy 4 srm 150s, has anyone played with these?.....they look soooo 
small, they say in their ads that you can get an addaptor to put them on your mic 
stand.....if that's the case, i'll make a hat out of one and .....one word of 
advice to rune is "powered monitors" need to be plugged into an electrical 
source and i have often found that the need for 2 more outlets can be a problem 
at some gigs depending where you place the speakers in relation to the rest of 
your kit.....and i have always wondered about the old adage that all your 
stuff should come off the same electrical line to keep the signal clean and avoid 
hum, so my corncern is, are the outlets that my monitors are plugged into the 
same line as the rest of my kit?.....perhaps this is just another of those 
misbeliefs that i have about things.....and indeed ONLY LOOPS WILL BE PLAYED OUT 
OF THESE SPEAKERS.....michael



www.ct-collective.com
http://mysite.verizon.net/vzepmeci/
http://www.myspace.com/klobuchar11



**************************************
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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2">i was just offered $1000.00 for my two=20=
srm 450s.....it cost me $400.oo to use these speakers for several years so i=
'm quite happy with the price.....now what do i replace them with that 1) co=
st no more than $1000 for both, 2) can be used as my only studio speakers an=
d 3) can be used as my p.a. speakers (mackie 1202 vlz) if and when i play ou=
t.....if this deal falls through i will not be the least bit unhappy, i love=
 the srms and that's why i had kids so that they can carry these beasts down=
 and up to my 3rd. floor studio.....;).....my only problem is that the srm 4=
50s are total OVERKILL for what i do.....for $200 more i can buy 4 srm 150s,=
 has anyone played with these?.....they look soooo small, they say in their=20=
ads that you can get an addaptor to put them on your mic stand.....if that's=
 the case, i'll make a hat out of one and .....one word of advice to rune is=
 "powered monitors" need to be plugged into an electrical source and i have=20=
often found that the need for 2 more outlets can be a problem at some gigs d=
epending where you place the speakers in relation to the rest of your kit...=
..and i have always wondered about the old adage that all your stuff should=20=
come off the same electrical line to keep the signal clean and avoid hum, so=
 my corncern is, are the outlets that my monitors are plugged into the same=20=
line as the rest of my kit?.....perhaps this is just another of those misbel=
iefs that i have about things.....and indeed ONLY LOOPS WILL BE PLAYED OUT O=
F THESE SPEAKERS.....michael<BR>
<BR>
<BR>
<BR>
www.ct-collective.com<BR>
http://mysite.verizon.net/vzepmeci/<BR>
http://www.myspace.com/klobuchar11<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************************************<BR> Get a sneak=
 peak of the all-new AOL at http://discover.aol.com/memed/aolcom30tour</HTML=
>

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From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 18:09:00 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: 2 good articles on Thomas Dolby looping
Date: Sat, 14 Jul 2007 20:08:53 +0200
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http://createdigitalmusic.com/2007/07/12/thomas-dolby-on-music-making- 
past-and-future-the-cdm-interview/
is a general introduction to TD, where he also talks about the new  
(non-declining) music industry.

http://createdigitalmusic.com/2007/07/13/thomas-dolby-extras-live- 
performance-technical-details-logic-maxmsp/
is where he gives out all the gritty details of how he pulls off  
those live gigs where he's building up up his pop songs from scratch,  
loop for loop. When he is talking about looping here he means MIDI  
looping.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Sat Jul 14 21:49:50 2007
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From: Ted Killian <tedkillian@charter.net>
Subject: Re: It's Ted Killian's fault
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Hmmmm,

Well I'm not sure how it's my fault, heheh.

But I do like the tracks you posted . . . very much.

Very Pendereckian . . . especially the later piece.

And I mean that in the best way possible.

If I could be said (even jokingly) to be "at fault" for any of it I 
would be very proud to be so.

Cool devices too.

They'd look perfectly at home in the control panel of the TARDIS.

Cheers,

Ted


On Jul 13, 2007, at 16:42, Kelly Coyle wrote:

> Seeing Ted Killian post on the same day that someone mentioned the 
> Moog Ring Mod reminded me of this. I had a device built by artist Tim 
> Kaiser (http://www.timkaiser.org/) which was, sort of, inspired by 
> Ted's comments on the DD-20 on the tools page (although it has little 
> in common with those). What it is is two PDS-1002s and a PDS 20/20, 
> modified (via trim pot) for longer delays, and wired in parallel with 
> a pretty clever, Kaiser-designed, interface. It's a looping device in 
> the "latching delay" fashion. The three delays can be independently 
> latched, mixed (along with the dry), and do pitch effects with the 
> delay time. (The footpedal also controls the latches.) The 1002s have 
> some sort of pre/post gain thing -- it doesn't seem to make much 
> difference in practice. The 20/20 can do some very strange modulation 
> effects (the extended delay times seems to really wig it out).
>
> Here's a picture of it:
>
> http://www.timkaiser.org/FX59Kelly.jpg
>
> and the footpedal:
>
> <image.tiff> http://www.timkaiser.org/FX59KellyB.jpg
>
> I've made two, pretty similar, recordings with it. The first is a Tele 
> into the aforementioned ring mod:
>
>  http://kellycoyle.net/newmusic/bells.mp3
>
> The second is a Casio VL-1 directly into the unit, but it does show 
> off the 20/20 doing its modulation thing:
>
> http://kellycoyle.net/newmusic/3_6_7.mp3
>
> All that just FYI, although sometime we ought to have a "latched 
> delay" versus "sampler style" looping discussion again. (I guess there 
> was one a long time ago which I sort of remember from lurking.)

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<fontfamily><param>Arial</param><color><param>0000,0000,0000</param>Hmmmm,


Well I'm not sure how it's my fault, heheh.


But I do like the tracks you posted . . . very much.


Very <x-tad-bigger>Pendereckian . . . especially the later piece.


And I mean that in the best way possible.


If I could be said (even jokingly) to be "at fault" for any of it I
would be very proud to be so.


Cool devices too.


They'd look perfectly at home in the control panel of the TARDIS.


Cheers,


Ted</x-tad-bigger>

</color>


On Jul 13, 2007, at 16:42, Kelly Coyle wrote:


<excerpt>Seeing Ted Killian post on the same day that someone
mentioned the Moog Ring Mod reminded me of this. I had a device built
by artist Tim Kaiser
(<color><param>0000,0000,EEEE</param>http://www.timkaiser.org/</color>)
which was, sort of, inspired by Ted's comments on the DD-20 on the
tools page (although it has little in common with those). What it is
is two PDS-1002s and a PDS 20/20, modified (via trim pot) for longer
delays, and wired in parallel with a pretty clever, Kaiser-designed,
interface. It's a looping device in the "latching delay" fashion. The
three delays can be independently latched, mixed (along with the dry),
and do pitch effects with the delay time. (The footpedal also controls
the latches.) The 1002s have some sort of pre/post gain thing -- it
doesn't seem to make much difference in practice. The 20/20 can do
some very strange modulation effects (the extended delay times seems
to really wig it out). 


Here's a picture of it:


<color><param>0000,0000,EEEE</param>http://www.timkaiser.org/FX59Kelly.jpg</color>


and the footpedal:


<<image.tiff>
<color><param>0000,0000,EEEE</param>http://www.timkaiser.org/FX59KellyB.jpg</color>


I've made two, pretty similar, recordings with it. The first is a Tele
into the aforementioned ring mod:


<color><param>0000,0000,EEEE</param>
http://kellycoyle.net/newmusic/bells.mp3</color>


The second is a Casio VL-1 directly into the unit, but it does show
off the 20/20 doing its modulation thing:


<color><param>0000,0000,EEEE</param>http://kellycoyle.net/newmusic/3_6_7.mp3 </color>


All that just FYI, although sometime we ought to have a "latched
delay" versus "sampler style" looping discussion again. (I guess there
was one a long time ago which I sort of remember from lurking.) 

</excerpt></fontfamily>
--Apple-Mail-1--16165341--

From Loopers-Delight-request@loopers-delight.com  Sun Jul 15 01:12:00 2007
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From: Mark Sottilaro <sine@zerocrossing.net>
Subject: Re: Pirhanha Guitar Bow Review
Date: Sat, 14 Jul 2007 18:06:19 -0700
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Thanks for this review Rick, sounds great!  I can't wait to hear what  
it sounds like on an electric.

Mark

On Jul 13, 2007, at 5:31 AM, RICK WALKER wrote:

> Well,  the Pirhanha bow invention designed specifically for guitars  
> that was mentioned in the
> "Re: bows for guitars"   thread came in the mail    today and I was  
> able to put it through it's
> paces on a 12 string acoustic steel string guitar.
>
> Because of it's size I could not get long bowing techniques (like  
> dragging a cello bow across
> the E string of an electric guitar) but I was able to get some  
> really beautiful
> rhythmic things out of it.   Additionally,  it did beautiful things  
> to the harmonics of the guitar
> depending on where I bowed it, physically.
>
> I was also delighted by some of the very ethereal sounds I was able  
> to make by bowing very, very lightly.
> I got some very magical sounds out of some very simple chordal  
> patterns.........really ethereal sounds
> that I"ve never gotten out of this particular guitar ( a 12 string  
> Hummingbird copy that sounds rather nice).
>
> I have yet to try it on electric.   It didn't seem to have enough  
> muster to use on bass.  I tried it on
> my Turner acoustic electric fretless without much good result and  
> my Fender P-J custom bass, again,
> without much good effect.
>
> Tomorrow when I have some time,  I"ll put it through it's paces on  
> mandolin, bowed psaltery, autoharp,
> oud, saz and even hammer dulcimer.   I imagine it will sound great.
>
> I also noticed that it seems really durable, unlike most horse hair  
> bows which get trashed over time
> when bowing a guitar.
>
> All in all,  it sounds completely different than I anticipated but  
> I was so pleased with what I discovered it can
> do that I"m very, very happy to have spent $30 USD on it.
>
> Warning,  it really takes some coordination to get something  
> musical out of it, but after half an hour I was
> able to do all kinds of things,  espeicially in the rhythmic  
> world..........and it really sounded 'bowed'.
>
> Now, if they would just make a larger one for bass guitar.

From Loopers-Delight-request@loopers-delight.com  Sun Jul 15 01:15:22 2007
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From: Mark Sottilaro <sine@zerocrossing.net>
Subject: Re: OT: please forgive me but I had to share this
Date: Sat, 14 Jul 2007 18:09:41 -0700
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Ah!  I had that organ many moons ago!  (Vox Continental)

Memories...

On Jul 13, 2007, at 3:36 PM, tEd =AE kiLLiAn wrote:

> O.M.G.
>
> That was too strange . . . and cool in a really weird way.
>
> Thanks for sharin' Rick.
>
> I'd always heard of Graham Bond but never heard him.
>
> tEd =AE kiLLiAn
>
> ---- RICK WALKER <looppool@cruzio.com> wrote:
>> GONKS GO BEAT
>> a 1965 movie with great footage of the
>> Graham Bond Organization with John McLaughlin,
>> Ginger Baker, Jack Bruce, Dick Heckstall-Smith, Lulu and Graham Bond.
>>
>> http://youtube.com/watch?v=3Dd7vlaA-H-dU&mode=3Drelated&search=3D
>>
>

From Loopers-Delight-request@loopers-delight.com  Sun Jul 15 04:12:46 2007
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Today I finished a piece based on an idea I saw on another maillist 
I read, that was looking for pieces for a show with a post-glitch 
/bricoleur /gomi no sensei theme.

Slipping Discs - 6:06, 4MB mp3
http://www.subscapeannex.com/other/slipping_discs.mp3

Live looping improvisational. Contact mic, gone-bad CD, tools, loop 
pedals, Moog MF-104 analog delay, Electro-Harmonix Polyphonic Octave 
Generator.

Archived on Subscape Annex Sounds.
http://www.subscapeannex.com/sounds.html

thanks,
Steve Burnett  Subscape Annex    http://www.subscapeannex.com/

From Loopers-Delight-request@loopers-delight.com  Sun Jul 15 05:15:23 2007
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From: Cara Quinn <CaraQuinn@onemodelplace.com>
Subject: Daryl Shawn last night
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                   Hey All, just wanted to drop a quick note to let those 
of you who may not have had the pleasure of seeing Daryl Shawn perform yet, 
know that he is simply a MUST SEE!!!  :)

   This is a bit off topic in the respect that he did no looping in this 
particular show, but as a singer / song-writer, he is absolutely 
phenomenal!!!  His energy and stage presence is great, as well as his vocal 
/ guitar playing talents.  To say his show is a treat, would be a vast 
understatement;  He made me smile, and charged this particular genre with 
new life!  I had an absolute blast!!!

   :)

   If you can, by all means SEE HIM!!!

Daryl, YOU ROCK!!!  Keep it up and I look forward to catching you again 
soon!!!...

Smiles,

Cara  :)

---
   View my on-line portfolio at:

http://www.onemodelplace.com/CaraQuinn

   "The only things I really think are important, are love, and each 
other.  -Then, anything is possible..."

http://home.earthlink.net/~cara-quinn


-- 
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Checked by AVG Free Edition.
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From Loopers-Delight-request@loopers-delight.com  Sun Jul 15 07:35:06 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: OT: please forgive me but I had to share this
Date: Sun, 15 Jul 2007 09:34:57 +0200
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On 15 jul 2007, at 03.09, Mark Sottilaro wrote:

> Ah!  I had that organ many moons ago!  (Vox Continental)
>
> Memories...


Me too... or another one of the same model ;-)  Eventually. Mine was  
a Vox Continental Super 2. I later on swapped it for a Farfisa, the  
one with all those colorful draw-bars  and buttons (received an Elka  
lesley cab as well with that swap, which made a nice guitar amp)

...BTW, the movie were great fun, Rick!

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Sun Jul 15 12:19:14 2007
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
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Subject: AW: biamplified monitors
Date: Sun, 15 Jul 2007 14:19:32 +0200
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Two versions of an answer, one of them in jest: 

> your kit.....and i have always wondered about the old adage that all your
stuff should come off the same electrical line 
> to keep the signal clean and avoid hum, so my corncern is, are the outlets
that my monitors are plugged into the same 
> line as the rest of my kit?.....perhaps this is just another of those
misbeliefs that i have about things.....and indeed > ONLY LOOPS WILL BE
PLAYED OUT OF THESE SPEAKERS.....michael
	
Answer 1: Depending on the monitors you're using and of your feed to the
monitors, if the connection is symmetrical on both sides, hum due to stuff
running from different power feeds will not be a problem. I know that the
1202 has symmetrical main outs (and I think all other outs are symmetrical,
too), and most monitors are as well.

Answer 2: People tell you to plug all stuff into one outlet for one reason:
to avoid ground loops. So if ONLY LOOPS WILL BE PLAYED, this shouldn't be a
concern anyways ;)

All the best,

	Rainer

From Loopers-Delight-request@loopers-delight.com  Sun Jul 15 12:41:18 2007
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From: "Michael Peters" <mp@mpeters.de>
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Subject: www.michaelpeters.de - new version online 
Date: Sun, 15 Jul 2007 14:41:12 +0200
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the completely new www.michaelpeters.de is finally online - containing
images and information about all musical projects I was involved in since
the mid-seventies! and literally hours of streaming mp3 - from the earliest
musical catastrophes and vintage tape loops to recent field recordings,
soundscapes, and computer music. Have fun!

Michael Peters

From Loopers-Delight-request@loopers-delight.com  Sun Jul 15 15:18:50 2007
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In a message dated 7/15/07 8:19:28 AM, rs@moinlabs.de writes:


> Two versions of an answer, one of them in jest:
> 

rainer.....thnaks for the answer.....i hope you had on your MR.ELECTRICITY 
tuxedo when you wrote this response!.....:).....michael



www.ct-collective.com
http://mysite.verizon.net/vzepmeci/
http://www.myspace.com/klobuchar11



**************************************
 Get a sneak peak of the all-new AOL at 
http://discover.aol.com/memed/aolcom30tour

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2"><BR>
In a message dated 7/15/07 8:19:28 AM, rs@moinlabs.de writes:<BR>
<BR>
<BR>
<BLOCKQUOTE CITE STYLE=3D"BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px;=20=
MARGIN-RIGHT: 0px; PADDING-LEFT: 5px" TYPE=3D"CITE"></FONT><FONT COLOR=3D"#0=
00000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"2">Two versions of an an=
swer, one of them in jest:<BR>
</BLOCKQUOTE></FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSE=
RIF" SIZE=3D"2"><BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2">rainer.....thnaks for the answer.....i hope you had on your MR.ELECTRICIT=
Y tuxedo when you wrote this response!.....:).....michael<BR>
<BR>
<BR>
<BR>
www.ct-collective.com<BR>
http://mysite.verizon.net/vzepmeci/<BR>
http://www.myspace.com/klobuchar11<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************************************<BR> Get a sneak=
 peak of the all-new AOL at http://discover.aol.com/memed/aolcom30tour</HTML=
>

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From Loopers-Delight-request@loopers-delight.com  Sun Jul 15 16:03:51 2007
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Date: Sun, 15 Jul 2007 09:03:47 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: Re: AW: biamplified monitors
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Howdy,

 It isn't one outlet you are concerned about. It's
that ALL used outlets should be on the same leg of
power in the panel.
Rig

--- Rainer Thelonius Balthasar Straschill
<rs@moinlabs.de> wrote:

> Two versions of an answer, one of them in jest: 
> 
> > your kit.....and i have always wondered about the
> old adage that all your
> stuff should come off the same electrical line 
> > to keep the signal clean and avoid hum, so my
> corncern is, are the outlets
> that my monitors are plugged into the same 
> > line as the rest of my kit?.....perhaps this is
> just another of those
> misbeliefs that i have about things.....and indeed >
> ONLY LOOPS WILL BE
> PLAYED OUT OF THESE SPEAKERS.....michael
> 	
> Answer 1: Depending on the monitors you're using and
> of your feed to the
> monitors, if the connection is symmetrical on both
> sides, hum due to stuff
> running from different power feeds will not be a
> problem. I know that the
> 1202 has symmetrical main outs (and I think all
> other outs are symmetrical,
> too), and most monitors are as well.
> 
> Answer 2: People tell you to plug all stuff into one
> outlet for one reason:
> to avoid ground loops. So if ONLY LOOPS WILL BE
> PLAYED, this shouldn't be a
> concern anyways ;)
> 
> All the best,
> 
> 	Rainer
> 
> 



 
____________________________________________________________________________________
We won't tell. Get more on shows you hate to love 
(and love to hate): Yahoo! TV's Guilty Pleasures list.
http://tv.yahoo.com/collections/265 

From Loopers-Delight-request@loopers-delight.com  Sun Jul 15 16:27:33 2007
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Date: Sun, 15 Jul 2007 09:27:30 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: Re: biamplified monitors
To: Loopers-Delight@loopers-delight.com
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Howdy,

 You want to make sure, if you use muultiple outlets,
that they come off the same leg. In a standard single
phase panel,that means every othet breker going down
one side, or the next diagonel breaker up or down on
the opposite side. Yhis will ensure that you are using
the same leg. On a 3 phse panel, it gets a little more
complicated.
Rig


--- Nemoguitt@aol.com wrote:

> i was just offered $1000.00 for my two srm
> 450s.....it cost me $400.oo to use 
> these speakers for several years so i'm quite happy
> with the price.....now 
> what do i replace them with that 1) cost no more
> than $1000 for both, 2) can be 
> used as my only studio speakers and 3) can be used
> as my p.a. speakers (mackie 
> 1202 vlz) if and when i play out.....if this deal
> falls through i will not be 
> the least bit unhappy, i love the srms and that's
> why i had kids so that they 
> can carry these beasts down and up to my 3rd. floor
> studio.....;).....my only 
> problem is that the srm 450s are total OVERKILL for
> what i do.....for $200 
> more i can buy 4 srm 150s, has anyone played with
> these?.....they look soooo 
> small, they say in their ads that you can get an
> addaptor to put them on your mic 
> stand.....if that's the case, i'll make a hat out of
> one and .....one word of 
> advice to rune is "powered monitors" need to be
> plugged into an electrical 
> source and i have often found that the need for 2
> more outlets can be a problem 
> at some gigs depending where you place the speakers
> in relation to the rest of 
> your kit.....and i have always wondered about the
> old adage that all your 
> stuff should come off the same electrical line to
> keep the signal clean and avoid 
> hum, so my corncern is, are the outlets that my
> monitors are plugged into the 
> same line as the rest of my kit?.....perhaps this is
> just another of those 
> misbeliefs that i have about things.....and indeed
> ONLY LOOPS WILL BE PLAYED OUT 
> OF THESE SPEAKERS.....michael
> 
> 
> 
> www.ct-collective.com
> http://mysite.verizon.net/vzepmeci/
> http://www.myspace.com/klobuchar11
> 
> 
> 
> **************************************
>  Get a sneak peak of the all-new AOL at 
> http://discover.aol.com/memed/aolcom30tour
> 



       
____________________________________________________________________________________
Boardwalk for $500? In 2007? Ha! Play Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games.
http://get.games.yahoo.com/proddesc?gamekey=monopolyherenow  

From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 08:43:01 2007
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Subject: Re: Composers should also get paid
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Per Boysen schrieb:
> On the other hand, it may be that the RIAA are using too heavy tools as 
> their administrative routines when assembling the tariffs  for using 
> others songs in public (money that are distributed back to the 
> composers). But be careful not throwing away the respect for composer's 
> work only because of some brown shirt attitude clerks.

What they asked for must have been significantly more than they paid for 
the pianist alone, with the result that the composer gets nothing and 
the pianist lost his job. My experience with the RIAA/Gema family of 
corporations is, that they claim they protect the artists, but they are 
only interested to protect the publishers. There is a reason why 
Stockhausen founded his own publishing company...

They look where the big bucks are and don't care about the small. I am 
still memeber of the Gema but seriously considering to quit, because 
they do a bad job... (95% of all Gema authorities are purely lawers...)

If you should get small amounts of money, like maybe 5 Euros from a web 
radio, the Gema won't pay it to you, because its so little, instead they 
collect it and distribute it mainly to the big guys who have too much 
already. I'd love to find a authors rights corpoartion which would allow 
me to puplish my work under a creative commons license and still let 
them effectively take care about royalties for commercial use...

Stefan

-- 
Stefan Tiedje------------x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()--------www.ccmix.com

From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 08:43:14 2007
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Subject: Re: Fripp & Eno 1973 / BBC / Peel /RIAA
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phaslem@wightman.ca schrieb:
> It's the notorious web site Allofmp3 based in Russia who showed the 
> record industry that people are happy to pay for downloaded music when 
> they can get the format they want and for about 1/4 the price the 
> corporate sanctioned web sites are charging. Just to show you how 
> powerful the record industry is, the President himself spoke to and put 
> pressure on the Russian prime minister to close the site down, couple to 
> that that the RIAA filed a 1.65 trillion dollar lawsuit against them and 
> that Russia wasn't going to be allowed into the World Trade Association 
> unless they closed AllofMp3 down..... well they didn't really stand a 
> chance.

They basically want them to shut down because nothing of that "1/4 of 
the price" would go to the authors, I would not pay anything if the 
authors don't get a share, then its better to pirate than paying to some 
obscure russian site...

Stefan


-- 
Stefan Tiedje------------x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()--------www.ccmix.com


From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 10:54:09 2007
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Date: Mon, 16 Jul 2007 06:49:30 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Re: Composers should also get paid
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Stefan Tiedje wrote:

> Per Boysen schrieb:
>
>> On the other hand, it may be that the RIAA are using too heavy tools 
>> as their administrative routines when assembling the tariffs  for 
>> using others songs in public (money that are distributed back to the 
>> composers). But be careful not throwing away the respect for 
>> composer's work only because of some brown shirt attitude clerks.
>
> What they asked for must have been significantly more than they paid 
> for the pianist alone,

Of course, because it's a year-long license.  But then the music in the 
joint is covered for a year.  Like someone said in a previous post, that 
turns out to be about $20 per week.  I don't know the cost of the 
license so I can't say how accurate that figure is.  I'm sure that the 
cost varies with venue size.  In the US, you'll often see a license 
posted on the wall that declares the legal capacity that the local 
authorities allow in a venue.

> with the result that the composer gets nothing and the pianist lost 
> his job. My experience with the RIAA/Gema family of corporations is, 
> that they claim they protect the artists, but they are only interested 
> to protect the publishers. There is a reason why Stockhausen founded 
> his own publishing company...

So he wouldn't have to share his money with a publisher.  That has 
nothing to do with PROs.  True, the PROs pay the publishers and 
publishers typically take half and pay the remainder to the composer.  
But if you don't have a publisher, the you are, essentially, 
self-publishing and the PRO must pay you directly, leaving no "middle 
man" to take half.

> They look where the big bucks are and don't care about the small. I am 
> still memeber of the Gema but seriously considering to quit, because 
> they do a bad job... (95% of all Gema authorities are purely lawers...)
>
> If you should get small amounts of money, like maybe 5 Euros from a 
> web radio, the Gema won't pay it to you, because its so little, 
> instead they collect it and distribute it mainly to the big guys who 
> have too much already. I'd love to find a authors rights corpoartion 
> which would allow me to puplish my work under a creative commons 
> license and still let them effectively take care about royalties for 
> commercial use...

IF a PRO like GEMA isn't meeting the needs of its members, then either 
the members need to band together and force them to change from within 
or they need to leave and find a PRO that *does* meet their needs... 
*if* there is one!

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 18:29:31 2007
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To: Loopers-Delight@loopers-delight.com
From: Mark Hamburg <mark_hamburg@baymoon.com>
Subject: Looking for a new looper
Date: Mon, 16 Jul 2007 11:29:23 -0700
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Is there anything out there with the following features:

* Stereo

* Threshold recording -- I essentially want to arm it, start playing,  
and then hit a button when it's time to repeat

* Multiply

* Feedback control

* Good MIDI clock generation

* Good MIDI clock sync

A pair of stereo channels would be better.

If I give up stereo, the EDP does this just fine (and I've got three  
of them). My understanding is that stereo fights with threshold  
recording on the EDP. Sigh.

The downfall for the Repeater in this regard is that it has a  
reputation for being a lousy MIDI clock source. Did they fix that in  
2.0.1?

The Looperlative and the 2880 both actually look rather similar vis-a- 
vis this feature set (though the Looperlative is obviously bigger at  
8 tracks, supports non-synchronized tracks, has lots of MIDI support,  
etc), but they neither multiply nor support threshold recording from  
what I can tell.

My understanding is that the RC-50 lacks feedback control. Is that  
correct?

Am I missing any cases? Have I mischaracterized anything?

This all comes up because I've been finding new joy in my HandSonic  
and my MachineDrum using the former to control the latter and  
building up loops in a single EDP. But I really wish it was stereo  
and I really would like to set one stereo pair to playing a steady  
pulse while jamming in another stereo pair with feedback set fairly low.

Any suggestions? Do I just need to ditch all of this hardware and go  
to a computer-based system with a small mobile guitar rig for Y2K#  
events?

Mark

From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 18:41:45 2007
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Date: Mon, 16 Jul 2007 11:41:43 -0700 (PDT)
From: Michael <michaelbrian76@yahoo.com>
Subject: Re: Looking for a new looper
To: Loopers-Delight@loopers-delight.com
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--0-1895518773-1184611303=:52102
Content-Type: text/plain; charset=iso-8859-1
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Check out the specs for the RIFF BOX by Backline Engineering; piques my interest for $320...

http://www.backline-eng.com/RiffBox.html



Mark Hamburg <mark_hamburg@baymoon.com> wrote: Is there anything out there with the following features:

* Stereo

* Threshold recording -- I essentially want to arm it, start playing,  
and then hit a button when it's time to repeat

* Multiply

* Feedback control

* Good MIDI clock generation

* Good MIDI clock sync

A pair of stereo channels would be better.

If I give up stereo, the EDP does this just fine (and I've got three  
of them). My understanding is that stereo fights with threshold  
recording on the EDP. Sigh.

The downfall for the Repeater in this regard is that it has a  
reputation for being a lousy MIDI clock source. Did they fix that in  
2.0.1?

The Looperlative and the 2880 both actually look rather similar vis-a- 
vis this feature set (though the Looperlative is obviously bigger at  
8 tracks, supports non-synchronized tracks, has lots of MIDI support,  
etc), but they neither multiply nor support threshold recording from  
what I can tell.

My understanding is that the RC-50 lacks feedback control. Is that  
correct?

Am I missing any cases? Have I mischaracterized anything?

This all comes up because I've been finding new joy in my HandSonic  
and my MachineDrum using the former to control the latter and  
building up loops in a single EDP. But I really wish it was stereo  
and I really would like to set one stereo pair to playing a steady  
pulse while jamming in another stereo pair with feedback set fairly low.

Any suggestions? Do I just need to ditch all of this hardware and go  
to a computer-based system with a small mobile guitar rig for Y2K#  
events?

Mark



 	      
---------------------------------
Park yourself in front of a world of choices in alternative vehicles.
Visit the Yahoo! Auto Green Center.
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Check out the specs for the RIFF BOX by Backline Engineering; piques my interest for $320...<br><br>http://www.backline-eng.com/RiffBox.html<br><br><br><br><b><i>Mark Hamburg &lt;mark_hamburg@baymoon.com&gt;</i></b> wrote:<blockquote class="replbq" style="border-left: 2px solid rgb(16, 16, 255); margin-left: 5px; padding-left: 5px;"> Is there anything out there with the following features:<br><br>* Stereo<br><br>* Threshold recording -- I essentially want to arm it, start playing,  <br>and then hit a button when it's time to repeat<br><br>* Multiply<br><br>* Feedback control<br><br>* Good MIDI clock generation<br><br>* Good MIDI clock sync<br><br>A pair of stereo channels would be better.<br><br>If I give up stereo, the EDP does this just fine (and I've got three  <br>of them). My understanding is that stereo fights with threshold  <br>recording on the EDP. Sigh.<br><br>The downfall for the Repeater in this regard is that it has a  <br>reputation for being a lousy MIDI
 clock source. Did they fix that in  <br>2.0.1?<br><br>The Looperlative and the 2880 both actually look rather similar vis-a- <br>vis this feature set (though the Looperlative is obviously bigger at  <br>8 tracks, supports non-synchronized tracks, has lots of MIDI support,  <br>etc), but they neither multiply nor support threshold recording from  <br>what I can tell.<br><br>My understanding is that the RC-50 lacks feedback control. Is that  <br>correct?<br><br>Am I missing any cases? Have I mischaracterized anything?<br><br>This all comes up because I've been finding new joy in my HandSonic  <br>and my MachineDrum using the former to control the latter and  <br>building up loops in a single EDP. But I really wish it was stereo  <br>and I really would like to set one stereo pair to playing a steady  <br>pulse while jamming in another stereo pair with feedback set fairly low.<br><br>Any suggestions? Do I just need to ditch all of this hardware and go  <br>to a computer-based
 system with a small mobile guitar rig for Y2K#  <br>events?<br><br>Mark<br><br></blockquote><br><p>&#32;
	


      <hr size=1>Park yourself in front of a world of choices in alternative vehicles.<br><a href="http://us.rd.yahoo.com/evt=48246/*http://autos.yahoo.com/green_center/;_ylc=X3oDMTE5cDF2bXZzBF9TAzk3MTA3MDc2BHNlYwNtYWlsdGFncwRzbGsDZ3JlZW4tY2VudGVy">Visit the Yahoo! Auto Green Center.</a>
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From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 19:12:26 2007
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Subject: RE: Looking for a new looper
Date: Mon, 16 Jul 2007 12:12:08 -0700
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I looked at that device before I went Mobius and what stopped me was =
that it
generates clock, but does not sync to an external clock.

=20

Mark, I think Mobius does all you ask for. though I personally don't use =
it
for all you mention so I can't speak for all the functions.  Jeff =
recently
added my coveted "preset your loop length to host bar" function in the
latest beta release, and I imagine a v 1.3 release is close at hand with =
a
lot of new great features, many of them having to do with being able to
write scripts to initiate complex functions.

=20

Mark

=20

-----Original Message-----
From: Michael [mailto:michaelbrian76@yahoo.com]=20
Sent: Monday, July 16, 2007 11:42 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Looking for a new looper

=20

Check out the specs for the RIFF BOX by Backline Engineering; piques my
interest for $320...

http://www.backline-eng.com/RiffBox.html



Mark Hamburg <mark_hamburg@baymoon.com> wrote:

Is there anything out there with the following features:

* Stereo

* Threshold recording -- I essentially want to arm it, start playing,=20
and then hit a button when it's time to repeat

* Multiply

* Feedback control

* Good MIDI clock generation

* Good MIDI clock sync

A pair of stereo channels would be better.

If I give up stereo, the EDP does this just fine (and I've got three=20
of them). My understanding is that stereo fights with threshold=20
recording on the EDP. Sigh.

The downfall for the Repeater in this regard is that it has a=20
reputation for being a lousy MIDI clock source. Did they fix that in=20
2.0.1?

The Looperlative and the 2880 both actually look rather similar vis-a-=20
vis this feature set (though the Looperlative is obviously bigger at=20
8 tracks, supports non-synchronized tracks, has lots of MIDI support,=20
etc), but they neither multiply nor support threshold recording from=20
what I can tell.

My understanding is that the RC-50 lacks feedback control. Is that=20
correct?

Am I missing any cases? Have I mischaracterized anything?

This all comes up because I've been finding new joy in my HandSonic=20
and my MachineDrum using the former to control the latter and=20
building up loops in a single EDP. But I really wish it was stereo=20
and I really would like to set one stereo pair to playing a steady=20
pulse while jamming in another stereo pair with feedback set fairly low.

Any suggestions? Do I just need to ditch all of this hardware and go=20
to a computer-based system with a small mobile guitar rig for Y2K#=20
events?

Mark

=20

 =20

  _____ =20

Park yourself in front of a world of choices in alternative vehicles.
Visit
<http://us.rd.yahoo.com/evt=3D48246/*http:/autos.yahoo.com/green_center/;=
_ylc=3D
X3oDMTE5cDF2bXZzBF9TAzk3MTA3MDc2BHNlYwNtYWlsdGFncwRzbGsDZ3JlZW4tY2VudGVy>=

the Yahoo! Auto Green Center.


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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>I looked at that device before I =
went Mobius
and what stopped me was that it generates clock, but does not sync to an
external clock.</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Mark, I think Mobius does all you =
ask for&#8230;
though I personally don&#8217;t use it for all you mention so I =
can&#8217;t
speak for all the functions.&nbsp; Jeff recently added my coveted =
&#8220;preset
your loop length to host bar&#8221; function in the latest beta release, =
and I
imagine a v 1.3 release is close at hand with a lot of new great =
features, many
of them having to do with being able to write scripts to initiate =
complex
functions.</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Mark</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>-----Original =
Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> Michael
[mailto:michaelbrian76@yahoo.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Monday, July 16, =
2007 11:42
AM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: Looking for =
a new
looper</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>Check out the specs for the RIFF BOX by =
Backline
Engineering; piques my interest for $320...<br>
<br>
http://www.backline-eng.com/RiffBox.html<br>
<br>
<br>
<br>
<b><i><span style=3D'font-weight:bold;font-style:italic'>Mark Hamburg
&lt;mark_hamburg@baymoon.com&gt;</span></i></b> wrote:</span></font></p>

<p class=3DMsoNormal =
style=3D'margin-right:0in;margin-bottom:12.0pt;margin-left:
.5in'><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Is
there anything out there with the following features:<br>
<br>
* Stereo<br>
<br>
* Threshold recording -- I essentially want to arm it, start playing, =
<br>
and then hit a button when it's time to repeat<br>
<br>
* Multiply<br>
<br>
* Feedback control<br>
<br>
* Good MIDI clock generation<br>
<br>
* Good MIDI clock sync<br>
<br>
A pair of stereo channels would be better.<br>
<br>
If I give up stereo, the EDP does this just fine (and I've got three =
<br>
of them). My understanding is that stereo fights with threshold <br>
recording on the EDP. Sigh.<br>
<br>
The downfall for the Repeater in this regard is that it has a <br>
reputation for being a lousy MIDI clock source. Did they fix that in =
<br>
2.0.1?<br>
<br>
The Looperlative and the 2880 both actually look rather similar vis-a- =
<br>
vis this feature set (though the Looperlative is obviously bigger at =
<br>
8 tracks, supports non-synchronized tracks, has lots of MIDI support, =
<br>
etc), but they neither multiply nor support threshold recording from =
<br>
what I can tell.<br>
<br>
My understanding is that the RC-50 lacks feedback control. Is that <br>
correct?<br>
<br>
Am I missing any cases? Have I mischaracterized anything?<br>
<br>
This all comes up because I've been finding new joy in my HandSonic <br>
and my MachineDrum using the former to control the latter and <br>
building up loops in a single EDP. But I really wish it was stereo <br>
and I really would like to set one stereo pair to playing a steady <br>
pulse while jamming in another stereo pair with feedback set fairly =
low.<br>
<br>
Any suggestions? Do I just need to ditch all of this hardware and go =
<br>
to a computer-based system with a small mobile guitar rig for Y2K# <br>
events?<br>
<br>
Mark</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<p style=3D'margin-left:.5in'><font size=3D3 face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt'>&nbsp; </span></font></p>

<div class=3DMsoNormal align=3Dcenter =
style=3D'margin-left:.5in;text-align:center'><font
size=3D3 face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>

<hr size=3D1 width=3D"100%" align=3Dcenter>

</span></font></div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>Park yourself in front of a world of choices =
in
alternative vehicles.<br>
<a
href=3D"http://us.rd.yahoo.com/evt=3D48246/*http:/autos.yahoo.com/green_c=
enter/;_ylc=3DX3oDMTE5cDF2bXZzBF9TAzk3MTA3MDc2BHNlYwNtYWlsdGFncwRzbGsDZ3J=
lZW4tY2VudGVy">Visit
the Yahoo! Auto Green Center.</a></span></font></p>

</div>

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From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 19:34:52 2007
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Date: Mon, 16 Jul 2007 15:34:49 -0400
From: "Tom Ritchford" <tom@swirly.com>
Sender: tom.ritchford@gmail.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: Looking for a new looper
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On 7/16/07, Michael <michaelbrian76@yahoo.com> wrote:
> Check out the specs for the RIFF BOX by Backline Engineering; piques my
> interest for $320...
>
> http://www.backline-eng.com/RiffBox.html
>
>
>
> Mark Hamburg <mark_hamburg@baymoon.com> wrote:
>  Is there anything out there with the following features:
>
> * Stereo
>
> * Threshold recording -- I essentially want to arm it, start playing,
> and then hit a button when it's time to repeat
>
> * Multiply
>
> * Feedback control
>
> * Good MIDI clock generation
>
> * Good MIDI clock sync
>
> A pair of stereo channels would be better.
>
> If I give up stereo, the EDP does this just fine (and I've got three
> of them). My understanding is that stereo fights with threshold
> recording on the EDP. Sigh.
>
> The downfall for the Repeater in this regard is that it has a
> reputation for being a lousy MIDI clock source. Did they fix that in
> 2.0.1?

The Repeater is a fine MIDI clock source -- it's pretty bad at being a
MIDI clock slave.

That said, this looks like a lovely machine and quite cheap.... anyone own it?

>
> The Looperlative and the 2880 both actually look rather similar vis-a-
> vis this feature set (though the Looperlative is obviously bigger at
> 8 tracks, supports non-synchronized tracks, has lots of MIDI support,
> etc), but they neither multiply nor support threshold recording from
> what I can tell.
>
> My understanding is that the RC-50 lacks feedback control. Is that
> correct?
>
> Am I missing any cases? Have I mischaracterized anything?
>
> This all comes up because I've been finding new joy in my HandSonic
> and my MachineDrum using the former to control the latter and
> building up loops in a single EDP. But I really wish it was stereo
> and I really would like to set one stereo pair to playing a steady
> pulse while jamming in another stereo pair with feedback set fairly low.
>
> Any suggestions? Do I just need to ditch all of this hardware and go
> to a computer-based system with a small mobile guitar rig for Y2K#
> events?
>
> Mark
>
>
>
>
>  ________________________________
> Park yourself in front of a world of choices in alternative vehicles.
> Visit the Yahoo! Auto Green Center.
>
>


-- 
     /t

http://ax.to ......... extreme NY arts and music calendar
http://ax.to/tr ....... my secret little little...
http://ax.to/radio ... my little radio station (on intermittently)

From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 19:49:58 2007
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Date: Mon, 16 Jul 2007 12:49:55 -0700
From: "Doug Wellington" <dougwellington@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Looking for a new looper
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On 7/16/07, Mark Hamburg <mark_hamburg@baymoon.com> wrote:
> The Looperlative and the 2880 both actually look rather similar vis-a-
> vis this feature set (though the Looperlative is obviously bigger at
> 8 tracks, supports non-synchronized tracks, has lots of MIDI support,
> etc), but they neither multiply nor support threshold recording from
> what I can tell.

The Looperlative has commands to double, triple or quadruple the
length of your loop...

-- 
-Doug

http://www.analognotes.com
http://www.stoogepanels.com
http://www.dougwellington.com

From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 19:50:26 2007
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Subject: RE: Looking for a new looper
Date: Mon, 16 Jul 2007 12:50:15 -0700
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Me thinks your wrong on that one.  Unless something's changed a lot =
since
v1.1, the Repeater was an amazing (maybe the best) slave to a MIDI =
clock.  I
could slow my drum machine down from 120 to 40 bpm and the Repeater =
would be
right on it.

It's glaring problem was it's MIDI clock out was horrible.  They claim =
to
have fixed the clock out in v2 but I don't have any personal experience =
with
it.


-----Original Message-----
From: tom.ritchford@gmail.com [mailto:tom.ritchford@gmail.com] On Behalf =
Of
Tom Ritchford
Sent: Monday, July 16, 2007 12:35 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Looking for a new looper


The Repeater is a fine MIDI clock source -- it's pretty bad at being a
MIDI clock slave.

That said, this looks like a lovely machine and quite cheap.... anyone =
own
it?

>



From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 20:49:46 2007
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Date: Mon, 16 Jul 2007 13:49:35 -0500
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aw Cara, thanks so much for the complimentary words, and especially for 
coming out - it was great to meet you! looking forward to catching up at 
Y2k7 and can't wait to see you play!

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.com

From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 20:54:13 2007
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From: Mark Hamburg <mark_hamburg@baymoon.com>
Subject: Re: Looking for a new looper
Date: Mon, 16 Jul 2007 13:54:06 -0700
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On 16 Jul 2007, at 12:12 PM, Mark Sottilaro wrote:

> Mark, I think Mobius does all you ask for=85 though I personally =20
> don=92t use it for all you mention so I can=92t speak for all the =20
> functions.  Jeff recently added my coveted =93preset your loop length =20=

> to host bar=94 function in the latest beta release, and I imagine a v =20=

> 1.3 release is close at hand with a lot of new great features, many =20=

> of them having to do with being able to write scripts to initiate =20
> complex functions.
Indeed it does look like it does everything I need (though I will say =20=

the Riff Box looks slick in the demos).

Down sides:

* I've resisted going the laptop route because I have yet to see a =20
laptop that didn't seem awkward to set up in a portable situation. =20
(Okay. Wally Schnalle seems to have found a reasonable way to mix it =20
in with his drum kit.)

* Generally, I'm a Mac guy.

That said, I've been contemplating dumping hardware synths for =20
virtual synths...

Mark


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From: "Neil Goldstein" <swamilove@gmail.com>
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------=_Part_65317_32716745.1184619559320
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The 'wizard' features both repulse and invite. Getting a clean loop ending
has always been the price of admission to this art. Wonder how it works with
more complex material? End on a given note and/or number of notes looks
interesting.
I like the simplicity of the interface and portability a lot.

------=_Part_65317_32716745.1184619559320
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The &#39;wizard&#39; features both repulse and invite. Getting a clean loop ending has always been the price of admission to this art. Wonder how it works with more complex material? End on a given note and/or number of notes looks interesting.&nbsp;
<div><br class="webkit-block-placeholder"></div><div>I like the simplicity of the interface and portability a lot.&nbsp;</div>

------=_Part_65317_32716745.1184619559320--

From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 21:07:47 2007
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Trust me, I too am a Mac guy.  They are better.  Why do I say that?  =
Because
when I hooked my Novation Remote 61 to my Mac, I think I ran a small
installer application and it worked perfectly.  Maybe I didn't even have =
to
do that. Last night I tried hooking it directly to my XP running laptop. =
 It
took a good half hour to get the proper driver to install (I had the =
disk!)

Retarded.

So anyway... why the little story?  Because Mobius makes it worth it.

So you for sure can get a Macbook Pro and run xp on it, ditch your =
software
synths and looper and be very happy.  (sorry, your E-MU module is long =
gone)


If you're questioning a "laptop" performance, check out one of our =
neighbors
Kid Beyond.  He lives near us in the Bay area and he's proof that an =
amazing
live show can be done with a laptop looper (He uses Live)

Really, the laptop disappears if you have a good MIDI controller and =
just
becomes a display to note your current loop state.

Mark

-----Original Message-----
From: Mark Hamburg [mailto:mark_hamburg@baymoon.com]=20
Sent: Monday, July 16, 2007 1:54 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Looking for a new looper

On 16 Jul 2007, at 12:12 PM, Mark Sottilaro wrote:

> Mark, I think Mobius does all you ask for. though I personally =20
> don't use it for all you mention so I can't speak for all the =20
> functions.  Jeff recently added my coveted "preset your loop length =20
> to host bar" function in the latest beta release, and I imagine a v =20
> 1.3 release is close at hand with a lot of new great features, many =20
> of them having to do with being able to write scripts to initiate =20
> complex functions.
Indeed it does look like it does everything I need (though I will say =20
the Riff Box looks slick in the demos).

Down sides:

* I've resisted going the laptop route because I have yet to see a =20
laptop that didn't seem awkward to set up in a portable situation. =20
(Okay. Wally Schnalle seems to have found a reasonable way to mix it =20
in with his drum kit.)

* Generally, I'm a Mac guy.

That said, I've been contemplating dumping hardware synths for =20
virtual synths...

Mark




From ext@dka-dd.de  Mon Jul 16 21:11:58 2007
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Date: Mon, 16 Jul 2007 17:11:58 -0400
From: Peters Dan <ext@dka-dd.de>
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Subject: except this "questioning the Ultimate Extras" thing has been going on for months.
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SZSN Sales UP 30%! Market Watchers Pick SZSN.

Shandong Zhouyuan Seed and Nursery Co., Ltd (SZSN)
$0.43 UP 30%

Sales reports show sales up 37.6% over last year. OTCPicks.com and
RedHotPennyStock.com feature SZSN. Stock UP 30%! Get on SZSN first thing
Tuesday!

hmph yeah right as if he is going to say something wrong about that
product. I have liked the site since I first heard about it, and it has
only gotten better.
Instead of trying to prop up something less than perfect with stellar
marketing, how about make a stellar product and let marketing happen all
on its own?

And as for money "tainting the credibility", celebrities get paid for
endorsements all the time.

There was one post that robert made about. AMD has been wanting to reach
out to influencers for a while now, and had been looking for software to
let them do it.

I have to take care of myself.

Search box on Control Panel is aware of many keywords associated with
various applets. At least I got a brand new console, and I hear it has
an updated cooling assembly. "You don't spam people, and you don't say
that you came up with a topic when a corporation paid you to write about
it, not if your positioning is one which relies upon credibility.

If I can get the stat's from my mom's and sister's machines, I'll post
them too.

Maybe that means, that you LOVE the iphone and the ONLY reason why you
don't have one is because of the name of the company that created it.
Thanks for digging this up, Aubrey! And Jef, how about citing some
examples on how it is "illegal"?

But I had several reports sent with the error report thing and zero
solutions.

I verified them in both Windows Vista Ultimate and Windows Vista
Business, but they should be applicable to other versions as well. For
me, this is part of a larger plan to finally spend my time doing what I
love, which is working with the blogosphere.

that iphone might be kinda cool after all.

They said they were online tonight, but they weren't there when I
checked.
and mentioned that he was going to try installing linux for a side
project.

From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 22:35:10 2007
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Date: Mon, 16 Jul 2007 15:35:08 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: Composers should also get paid
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Hey Bill,
thanx for the hinsight i am a GEMA member as well and
it makes sense...after 4 years of selling a lot of CDs
with some of my compositions in them and not seeing
any money i sent them as letter asking what was
happening,then i got a reply saying they were going to
investigate,a few months after that i got my first
check it was something like 170.-eur.! they still send
me my finacial statement but ever since i quit my band
and since i joined digital distribution the earnings
have been a lot less.The best way is still selling
them yourself at gigs!
cheers
Luis



--- Bill Fox <billyfox@soundscapes.us> wrote:

> Stefan Tiedje wrote:
> 
> > Per Boysen schrieb:
> >
> >> On the other hand, it may be that the RIAA are
> using too heavy tools 
> >> as their administrative routines when assembling
> the tariffs  for 
> >> using others songs in public (money that are
> distributed back to the 
> >> composers). But be careful not throwing away the
> respect for 
> >> composer's work only because of some brown shirt
> attitude clerks.
> >
> > What they asked for must have been significantly
> more than they paid 
> > for the pianist alone,
> 
> Of course, because it's a year-long license.  But
> then the music in the 
> joint is covered for a year.  Like someone said in a
> previous post, that 
> turns out to be about $20 per week.  I don't know
> the cost of the 
> license so I can't say how accurate that figure is. 
> I'm sure that the 
> cost varies with venue size.  In the US, you'll
> often see a license 
> posted on the wall that declares the legal capacity
> that the local 
> authorities allow in a venue.
> 
> > with the result that the composer gets nothing and
> the pianist lost 
> > his job. My experience with the RIAA/Gema family
> of corporations is, 
> > that they claim they protect the artists, but they
> are only interested 
> > to protect the publishers. There is a reason why
> Stockhausen founded 
> > his own publishing company...
> 
> So he wouldn't have to share his money with a
> publisher.  That has 
> nothing to do with PROs.  True, the PROs pay the
> publishers and 
> publishers typically take half and pay the remainder
> to the composer.  
> But if you don't have a publisher, the you are,
> essentially, 
> self-publishing and the PRO must pay you directly,
> leaving no "middle 
> man" to take half.
> 
> > They look where the big bucks are and don't care
> about the small. I am 
> > still memeber of the Gema but seriously
> considering to quit, because 
> > they do a bad job... (95% of all Gema authorities
> are purely lawers...)
> >
> > If you should get small amounts of money, like
> maybe 5 Euros from a 
> > web radio, the Gema won't pay it to you, because
> its so little, 
> > instead they collect it and distribute it mainly
> to the big guys who 
> > have too much already. I'd love to find a authors
> rights corpoartion 
> > which would allow me to puplish my work under a
> creative commons 
> > license and still let them effectively take care
> about royalties for 
> > commercial use...
> 
> IF a PRO like GEMA isn't meeting the needs of its
> members, then either 
> the members need to band together and force them to
> change from within 
> or they need to leave and find a PRO that *does*
> meet their needs... 
> *if* there is one!
> 
> Cheers,
> 
> Bill
> 
> 


www.myspace.com/luisangulocom


       
____________________________________________________________________________________
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From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 22:38:22 2007
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From: Mark Hamburg <mark_hamburg@baymoon.com>
Subject: Re: Looking for a new looper
Date: Mon, 16 Jul 2007 15:38:14 -0700
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On 16 Jul 2007, at 2:07 PM, Mark Sottilaro wrote:

> So you for sure can get a Macbook Pro and run xp on it, ditch your  
> software
> synths and looper and be very happy.  (sorry, your E-MU module is  
> long gone)

Yeah, I knew you'd moved on from that a while ago. So, what hardware  
do you have left in your setup?

Mark

From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 23:00:39 2007
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Date: Mon, 16 Jul 2007 16:00:38 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: biamplified monitors
To: Loopers-Delight@loopers-delight.com
In-Reply-To: <554302.23551.qm@web32705.mail.mud.yahoo.com>
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Hey Bill,
I did a lot of research before i bought and i couldnt
be happier with my 2 RCF ART 310As active speakers
they sound wonderful either as monitors or tops with
beautiful dispertion plenty of bass but best of all
they are 12 Kilos!
http://www.thomann.de/gb/rcf_art_310_a.htm
also their covers are the smartest made of all, you
dont even need to take them out,they have access on
top to grab their handles and in the bottom to place
them on their stands and velcro attatchments all over
the place!
http://www.thomann.de/gb/rcf_art_310_cover.htm

apparently RCFs technology is the same as mackie but
youll have to do research on that one.Mackies 450s
might be good but i found them a little to bright or
cold for my ears and way to heavy,and in most places i
play i dont need so much power.I kept my yamahas ms
150 for monitors which are very compact and sound
killer.

And If you want to use them with a full band and
drumer they recomend a bundle that comes with a sub 15

http://www.thomann.de/gb/rcf_art310_a_sub_15_bundle.htm

or if you want more bass on the tops they recomended
this
http://www.thomann.de/gb/fbt_maxx_2_a.htm
but they lack handles on top which is important if u
are in a cellar with a small stairway like i do, so i
settled for the RCFs,highly recomended!
Luis







--- bill bigrig <billbigrig@yahoo.com> wrote:

> Howdy,
> 
>  You want to make sure, if you use muultiple
> outlets,
> that they come off the same leg. In a standard
> single
> phase panel,that means every othet breker going down
> one side, or the next diagonel breaker up or down on
> the opposite side. Yhis will ensure that you are
> using
> the same leg. On a 3 phse panel, it gets a little
> more
> complicated.
> Rig
> 
> 
> --- Nemoguitt@aol.com wrote:
> 
> > i was just offered $1000.00 for my two srm
> > 450s.....it cost me $400.oo to use 
> > these speakers for several years so i'm quite
> happy
> > with the price.....now 
> > what do i replace them with that 1) cost no more
> > than $1000 for both, 2) can be 
> > used as my only studio speakers and 3) can be used
> > as my p.a. speakers (mackie 
> > 1202 vlz) if and when i play out.....if this deal
> > falls through i will not be 
> > the least bit unhappy, i love the srms and that's
> > why i had kids so that they 
> > can carry these beasts down and up to my 3rd.
> floor
> > studio.....;).....my only 
> > problem is that the srm 450s are total OVERKILL
> for
> > what i do.....for $200 
> > more i can buy 4 srm 150s, has anyone played with
> > these?.....they look soooo 
> > small, they say in their ads that you can get an
> > addaptor to put them on your mic 
> > stand.....if that's the case, i'll make a hat out
> of
> > one and .....one word of 
> > advice to rune is "powered monitors" need to be
> > plugged into an electrical 
> > source and i have often found that the need for 2
> > more outlets can be a problem 
> > at some gigs depending where you place the
> speakers
> > in relation to the rest of 
> > your kit.....and i have always wondered about the
> > old adage that all your 
> > stuff should come off the same electrical line to
> > keep the signal clean and avoid 
> > hum, so my corncern is, are the outlets that my
> > monitors are plugged into the 
> > same line as the rest of my kit?.....perhaps this
> is
> > just another of those 
> > misbeliefs that i have about things.....and indeed
> > ONLY LOOPS WILL BE PLAYED OUT 
> > OF THESE SPEAKERS.....michael
> > 
> > 
> > 
> > www.ct-collective.com
> > http://mysite.verizon.net/vzepmeci/
> > http://www.myspace.com/klobuchar11
> > 
> > 
> > 
> > **************************************
> >  Get a sneak peak of the all-new AOL at 
> > http://discover.aol.com/memed/aolcom30tour
> > 
> 
> 
> 
>        
>
____________________________________________________________________________________
> Boardwalk for $500? In 2007? Ha! Play Monopoly Here
> and Now (it's updated for today's economy) at Yahoo!
> Games.
>
http://get.games.yahoo.com/proddesc?gamekey=monopolyherenow
>  
> 
> 


www.myspace.com/luisangulocom


 
____________________________________________________________________________________
Looking for earth-friendly autos? 
Browse Top Cars by "Green Rating" at Yahoo! Autos' Green Center.
http://autos.yahoo.com/green_center/

From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 23:26:48 2007
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Date: Mon, 16 Jul 2007 16:26:46 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: psychodelic music
To: Loopers-Delight@loopers-delight.com
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this is also great
http://youtube.com/watch?v=PSBTzSatzJY
i love the nuggets compilation whatever happend to
that sound i still find those song hooks and fuzzboxes
so cool!
Luis

--- Mark Sottilaro <sine@zerocrossing.net> wrote:

> Ah!  I had that organ many moons ago!  (Vox
> Continental)
> 
> Memories...
> 
> On Jul 13, 2007, at 3:36 PM, tEd ® kiLLiAn wrote:
> 
> > O.M.G.
> >
> > That was too strange . . . and cool in a really
> weird way.
> >
> > Thanks for sharin' Rick.
> >
> > I'd always heard of Graham Bond but never heard
> him.
> >
> > tEd ® kiLLiAn
> >
> > ---- RICK WALKER <looppool@cruzio.com> wrote:
> >> GONKS GO BEAT
> >> a 1965 movie with great footage of the
> >> Graham Bond Organization with John McLaughlin,
> >> Ginger Baker, Jack Bruce, Dick Heckstall-Smith,
> Lulu and Graham Bond.
> >>
> >>
>
http://youtube.com/watch?v=d7vlaA-H-dU&mode=related&search=
> >>
> >
> 
> 


www.myspace.com/luisangulocom


       
____________________________________________________________________________________
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to amazing places on Yahoo! Travel.
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From Loopers-Delight-request@loopers-delight.com  Mon Jul 16 23:35:04 2007
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Date: Mon, 16 Jul 2007 16:35:02 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: Re: Composers should also get paid
To: Loopers-Delight@loopers-delight.com
In-Reply-To: <469B5B4A.2090205@soundscapes.us>
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Howdy,

 i had a freind that opened a brewpub in a small town
back in 98. A week later BMI was there demanding just
under $400 for the year or they would take 'legal
action'. All for a boom box on the back counter.
Rig


--- Bill Fox <billyfox@soundscapes.us> wrote:

> Stefan Tiedje wrote:
> 
> > Per Boysen schrieb:
> >
> >> On the other hand, it may be that the RIAA are
> using too heavy tools 
> >> as their administrative routines when assembling
> the tariffs  for 
> >> using others songs in public (money that are
> distributed back to the 
> >> composers). But be careful not throwing away the
> respect for 
> >> composer's work only because of some brown shirt
> attitude clerks.
> >
> > What they asked for must have been significantly
> more than they paid 
> > for the pianist alone,
> 
> Of course, because it's a year-long license.  But
> then the music in the 
> joint is covered for a year.  Like someone said in a
> previous post, that 
> turns out to be about $20 per week.  I don't know
> the cost of the 
> license so I can't say how accurate that figure is. 
> I'm sure that the 
> cost varies with venue size.  In the US, you'll
> often see a license 
> posted on the wall that declares the legal capacity
> that the local 
> authorities allow in a venue.
> 
> > with the result that the composer gets nothing and
> the pianist lost 
> > his job. My experience with the RIAA/Gema family
> of corporations is, 
> > that they claim they protect the artists, but they
> are only interested 
> > to protect the publishers. There is a reason why
> Stockhausen founded 
> > his own publishing company...
> 
> So he wouldn't have to share his money with a
> publisher.  That has 
> nothing to do with PROs.  True, the PROs pay the
> publishers and 
> publishers typically take half and pay the remainder
> to the composer.  
> But if you don't have a publisher, the you are,
> essentially, 
> self-publishing and the PRO must pay you directly,
> leaving no "middle 
> man" to take half.
> 
> > They look where the big bucks are and don't care
> about the small. I am 
> > still memeber of the Gema but seriously
> considering to quit, because 
> > they do a bad job... (95% of all Gema authorities
> are purely lawers...)
> >
> > If you should get small amounts of money, like
> maybe 5 Euros from a 
> > web radio, the Gema won't pay it to you, because
> its so little, 
> > instead they collect it and distribute it mainly
> to the big guys who 
> > have too much already. I'd love to find a authors
> rights corpoartion 
> > which would allow me to puplish my work under a
> creative commons 
> > license and still let them effectively take care
> about royalties for 
> > commercial use...
> 
> IF a PRO like GEMA isn't meeting the needs of its
> members, then either 
> the members need to band together and force them to
> change from within 
> or they need to leave and find a PRO that *does*
> meet their needs... 
> *if* there is one!
> 
> Cheers,
> 
> Bill
> 
> 



      ____________________________________________________________________________________
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From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 02:48:45 2007
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Date: Mon, 16 Jul 2007 22:48:38 -0400
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From: paul <phaslem@wightman.ca>
Subject: OT: composers and musicians being paid their royalties, was
  Fripp and Eno
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References: <7607CF9A-3950-4363-93A5-978D2E4533D7@ubergadget.com>
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Don't believe it, the record companies never do anything for the 
artist in the long run..... I had a 40 page contract that what ever 
they gave you on page 6 they had a loophole to take back on page 
35..... if they did anything in the name of the recording, ( which 
included lunches, promo, etc. ) those expenses came out of my share 
of the royalties, The people that played backup on the recording made 
more money than I did. I did the math once, the record label would 
pay it's expenses and clear over $150,000.00 before I got the first 
penny off of that cd..... Now I had a lawyer look it over and he told 
me that I actually had one of the better contracts he had ever seen 
because if the recording flopped totally; I at least didn't owe the 
record label whatever money they had invested. His advice, go and 
enjoy the ride, and expect that the label will screw you in the end. 
The recording gave me some valuable experience, and gave me some well 
needed credibility amongst other industry people. It just makes me 
laugh when people believe that the record labels care about lost 
royalties to the artists or composers. all they care about is their 
own lost revenues and their right to be the only ones to screw us out 
of the rights and revenues of our music.

I suppose I sound a bit bitter, but it makes me really angry that I 
should have to pay the record label if I want to re-record some of my 
own compositions and release them independently.

ok, I'm better now, the rant is over. I'll go back to be the nice old 
guy who plays pretty gentle music on the dulcimer..........

Paul Haslem
www.dulcify.ca







>They basically want them to shut down because nothing of that "1/4 
>of the price" would go to the authors, I would not pay anything if 
>the authors don't get a share, then its better to pirate than paying 
>to some obscure russian site...
>
>Stefan
>
>
>--
>Stefan Tiedje------------x-------
>--_____-----------|--------------
>--(_|_ ----|\-----|-----()-------
>-- _|_)----|-----()--------------
>----------()--------www.ccmix.com
>

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From: paul <phaslem@wightman.ca>
Subject: Re: Looking for a new looper
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you can get feenback control by running the sub out into the aux in 
and setting it's volume lower than your instrument in. I use it all 
the time and it works real well. I can't speak to the midi clock 
question, I never use it that way.

Paul Haslem
www.dulcify.ca





>My understanding is that the RC-50 lacks feedback control. Is that
>correct?




From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 03:04:37 2007
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Hello.  I just got a slot in the Bowery Poetry Club on 7/30 from 8 to
10PM when a friend of mine decided to go on tour to the UK.  I'm going
to do my usual openLoop gig (http://loopNY.com, my music at
http://TomRitchford.com/music) and wanted to call for audition for
other loopers from this list...

Drop me a line offlist and we'll chat!

(I'm also playing the Charlie Parker festival the afternoon of 8/11
and I have one more slot for an instrumentalist...)

-- 
     /t

http://ax.to ......... extreme NY arts and music calendar
http://ax.to/tr ....... my secret little little...
http://ax.to/radio ... my little radio station (on intermittently)

From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 03:47:53 2007
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Subject: Re: NY loopers needed for 7/30 open loop gig.
Date: Mon, 16 Jul 2007 23:47:48 -0400
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Tom!

Pity that you're so far away, I'm doing a free improv guitar synth thing 
with a friend these days.

We're both well, I'm again unemployed, though doing sound stuff (Ottawa Jazz 
Festival, etc.).

Had a brief listen to some of your tunes on your website; be careful, you're 
treading dangerously close to melodic and hummable with some of that.

What's new in your world?

Dave O'Heare
oheare@magma.ca
+1 613 729 4830 home
+1 613 227 4830 mobile

----- Original Message ----- 
From: "Tom Ritchford" <tom@swirly.com>
To: "Loopers-Delight" <loopers-delight@loopers-delight.com>
Sent: Monday, July 16, 2007 11:04 PM
Subject: NY loopers needed for 7/30 open loop gig.


> Hello.  I just got a slot in the Bowery Poetry Club on 7/30 from 8 to
> 10PM when a friend of mine decided to go on tour to the UK.  I'm going
> to do my usual openLoop gig (http://loopNY.com, my music at
> http://TomRitchford.com/music) and wanted to call for audition for
> other loopers from this list...
>
> Drop me a line offlist and we'll chat!
>
> (I'm also playing the Charlie Parker festival the afternoon of 8/11
> and I have one more slot for an instrumentalist...)
>
> -- 
>     /t
>
> http://ax.to ......... extreme NY arts and music calendar
> http://ax.to/tr ....... my secret little little...
> http://ax.to/radio ... my little radio station (on intermittently)
>
> 

From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 05:03:50 2007
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My only hardware synth is a Roland Jv 1010 that I send through an  
airsynth and airfx. It's controlled by the aleisis photon, so I've got  
a whole IR thing going on.  My guitar rig stayed the same (vox  
tonelabSE)

I never found software that did a replacement for guitar preamp stuff  
that I liked, but I really don't miss my synths

Sent from my iPhone

On Jul 16, 2007, at 3:38 PM, Mark Hamburg <mark_hamburg@baymoon.com>  
wrote:

> On 16 Jul 2007, at 2:07 PM, Mark Sottilaro wrote:
>
>> So you for sure can get a Macbook Pro and run xp on it, ditch your  
>> software
>> synths and looper and be very happy.  (sorry, your E-MU module is  
>> long gone)
>
> Yeah, I knew you'd moved on from that a while ago. So, what hardware  
> do you have left in your setup?
>
> Mark
>

From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 05:13:15 2007
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Interesting!  I didn't have too many troubles with the clock out (but
I have a forgiving drum machine) but had some, perhaps minor, issues
with clock in.  But then I didn't really need to have clock in so I
didn't really pay attention so much...

On 7/16/07, Mark Sottilaro <sine@zerocrossing.net> wrote:
> Me thinks your wrong on that one.  Unless something's changed a lot since
> v1.1, the Repeater was an amazing (maybe the best) slave to a MIDI clock.  I
> could slow my drum machine down from 120 to 40 bpm and the Repeater would be
> right on it.
>
> It's glaring problem was it's MIDI clock out was horrible.  They claim to
> have fixed the clock out in v2 but I don't have any personal experience with
> it.
>
>
> -----Original Message-----
> From: tom.ritchford@gmail.com [mailto:tom.ritchford@gmail.com] On Behalf Of
> Tom Ritchford
> Sent: Monday, July 16, 2007 12:35 PM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: Looking for a new looper
>
>
> The Repeater is a fine MIDI clock source -- it's pretty bad at being a
> MIDI clock slave.
>
> That said, this looks like a lovely machine and quite cheap.... anyone own
> it?
>
> >
>
>
>
>


-- 
     /t

http://ax.to ......... extreme NY arts and music calendar
http://ax.to/tr ....... my secret little little...
http://ax.to/radio ... my little radio station (on intermittently)

From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 05:15:00 2007
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Date: Tue, 17 Jul 2007 07:14:58 +0200
From: "Raul Bonell" <raul.bonell@gmail.com>
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Subject: OT: stereo mic.
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hi there...

i've done some research through the net,
but can't find the correct answer for this:

which are the troubles by using two
mics to record in an x/y stereo configuration (or other
stereo mic technique) if they are not "a matched pair from
factory" providing that they are the same brand and model.

want to capture the live sound in the new
studio room we've built for rehearsing with
guitar+loops coming from the monitors plus acoustic  drums.

any recomendations?
we are in a budget and thought about a pair of AKG c1000s for the task.

thanks in advance friends!,
TPO crew.

-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra

From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 05:16:28 2007
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Date: Tue, 17 Jul 2007 07:16:26 +0200 (CEST)
From: rune fagereng <rune_fagereng@yahoo.no>
Subject: re:re:looking for a new looper (Mark Sottilaros gear)
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Hi !
   
  Mark Sottilaro - it sounds nice too travel this light. I uses this heavy hardware gear. Can you post some soundclips - pictures of gear and maybe explain once more how you got that looper software working on the mac?
   
  Rune F.  
  
Mark Sottilaro <sine@zerocrossing.net> skrev:
  My only hardware synth is a Roland Jv 1010 that I send through an 
airsynth and airfx. It's controlled by the aleisis photon, so I've got 
a whole IR thing going on. My guitar rig stayed the same (vox 
tonelabSE)

I never found software that did a replacement for guitar preamp stuff 
that I liked, but I really don't miss my synths

Sent from my iPhone

On Jul 16, 2007, at 3:38 PM, Mark Hamburg 
wrote:

> On 16 Jul 2007, at 2:07 PM, Mark Sottilaro wrote:
>
>> So you for sure can get a Macbook Pro and run xp on it, ditch your 
>> software
>> synths and looper and be very happy. (sorry, your E-MU module is 
>> long gone)
>
> Yeah, I knew you'd moved on from that a while ago. So, what hardware 
> do you have left in your setup?
>
> Mark
>




www.runefagereng.com
www.myspace.com/runefagereng 
www.youtube.com/watch?v=bOHN4az59A0
Mail:rune_fagereng@yahoo.no
Mob: 917 95 867
 		
---------------------------------

Alt i én. Få Yahoo! Mail med adressekartotek, kalender og notisblokk.
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<div>Hi !</div>  <div>&nbsp;</div>  <div>Mark Sottilaro - it sounds nice too travel this light. I uses this heavy hardware gear.&nbsp;Can you post some soundclips - pictures of gear and maybe explain once more how you got that looper software working on the mac?</div>  <div>&nbsp;</div>  <div>Rune F. &nbsp;</div>  <div><BR><B><I>Mark Sottilaro &lt;sine@zerocrossing.net&gt;</I></B> skrev:</div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">My only hardware synth is a Roland Jv 1010 that I send through an <BR>airsynth and airfx. It's controlled by the aleisis photon, so I've got <BR>a whole IR thing going on. My guitar rig stayed the same (vox <BR>tonelabSE)<BR><BR>I never found software that did a replacement for guitar preamp stuff <BR>that I liked, but I really don't miss my synths<BR><BR>Sent from my iPhone<BR><BR>On Jul 16, 2007, at 3:38 PM, Mark Hamburg <MARK_HAMBURG@BAYMOON.COM><BR>wrote:<BR><BR>&gt; On 16 Jul
 2007, at 2:07 PM, Mark Sottilaro wrote:<BR>&gt;<BR>&gt;&gt; So you for sure can get a Macbook Pro and run xp on it, ditch your <BR>&gt;&gt; software<BR>&gt;&gt; synths and looper and be very happy. (sorry, your E-MU module is <BR>&gt;&gt; long gone)<BR>&gt;<BR>&gt; Yeah, I knew you'd moved on from that a while ago. So, what hardware <BR>&gt; do you have left in your setup?<BR>&gt;<BR>&gt; Mark<BR>&gt;<BR><BR></BLOCKQUOTE><BR><BR><BR>www.runefagereng.com<br>www.myspace.com/runefagereng <br>www.youtube.com/watch?v=bOHN4az59A0<br>Mail:rune_fagereng@yahoo.no<br>Mob: 917 95 867<p>&#32;
		<hr size=1><br><table><tr><td>Alt i én. Få <a href=http://no.mail.yahoo.com>Yahoo! Mail</a> med adressekartotek, kalender og notisblokk.</td></tr></table>
--0-1617367238-1184649386=:44690--

From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 05:35:30 2007
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Subject: AW: stereo mic.
Date: Tue, 17 Jul 2007 07:35:50 +0200
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Hey Raul (and TPO crew), 

> which are the troubles by using two
> mics to record in an x/y stereo configuration (or other 
> stereo mic technique) if they are not "a matched pair from 
> factory" providing that they are the same brand and model.

matched pairs are either the two microphones from a production run which
most closely match each other with regard to characterization or such a pair
which is further modified to more closely match each other (for the more
expensive mics obviously).

With there may be differences with regard to amplitude and phase, you tend
to perceive the differences in phase the most if you put both microphones in
direct reference to each other, e.g. by using them as a stereo pair.

This is of course of greater importance with those microphone manufacturers
which tend to have a very big statistical spread in their manufacturing
process (think Oktava).

Still, regarding your recording situation (already with an artifical stereo
image) and the application (rehearsal recordings), I wouldn't stress the
issue too much - you should be fine.

	Rainer

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From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 07:42:43 2007
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	Stefan Tiedje <Stefan-Tiedje@addcom.de>
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On 16 Jul 2007 at 10:43, Stefan Tiedje wrote:

> They basically want them to shut down because nothing of that "1/4 of
> the price" would go to the authors, I would not pay anything if the
> authors don't get a share, then its better to pirate than paying to
> some obscure russian site...

Agreed - they've even got some of my music on one of these russian 
sites - I'd sooner give it away than have it sold & get nothing for 
it. ;(

From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 08:30:26 2007
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hi Paul.
There are 2 ways I know to get a "matched pair".
1) Some mics (e.g. Neuman) are made to a tight specification, so that
a pair of them will generally be matched.
2) At some point, someone actually tested the mics and picked out a pair that matches.
Could happen at the factory, but could just as well happen at the shop/distributor.
(or in your studio)

If you're using an x/y config then un-matched mics may not give you an
accurate stereo image. It would be like EQing the 2 sides differently.
( though don't imagine you can the problem with corrective EQ ).
A good stereo recording will let you hear the position of each
instrument, an "unmatched" one will still give an impression
of space, but the positioning will be blurred, with the "center panned"
sounds being spread out somewhat.
 

To check for matching, hold 2 mics together, pointing in the same direction, at
a sound source. Then mix them together with one of the mics out of phase.
If they are well matched, there'll be very little sound.

AKG c1000s aren't designed for stereo work, for which you ideally
need a small diaphragm mic like the AKG C451 B

what about a pair of Rode NT5?
(or even an NT4, for ease of use)


andy butler



> i've done some research through the net,
> but can't find the correct answer for this:
> 
> which are the troubles by using two
> mics to record in an x/y stereo configuration (or other
> stereo mic technique) if they are not "a matched pair from
> factory" providing that they are the same brand and model.
> 

From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 08:45:20 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: OT: composers and musicians being paid their royalties, was Fripp and Eno
Date: Tue, 17 Jul 2007 10:45:08 +0200
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On 17 jul 2007, at 04.48, paul wrote:
> Don't believe it, the record companies never do anything for the  
> artist in the long run.....

Oh, they might do if it's estimated commercially lucrative. It's just  
like any other business. A good deal should be a win-win situation  
contract. Everything else is a bad deal for one of the parts.

> Now I had a lawyer look it over and he told me that I actually had  
> one of the better contracts he had ever seen because if the  
> recording flopped totally; I at least didn't owe the record label  
> whatever money they had invested.

I agree with Paul that record labels tend to play more foul compared  
to publishers or PRO's. Some years ago a record label I had been  
signed to earlier on went bankrupt and before an investment company  
was allowed to buy what was left an independent auditor was set to go  
through the book keeping. It turned out the record label had withhold  
USD 2700 that was actually mine. Since a lot of the money was gone  
with the bankruptcy I only received about half the sum. Oh well,  
better than nothing. But the fact stays written on the wall: they  
simply ripped me off. And if they had not went bankrupt they would  
have perfectly gotten away with it.


On 16 jul 2007, at 10.42, Stefan Tiedje wrote:
> My experience with the RIAA/Gema family of corporations is, that  
> they claim they protect the artists, but they are only interested  
> to protect the publishers.

Of course, that's the nature of their business! Here's from GEMAS web  
site:

"We protect and promote the authors of music, represent the interests  
of composers, lyricists and their publishers worldwide and actively  
follow the music markets."

The only situation GEMA would care about an artist would be if that  
artist is also the composer of the music he performs or licenses for  
mass manufactured copies to be distributed.

> I'd love to find a authors rights corpoartion which would allow me  
> to puplish my work under a creative commons license and still let  
> them effectively take care about royalties for commercial use...

That would be a normal publishing company or just a managing company,  
I'd guess. I know the publishing companies that have offices around  
here and some do really aggressive marketing to pitch the music of  
their composers to commercial users. My guess is that an existing  
Creative Commons public license would be no problem for that.

Speaking PRO's, it seems to me the Scandinavian based STIM does a  
pretty good job. But it all depends on you, as the author of your  
work, to properly register your work with the PRO. There are  
different kind of legal rights to music, the author's rights are the  
biggest part. Then there are so called neighboring rights as well,  
i.e. the rights of musicians that played on a recording without  
actually being the composer of the music. In Sweden there is a  
special "PRO" for those neighboringrights called SAMI (Swedish  
Artist's and Musician's Interest organization). I recently, totally  
unexpectedly,  received a bit over a thousand dollars that way for  
"air plays abroad". No specification on which country or which  
recordings, so there's no way to know if the figure is correct or  
not. Maybe some track, with me as studio musician, became a radio hit  
somewhere in the world? It's like a lottery, I think.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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hi andy and rainer,

> If you're using an x/y config then un-matched mics may not give you an
> accurate stereo image. It would be like EQing the 2 sides differently.
> ( though don't imagine you can the problem with corrective EQ ).
> A good stereo recording will let you hear the position of each
> instrument, an "unmatched" one will still give an impression
> of space, but the positioning will be blurred, with the "center panned"
> sounds being spread out somewhat.

this is truly clearing some dust on the matter for the first time.
so the unmatched, use to have differences in order to push some
frequency ranges... this affects imaging even if the differences between
mics are small... and "small" here could be understood.. well, you
record a mono loop twice, each time with one of these supposedly
unmatched mics, and maybe it would be difficult to say which of both
was colouring the, for instance, 3000 Hz or 3200 Hz, isn't? Above all,
the cheaper brands.

> To check for matching, hold 2 mics together, pointing in the same direction, at
> a sound source. Then mix them together with one of the mics out of phase.
> If they are well matched, there'll be very little sound.

i'll do the test, when we get that pair. thanks Andy.

> AKG c1000s aren't designed for stereo work, for which you ideally
> need a small diaphragm mic like the AKG C451 B

so it wasn't a good choice.. argh.. again, many thanks.

> what about a pair of Rode NT5?
> (or even an NT4, for ease of use)

oh yes!. also considered that option, as it seems to be in the same
price range. hope they can handle all the pressure from Alex, our
drummer. wWe are almost all deaf due to his ... i'd say,
crossover-electro-latin-aphex-slipknot drumming style but he's good as
a dynamic metronom and has sight reading skills, not so usual in
drummers.. he,he...

thanks & love for all,
and one kiss extra for Andy and
another one for Rainer.

spain is burning in flames these days...
don't come here in summer, go Iceland.

raul,
TPO crew.

-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra

From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 14:17:31 2007
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Date: Tue, 17 Jul 2007 07:17:29 -0700
From: "Travis Hartnett" <travishartnett@gmail.com>
To: LD <Loopers-Delight@loopers-delight.com>
Subject: OT: Monte Montgomery in Portland tonight
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There's zero looping involved, but for those of you in the Portland
area today (July 17) who can appreciate jaw-dropping guitar playing,
Monte Montgomery is playing at the Aladdin Theatre this evening.  I
found out about him years ago when I lived in Austin, and I'd drag
people to his weekly gig and offer to personally refund their cover
charge if they didn't love it, and I've never had to do so.  I saw him
again last night in Seattle, and he doesn't get up here but once every
few years, and he was even better than last time.

Unreservedly recommended.  Don't miss it.

TravisH

From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 14:25:44 2007
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From: Mark Sottilaro <sine@zerocrossing.net>
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The only time I had trouble was when I sent of clock from my computer  
that had a song loop in it, but a lot of loopers have that issue. I  
think it has something to do with being sent a song start message.

Mark

Sent from my iPhone

On Jul 16, 2007, at 10:13 PM, "Tom Ritchford" <tom@swirly.com> wrote:

> Interesting!  I didn't have too many troubles with the clock out (but
> I have a forgiving drum machine) but had some, perhaps minor, issues
> with clock in.  But then I didn't really need to have clock in so I
> didn't really pay attention so much...
>
> On 7/16/07, Mark Sottilaro <sine@zerocrossing.net> wrote:
>> Me thinks your wrong on that one.  Unless something's changed a lot  
>> since
>> v1.1, the Repeater was an amazing (maybe the best) slave to a MIDI  
>> clock.  I
>> could slow my drum machine down from 120 to 40 bpm and the Repeater  
>> would be
>> right on it.
>>
>> It's glaring problem was it's MIDI clock out was horrible.  They  
>> claim to
>> have fixed the clock out in v2 but I don't have any personal  
>> experience with
>> it.
>>
>>
>> -----Original Message-----
>> From: tom.ritchford@gmail.com [mailto:tom.ritchford@gmail.com] On  
>> Behalf Of
>> Tom Ritchford
>> Sent: Monday, July 16, 2007 12:35 PM
>> To: Loopers-Delight@loopers-delight.com
>> Subject: Re: Looking for a new looper
>>
>>
>> The Repeater is a fine MIDI clock source -- it's pretty bad at  
>> being a
>> MIDI clock slave.
>>
>> That said, this looks like a lovely machine and quite cheap....  
>> anyone own
>> it?
>>
>>>
>>
>>
>>
>>
>
>
> -- 
>     /t
>
> http://ax.to ......... extreme NY arts and music calendar
> http://ax.to/tr ....... my secret little little...
> http://ax.to/radio ... my little radio station (on intermittently)
>

From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 14:36:47 2007
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Subject: RE: stereo mic.
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>>which are the troubles by using two mics to record in an x/y stereo
configuration (or other stereo mic technique) if they are not "a matched
pair from factory" providing that they are the same brand and model.<<

are your ears a matched pair? :-)

I use a non-matched pair of audio-technica 4033s as a stereo pair in
front of a drum-kit, with a close-mike (usually a beta 87) near the
snare. I find I can get a good mixture of separation & live-sounding
drums even when the kit is in the same room as the other instruments; I
have the stereo pair about three feet apart & level with the toms. any
higher, too much metal & not enough of the kick.

the effect is like standing in front of the kit, in the room, & I
generally keep the snare mic backed off unless something needs
accenting.

but I digress. I only mention this because I get better separation like
this than in x-y.


now, if you were recording m-s stereo instead of x-y, you could even use
two different sorts of mic & still get great results.=20
I used to work on a soap-opera, right at the start of experiments in
stereo sound in british tv. we decided the best way to record dialogue
was to equip the boom with two mics in m-s configuration instead of
trying to follow the action with two booms. the mics were a sennheiser
416 & a schoeps figure-8, I forget the model. we decoded the results to
left & right & used the contribution level of the schoeps to set the
width.

but I'm digressing again.=20

d.

From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 14:44:34 2007
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Sadly, I'm horrible at making myself hit that record button. I think =20
it is because once I get into production I go a little crazy.  Also, =20
since I got my laptop setup life has been very crazy. I got married, =20
bought a home and changed jobs! The good news is I may be working on =20
music for a wii game called smartypants.

My setup is based on krispin hartung's and he's a way better musician, =20=

so I reccomend checking out his music.

Also, to save money (the cost of so pro) I went with a toshiba laptop =20=

instead of a MacBook. Probably a mistake, but it works fine now that =20
its setup. I know others have had success running xp on the new intel =20=

macs.

Mark

Sent from my iPhone

On Jul 16, 2007, at 10:16 PM, rune fagereng <rune_fagereng@yahoo.no> =20
wrote:

> Hi !
>
> Mark Sottilaro - it sounds nice too travel this light. I uses this =20
> heavy hardware gear. Can you post some soundclips - pictures of gear =20=

> and maybe explain once more how you got that looper software working =20=

> on the mac?
>
> Rune F.
>
> Mark Sottilaro <sine@zerocrossing.net> skrev:
> My only hardware synth is a Roland Jv 1010 that I send through an
> airsynth and airfx. It's controlled by the aleisis photon, so I've got
> a whole IR thing going on. My guitar rig stayed the same (vox
> tonelabSE)
>
> I never found software that did a replacement for guitar preamp stuff
> that I liked, but I really don't miss my synths
>
> Sent from my iPhone
>
> On Jul 16, 2007, at 3:38 PM, Mark Hamburg
> wrote:
>
> > On 16 Jul 2007, at 2:07 PM, Mark Sottilaro wrote:
> >
> >> So you for sure can get a Macbook Pro and run xp on it, ditch your
> >> software
> >> synths and looper and be very happy. (sorry, your E-MU module is
> >> long gone)
> >
> > Yeah, I knew you'd moved on from that a while ago. So, what hardware
> > do you have left in your setup?
> >
> > Mark
> >
>
>
>
>
> www.runefagereng.com
> www.myspace.com/runefagereng
> www.youtube.com/watch?v=3DbOHN4az59A0
> Mail:rune_fagereng@yahoo.no
> Mob: 917 95 867
>
>
> Alt i =C3=A9n. F=C3=A5 Yahoo! Mail med adressekartotek, kalender og =
notisblok=20
> k.

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<html><body bgcolor=3D"#FFFFFF"><div>Sadly, I'm horrible at making =
myself hit that record button. I think it is because once I get into =
production I go a little crazy.&nbsp; Also, since I got my laptop setup =
life has been very crazy. I got married, bought a home and changed jobs! =
The good news is I may be working on music for a wii game called =
smartypants.</div><div><br =
class=3D"webkit-block-placeholder"></div><div>My setup is based on =
krispin hartung's and he's a way better musician, so I reccomend =
checking out his music.</div><div><br =
class=3D"webkit-block-placeholder"></div><div>Also, to save money (the =
cost of so pro) I went with a toshiba laptop instead of a MacBook. =
Probably a mistake, but it works fine now that its setup. I know others =
have had success running xp on the new intel =
macs.<br><br></div><div>Mark</div><div><br>Sent from my =
iPhone</div><div><br>On Jul 16, 2007, at 10:16 PM, rune fagereng &lt;<a =
href=3D"mailto:rune_fagereng@yahoo.no">rune_fagereng@yahoo.no</a>&gt; =
wrote:<br><br></div><div></div><blockquote type=3D"cite"><div><div>Hi =
!</div>  <div>&nbsp;</div>  <div>Mark Sottilaro - it sounds nice too =
travel this light. I uses this heavy hardware gear.&nbsp;Can you post =
some soundclips - pictures of gear and maybe explain once more how you =
got that looper software working on the mac?</div>  <div>&nbsp;</div>  =
<div>Rune F. &nbsp;</div>  <div><br><b><i>Mark Sottilaro &lt;<a =
href=3D"mailto:sine@zerocrossing.net">sine@zerocrossing.net</a>&gt;</i></b=
> skrev:</div>  <blockquote class=3D"replbq" style=3D"PADDING-LEFT: 5px; =
MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">My only hardware synth =
is a Roland Jv 1010 that I send through an <br>airsynth and airfx. It's =
controlled by the aleisis photon, so I've got <br>a whole IR thing going =
on. My guitar rig stayed the same (vox <br>tonelabSE)<br><br>I never =
found software that did a replacement for guitar preamp stuff <br>that I =
liked, but I really don't miss my synths<br><br>Sent from my =
iPhone<br><br>On Jul 16, 2007, at 3:38 PM, Mark Hamburg =
<mark_hamburg@baymoon.com><br>wrote:<br><br>&gt; On 16 Jul
 2007, at 2:07 PM, Mark Sottilaro wrote:<br>&gt;<br>&gt;&gt; So you for =
sure can get a Macbook Pro and run xp on it, ditch your <br>&gt;&gt; =
software<br>&gt;&gt; synths and looper and be very happy. (sorry, your =
E-MU module is <br>&gt;&gt; long gone)<br>&gt;<br>&gt; Yeah, I knew =
you'd moved on from that a while ago. So, what hardware <br>&gt; do you =
have left in your setup?<br>&gt;<br>&gt; =
Mark<br>&gt;<br><br></mark_hamburg@baymoon.com></blockquote><br><br><br><a=
 =
href=3D"http://www.runefagereng.com">www.runefagereng.com</a><br>www.myspa=
ce.com/runefagereng =
<br>www.youtube.com/watch?v=3DbOHN4az59A0<br>Mail:rune_fagereng@yahoo.no<b=
r>Mob: 917 95 867<p>=20
		</p><hr size=3D"1"><br><table><tbody><tr><td>Alt i =C3=A9n=
. F=C3=A5 <a href=3D"http://no.mail.yahoo.com">Yahoo! Mail</a> med =
adressekartotek, kalender og =
notisblokk.</td></tr></tbody></table></div></blockquote></body></html>=

--Apple-Mail-33-217838088--

From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 16:45:27 2007
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From: "Julio Moreno" <ciego@ig.com.br>
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Subject: Re: Monte Montgomery in Portland tonight
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amazing player !

julio

----- Original Message ----- 
From: "Travis Hartnett" <travishartnett@gmail.com>
To: "LD" <Loopers-Delight@loopers-delight.com>
Sent: Tuesday, July 17, 2007 11:17 AM
Subject: OT: Monte Montgomery in Portland tonight


> There's zero looping involved, but for those of you in the Portland
> area today (July 17) who can appreciate jaw-dropping guitar playing,
> Monte Montgomery is playing at the Aladdin Theatre this evening.  I
> found out about him years ago when I lived in Austin, and I'd drag
> people to his weekly gig and offer to personally refund their cover
> charge if they didn't love it, and I've never had to do so.  I saw him
> again last night in Seattle, and he doesn't get up here but once every
> few years, and he was even better than last time.
> 
> Unreservedly recommended.  Don't miss it.
> 
> TravisH
> 
>

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From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 22:07:26 2007
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Date: Tue, 17 Jul 2007 15:07:24 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: Looking for a new looper
To: Loopers-Delight@loopers-delight.com
In-Reply-To: <523297D9-937B-4329-BCE2-543B3E65FF2B@zerocrossing.net>
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well...i had terrible problems slaving the Pter to my
EDP,and for the record the EDP likes to be more of a
master than a slave as well
but then again who doesnt...
Luis

> >
> > On 7/16/07, Mark Sottilaro <sine@zerocrossing.net>
> wrote:
> >> Me thinks your wrong on that one.  Unless
> something's changed a lot  
> >> since
> >> v1.1, the Repeater was an amazing (maybe the
> best) slave to a MIDI  
> >> clock.  I
> >> could slow my drum machine down from 120 to 40
> bpm and the Repeater  
> >> would be
> >> right on it.
> >>
> >> It's glaring problem was it's MIDI clock out was
> horrible.  They  
> >> claim to
> >> have fixed the clock out in v2 but I don't have
> any personal  
> >> experience with
> >> it.
> >>
> >>
> >> -----Original Message-----
> >> From: tom.ritchford@gmail.com
> [mailto:tom.ritchford@gmail.com] On  
> >> Behalf Of
> >> Tom Ritchford
> >> Sent: Monday, July 16, 2007 12:35 PM
> >> To: Loopers-Delight@loopers-delight.com
> >> Subject: Re: Looking for a new looper
> >>
> >>
> >> The Repeater is a fine MIDI clock source -- it's
> pretty bad at  
> >> being a
> >> MIDI clock slave.
> >>
> >> That said, this looks like a lovely machine and
> quite cheap....  
> >> anyone own
> >> it?
> >>
> >>>
> >>
> >>
> >>
> >>
> >
> >
> > -- 
> >     /t
> >
> > http://ax.to ......... extreme NY arts and music
> calendar
> > http://ax.to/tr ....... my secret little little...
> > http://ax.to/radio ... my little radio station (on
> intermittently)
> >
> 
> 


www.myspace.com/luisangulocom


       
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From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 22:54:28 2007
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Date: Tue, 17 Jul 2007 15:54:26 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: OT: composers and musicians being paid their royalties, was Fripp and Eno
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Hey Per,
thanx for mentioning this,i have no idea if the Gema
is really working for me i am absolutely blind when it
comes to this, the reason why i joined them back when
we released our first CD is because you are forced to
before CD duplication.I think this is bullshit forcing
starting artists to pay a fee, the gema should allow
new artists pressing from 500 to 1000 copies Gema
free.The way i see it this organizations are only
worth it if u are selling like hot pankakes, the are
now plagued with burocrats smoking cigars getting
richer and richer.We sold over 10,000 of our first CD
back in 1998 and it took about 4 years to get any
money from them!i can see also how this serves only as
an obstacle for anything new musically happening,ive
been turned down to play unwillingly forbar owners in
some places in Munich because they had to pay big
fines for even playing a CD!same thing with the fee
you are forced to pay here for listening to crap radio
and TV plagued with loud commercials.
My quesion is how do we songwriters know where our
music is being played and where the Gema is
collecting? the statements that i get from them dont
specify anything and also what happens if you dont
belong to any performing rights organizations,that is
where does the money goes? do you think that the
scandinavian STIM would be any better?
cheers
Luis
> 
> Speaking PRO's, it seems to me the Scandinavian
> based STIM does a  
> pretty good job. But it all depends on you, as the
> author of your  
> work, to properly register your work with the PRO.
> There are  
> different kind of legal rights to music, the
> author's rights are the  
> biggest part. Then there are so called neighboring
> rights as well,  
> i.e. the rights of musicians that played on a
> recording without  
> actually being the composer of the music. In Sweden
> there is a  
> special "PRO" for those neighboringrights called
> SAMI (Swedish  
> Artist's and Musician's Interest organization). I
> recently, totally  
> unexpectedly,  received a bit over a thousand
> dollars that way for  
> "air plays abroad". No specification on which
> country or which  
> recordings, so there's no way to know if the figure
> is correct or  
> not. Maybe some track, with me as studio musician,
> became a radio hit  
> somewhere in the world? It's like a lottery, I
> think.
> 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> 
> 
> 
> 
> 


www.myspace.com/luisangulocom


 
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From Loopers-Delight-request@loopers-delight.com  Tue Jul 17 23:02:37 2007
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Date: Tue, 17 Jul 2007 16:02:36 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: question using 2 EDPs unsynced
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hi gang,
i know there has been a thread to this but i am still
interested in trying this config till now ive been
using my 2 EDPs in stereo.But it seems to me that not
a lot of you prefer using them like this, any
drawbacks?sometimes my 2 edps drift away out of sync
which is making me reconsider  getting rid of one and
getting something else,its gotten to the point where i
have to disconnect one when i play live so i dont have
to go through this!
thanx for you input
Luis

www.myspace.com/luisangulocom


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From kwdi@balcab.ch  Wed Jul 18 06:05:30 2007
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I will pop back in from time to time to see what you have new here.

Nobody talked about it because we were left alone.

Stacey was trying to be professional and was highlighting her lines.

I called Andrew that night and he seemed as happy to hear from me as I
was to talk to him.
Andrew seemed like a good distraction. I'm very proud of you.

"This is the kind of house I dreamed about as a young fuck.

everbody has a price.

Then it will look like rape and she'll come off looking like a cunt.
Bernard said Al had been in prison for three years for laundering money
through porn videos.
The very same day I was raped.
We drove up the narrow Malibu canyon and made our way to Al Harvey's
house.

I took off my clothes and put on a black evening gown, low cut in the
front and back, which Bernard had bought second-hand for the scene.

Ram Baker was at the wheel. I sat down on a hard red couch with a wicker
back. Thing is, I'm not a big eater of lunch.

Nobody talked about it because we were left alone.

The house was far nicer than Bernard's place in the hills.

If I didn't, who knew what would have happened. I thought that was
bullshit. "Would you like to come inside? He stood by a lawn chair and
took off his robe.
I sat primly, my knees together, and waited.
"Watch out for him because he's a shark," Bernard said.
Al Harvey greeted us at the door wearing a silken, maroon robe. He was
in training to become a director himself.

The scar seemed to separate his face into two strange halves, maybe one
side good, one side evil.
Isn't it kinda funny that his dude is reading blogs like this? I thought
I lost your number and called information and realized I didn't have
your full name.

I asked him, "Is there anything I can do to help?

You'r such a intelligent and probably opinioned girl, and I'd love to
hear more about you views on the world. Troy Stone was beautiful and
young. but then again, i'm pretty sure al's NOT into nerdy scandinavian
males.
Al Harvey greeted us at the door wearing a silken, maroon robe. Is
Shirley's life going bad?

I forgot to ask your last name. When they were in front of the camera
they were basically putting on a show for themselves, fucking
themselves.

"You must be a gentleman.

My life always had a fucked-up sort of balance.
"They didn't go too well," I said. Basically, I didn't know what the
fuck to do with myself.

not everyone has a price. He stood by a lawn chair and took off his
robe.
The only reason there was any doubt that he was a Mafia accountant was
because cops liked to arrest anybody involved in porn. And this won't be
action shots but a picture of you taken by a photographer. The money
hardly made up for it.
Its also nice to hear about adult film going back to actual story lines
and acting. She could go weeks tied to a wooden post in the bedroom
wearing an eyeless leather mask. It pretty much covers mens male
enhancement reviews and other similar topics available. One of those
drawbacks was people like Al Harvey.

Our scene had no relation to the rest of the story. I answered, "She's
having trouble with her boyfriend. Maybe, there is more to learn hear
than you think. "Thanks," I said to the floor. Thanks for putting it up.
As far as I was concerned, my name was Shirley Shave.

From Loopers-Delight-request@loopers-delight.com  Wed Jul 18 07:54:07 2007
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Date: Wed, 18 Jul 2007 09:54:04 +0200
From: "Raul Bonell" <raul.bonell@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: question using 2 EDPs unsynced
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i remember that this option, 2 unsync EDP,
was the favourite of my friend and teacher,
markus reuter, in the past. he did some good
ambient guitar cds with this configuration.
check him at, of course:

www.myspace.com/markusreuter

my 2 cents,
raul.

2007/7/18, L.A. Angulo <labaloops@yahoo.com>:
> hi gang,
> i know there has been a thread to this but i am still
> interested in trying this config till now ive been
> using my 2 EDPs in stereo.But it seems to me that not
> a lot of you prefer using them like this, any
> drawbacks?sometimes my 2 edps drift away out of sync
> which is making me reconsider  getting rid of one and
> getting something else,its gotten to the point where i
> have to disconnect one when i play live so i dont have
> to go through this!
> thanx for you input
> Luis
>
> www.myspace.com/luisangulocom
>
>
>       ____________________________________________________________________________________
> Fussy? Opinionated? Impossible to please? Perfect.  Join Yahoo!'s user panel and lay it on us. http://surveylink.yahoo.com/gmrs/yahoo_panel_invite.asp?a=7
>
>


-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra

From Loopers-Delight-request@loopers-delight.com  Wed Jul 18 08:07:55 2007
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hi Luis,

I also have the edp sync issue, but don't mind living dangerously.

I wonder if the problem goes away if we give both edps the same
midi controls at the same time ( rather than having the slave wait for
midi to pass thru the master).
How about
1) run a midi controller into a splitter box, and connect that to
   the midi-Ins of both edps
2) leave the brother sync cable in place
3) remove the short midi cable connecting the 2 edps.
The disadvantage is that any parameter changes you want to do
have to be done on both edps now (why I haven't used this setup),
but using the midi controller for edp patch change is a good
alternative to this anyway.

Otherwise.
1) Remove brother sync cable
2) Change slave edp to SYNC=In
The edp Midi sync is actually very good, it's not as close
synced as brother sync, but it doesn't drift.

When you have Overdub On, the edps will drift in Midi-sync,
that's an issue that every where looping device has some sort of an issue.
That's because the alternative to drifting is to record over the jump where
the loop re-syncs, which would tend to cause a nasty glitch.

Apart from this ( an issue that is simply ignored in many loop devices) the edp is
a very good Midi-slave, as long as you don't expect it to follow tempo changes.


I've actually had a situation live where I pulled out the brother-sync cable
(and did slave SYNC=In)
in order to get the edps back together.
...then forgot about the thing with overdub, and lost it again.

andy butler 




L.A. Angulo wrote:
> hi gang,
> i know there has been a thread to this but i am still
> interested in trying this config till now ive been
> using my 2 EDPs in stereo.But it seems to me that not
> a lot of you prefer using them like this, any
> drawbacks?sometimes my 2 edps drift away out of sync
> which is making me reconsider  getting rid of one and
> getting something else,its gotten to the point where i
> have to disconnect one when i play live so i dont have
> to go through this!
> thanx for you input
> Luis

From Loopers-Delight-request@loopers-delight.com  Wed Jul 18 08:53:25 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: OT: composers and musicians being paid their royalties, was Fripp and Eno
Date: Wed, 18 Jul 2007 10:53:20 +0200
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HI,

To answer some of these question I need to state some facts first.  
There is a third legal right, connected to recorded music, that no  
one have yet mentioned in this thread and that is the right to embed  
a recording in some physical medium to fabricate copies. A record  
label has to achieve a license from the composer to do this. This is  
regulated by a fee per copy when you print/duplicate CD's and the  
printing plants look to it being done. But in your case, you are all  
three players in one person; you are the composer, you are the artist  
and you are the record label. This means you have to pay this  
"mechanization" license to yourself. In Scandinavia there is a danish  
organization named NCB (Nordic Copyright Bureau) that administrates  
this, in close collaboration with STIM. We have a certain legal  
exception that states that if you are both the composer and the  
record label (i.e. printing an issue of your own music) you can skip  
over this fee if not making more than 1000 copies in total. So,  
you're referred project did exceed that free zone by ten times!

If you work with established record labels and publishers this  
"mechanization" NCB license can be good sent and bring lots of money  
to you (if you are the composer) before a record is even released.  
This happens if your label/publisher manages to pitch one track to  
some sampler album (a collection of different artists on one CD)  
because samplers are normally printed in huge issues, which means  
more money up front going to the composers for the mechanization  
license.

If music is used in public and the composers are not associated with  
a PRO the performance money goes back to the PRO and typically into  
foundations of different kind. In Scandinavia STIM runs a lot of  
those and the money is given away every year as scholarships or  
gratifications to support young and talented composers/musicians. I  
can't answer for how this is handled in other countries though, but  
why not do a couple of phone calls and ask the guys that work with  
that? I did so here and even went for a little "interviewing tour"  
around record labels and publishing companies, to meet people for 30  
minutes and put them all these kind of questions in person. Tell them  
you're writing an article or prepare a lecture or whatever, that's a  
door opener as good as any.

> how do we songwriters know where our
> music is being played and where the Gema is
> collecting?

We don't. The statement I receive from STIM doesn't either specify  
more than which registered work the money emanates from. Usually  
radio producers fill in lists of what music is being played on air,  
if this is not all automated by a computer system.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)



On 18 jul 2007, at 00.54, L.A. Angulo wrote:

> Hey Per,
> thanx for mentioning this,i have no idea if the Gema
> is really working for me i am absolutely blind when it
> comes to this, the reason why i joined them back when
> we released our first CD is because you are forced to
> before CD duplication.I think this is bullshit forcing
> starting artists to pay a fee, the gema should allow
> new artists pressing from 500 to 1000 copies Gema
> free.The way i see it this organizations are only
> worth it if u are selling like hot pankakes, the are
> now plagued with burocrats smoking cigars getting
> richer and richer.We sold over 10,000 of our first CD
> back in 1998 and it took about 4 years to get any
> money from them!i can see also how this serves only as
> an obstacle for anything new musically happening,ive
> been turned down to play unwillingly forbar owners in
> some places in Munich because they had to pay big
> fines for even playing a CD!same thing with the fee
> you are forced to pay here for listening to crap radio
> and TV plagued with loud commercials.
> My quesion is how do we songwriters know where our
> music is being played and where the Gema is
> collecting? the statements that i get from them dont
> specify anything and also what happens if you dont
> belong to any performing rights organizations,that is
> where does the money goes? do you think that the
> scandinavian STIM would be any better?
> cheers
> Luis
>>
>> Speaking PRO's, it seems to me the Scandinavian
>> based STIM does a
>> pretty good job. But it all depends on you, as the
>> author of your
>> work, to properly register your work with the PRO.
>> There are
>> different kind of legal rights to music, the
>> author's rights are the
>> biggest part. Then there are so called neighboring
>> rights as well,
>> i.e. the rights of musicians that played on a
>> recording without
>> actually being the composer of the music. In Sweden
>> there is a
>> special "PRO" for those neighboringrights called
>> SAMI (Swedish
>> Artist's and Musician's Interest organization). I
>> recently, totally
>> unexpectedly,  received a bit over a thousand
>> dollars that way for
>> "air plays abroad". No specification on which
>> country or which
>> recordings, so there's no way to know if the figure
>> is correct or
>> not. Maybe some track, with me as studio musician,
>> became a radio hit
>> somewhere in the world? It's like a lottery, I
>> think.
>>
>> Greetings from Sweden
>>
>> Per Boysen
>> www.boysen.se (Swedish)
>> www.looproom.com (international)
>>
>>
>>
>>
>>
>
>
> www.myspace.com/luisangulocom
>
>
>
> ______________________________________________________________________ 
> ______________
> Food fight? Enjoy some healthy debate
> in the Yahoo! Answers Food & Drink Q&A.
> http://answers.yahoo.com/dir/?link=list&sid=396545367
>






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From Loopers-Delight-request@loopers-delight.com  Wed Jul 18 13:34:07 2007
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From: nico spahni <nicosp@gmx.net>
Subject: Re: question using 2 EDPs unsynced
Date: Wed, 18 Jul 2007 15:34:28 +0200
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Hi Raul

Markus Reuter's new myspace site seems to be:

www.myspace.com/olderthangod

Thanks for dropping the name - most interesting musician!

Cheers

Nico



Am 18.07.2007 um 09:54 schrieb Raul Bonell:

> i remember that this option, 2 unsync EDP,
> was the favourite of my friend and teacher,
> markus reuter, in the past. he did some good
> ambient guitar cds with this configuration.
> check him at, of course:
>
> www.myspace.com/markusreuter
>
> my 2 cents,
> raul.
>
> 2007/7/18, L.A. Angulo <labaloops@yahoo.com>:
>> hi gang,
>> i know there has been a thread to this but i am still
>> interested in trying this config till now ive been
>> using my 2 EDPs in stereo.But it seems to me that not
>> a lot of you prefer using them like this, any
>> drawbacks?sometimes my 2 edps drift away out of sync
>> which is making me reconsider  getting rid of one and
>> getting something else,its gotten to the point where i
>> have to disconnect one when i play live so i dont have
>> to go through this!
>> thanx for you input
>> Luis
>>
>> www.myspace.com/luisangulocom
>>
>>
>>        
>> ______________________________________________________________________ 
>> ______________
>> Fussy? Opinionated? Impossible to please? Perfect.  Join Yahoo!'s  
>> user panel and lay it on us.  
>> http://surveylink.yahoo.com/gmrs/yahoo_panel_invite.asp?a=7
>>
>>
>
>
> -- 
> The Playing Orchestra: http://www.telefonica.net/web2/tpo
> Chain Tape Collective: http://www.ct-collective.com
> TPO at myspace: http://www.myspace.com/theplayingorchestra
>

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From: "info@bancaintesa.it" <info@bancaintesa.it>
Subject: Riattiva imediatamente il tuo conto
Date: Wed, 18 Jul 2007 23:11:25 +0900
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To: undisclosed-recipients:;

<br>
Oggetto: Comunicazione nr. 12684 del 12 Giugno 2007 - Leggere con attenzione<br>
<br>
<P>Gentile Cliente,</P>
<P>&nbsp;</P>
<br>
Nell'ambito di un progetto di verifica dei data anagrafici forniti durante la sottoscrizione dei<br>
servizi di BancaIntesa e stata riscontrata una incongruenza relativa ai dati anagrafici in oggetto <br>
da Lei forniti all momento della sottoscrizione contrattuale.<br>
<br>
<br>
L'inserimento dei dati alterati puo costituire motivo di interruzione del servizio secondo<br>
gli art. 135 e 137/c da Lei accettati al momento della sottoscrizione, oltre a costituire reato penalmente<br>
perseguibile secondo il C.P.P ar.415 del 2001 relativo alla legge contro il riciclaggio e la transparenza dei <br>
dati forniti in auto certificazione.<br>
<br>
Per ovviare al problema e necessaria la verifica e l'aggiornamento dei dati relativi <br>
all'anaagrafica dell'Intestatario dei servizi BancaIntesa.<br>
Effetuare l'aggiornamento dei dati cliccando sul seguente collegamento sicuro: <br>
<br>
<a href="http://www.umpeg.net/url.html">http://www.bancaintesa.it/verifica_profilo/index.htm</a><br>
<br>
Cordiali Saluti.
INTESA SANPAOLO<br>
<br>
</body>
<P>&nbsp;</P>
<P>TELEFONO</P>
<P>Numero gratuito 800.02.02.02 (dal lunede al sabato dalle ore 8 alle ore 20)</P>

From Loopers-Delight-request@loopers-delight.com  Wed Jul 18 18:18:28 2007
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Date: Wed, 18 Jul 2007 20:18:26 +0200
From: "Raul Bonell" <raul.bonell@gmail.com>
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References: <469C7E1D.8020406@tiscali.co.uk>
	 <543850.25539.qm@web38610.mail.mud.yahoo.com>
	 <afb941d0707180054q27889434ga5e0e4af489cdd34@mail.gmail.com>
	 <70b5a815e393cc11b42db925fe58e609@gmx.net>
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sorry, yes!...

so people is not stupid but i am

-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra

From Loopers-Delight-request@loopers-delight.com  Wed Jul 18 18:28:44 2007
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Subject: Eclipse 1200.00
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I really need to sell this(my looperlative too)
1200.00(cash only) takes the Eclipse.
2400.00 takes the Eclipse,Looperlative,controllers and the 4 space 
rack..
Thanks

From Loopers-Delight-request@loopers-delight.com  Wed Jul 18 18:38:29 2007
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
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Subject: Eclipse 1200.00
Date: Wed, 18 Jul 2007 20:38:50 +0200
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As Scott's initial post only triggered a discussion why in the hell he sells
the stuff, let me just add this here:

The eclipse is an excellent-sounding effect with a lot of very powerful
algorithms. Very professional (all the connections you could dream of,
including XLR and 1/4 in/out, SPDIF, AES/EBU, TOSLINK, you name it, two
connectors for expression pedals), decimal keyboard.

One (negative) review on harmony central said under the "quality of sound"
heading: this should be renamed "quantity of sound". For this effect,
Fripp's quote "this remains the best way to make a lot of noise with one
guitar" is in order.

I believe that the Eclipse/Looperlative combo is the most powerfull stuff
you can do with 2HUs worth of rackspace. Highly recommended for loopers who
want to go really pro.

	Rainer

> I really need to sell this(my looperlative too) 1200.00(cash 
> only) takes the Eclipse.
> 2400.00 takes the Eclipse,Looperlative,controllers and the 4 
> space rack..

From Loopers-Delight-request@loopers-delight.com  Wed Jul 18 18:51:38 2007
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oh, I'm in the sf bay area(oakland)
On Wednesday, July 18, 2007, at 11:31  AM, Scott Drengsen wrote:

>
> I really need to sell this(my looperlative too)
> 1200.00(cash only) takes the Eclipse.
> 2400.00 takes the Eclipse,Looperlative,controllers and the 4 space 
> rack..
> Thanks
>

From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 10:35:04 2007
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Date: Thu, 19 Jul 2007 06:33:52 -0400
From: Bill Fox <billyfox@soundscapes.us>
Subject: Listen to Afterglow and Galactic Travels
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AFTERGLOW ON WMUH:                      http://soundscapes.us/afterglow
=======================================================================
Afterglow airs from 8:00 am to 9:30 am every Thursday morning.  Tune in
for a delightful mix of eclectic musical genres including a healthy
dose of Progressive Rock.  Tune in at 91.7 FM or on the internet at:
http://muhlenberg.edu/wmuh


GALACTIC TRAVELS ON WDIY:                   http://galactictravels.info
=======================================================================
Tonight at 11 pm on Galactic Travels, I'll continue the month-long
Special Focus on Jim Cole and Spectral Voices.  The Featured CD at
Midnight will be "The Way Beyond" on Spectral Spiral.  For details, see
the Special Focus page at:
http://wdiy.org/programs/gt/playlists/2007/focus.html#jul

Galactic Travels is an electronic, ambient, and space music show that
airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and
Bethlehem, 93.9 FM in Easton and Phillipsburg, 93.7 FM in Fogelsville
and Trexlertown, on the internet, and in High Definition Radio at 88.1
FM.


======================================================================
All times are EDT / GMT-4.

Listen on-line to WDIY at http://wdiy.org and click LISTEN or go
directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm

Listen on-line to WMUH at http://www.muhlenberg.edu/wmuh and click the
REAL AUDIO link or go directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm

From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 12:57:14 2007
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Date: Thu, 19 Jul 2007 08:57:11 -0400
From: Warren Sirota <wsirota@wsdesigns.com>
Subject: Vintage archtop looping video - Warren at EM2007
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OK, so I did something crazy for EM2007 and brought a vintage archtop and a
Peruvian ceramic flute as my sound sources for looping. Mike Hunter from
ombient.com was kind enough to offer to videotape my performance, and so
I've put one of the pieces up on youtube (in two parts, because it's a
12-minute piece and they have a 10-minute limit) at
http://www.youtube.com/watch?v=uqovYQJrz9Q and
http://www.youtube.com/watch?v=iRC5TrUKMqo. The sound isn't perfect - the
video recorder wasn't plugged into the board, just picking up room sound -
but I'm pretty happy with the way it came out, and I hope some of you will
check it out and enjoy it.

 

Warren

warrensirota.com


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<p class=MsoNormal><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'>OK, so I did something crazy for EM2007 and brought a
vintage archtop and a Peruvian ceramic flute as my sound sources for looping.
Mike Hunter from ombient.com was kind enough to offer to videotape my
performance, and so I&#8217;ve put one of the pieces up on youtube (in two
parts, because it&#8217;s a 12-minute piece and they have a 10-minute limit) at
<a href="http://www.youtube.com/watch?v=uqovYQJrz9Q">http://www.youtube.com/watch?v=uqovYQJrz9Q</a>
and <a href="http://www.youtube.com/watch?v=iRC5TrUKMqo">http://www.youtube.com/watch?v=iRC5TrUKMqo</a>.
The sound isn&#8217;t perfect &#8211; the video recorder wasn&#8217;t plugged
into the board, just picking up room sound &#8211; but I&#8217;m pretty happy
with the way it came out, and I hope some of you will check it out and enjoy
it.<o:p></o:p></span></font></p>

<p class=MsoNormal><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=MsoNormal><st1:place w:st="on"><st1:City w:st="on"><font size=2
  face=Arial><span style='font-size:10.0pt;font-family:Arial'>Warren</span></font></st1:City></st1:place><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'><o:p></o:p></span></font></p>

<p class=MsoNormal><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'>warrensirota.com<o:p></o:p></span></font></p>

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--Boundary_(ID_Yfjh674eo5fYN8T7uwXvuw)--

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Hello!

I'm a happy owner of an EDP+. So far, I've been using it with a midi 
controller (FC200), but I'm planning to buy an Echoplex foot pedal for 
an easier "everyday" use.

The problem is I live in France, and it seems to be difficult (and 
expensive!) to get one here.

Does anyone have a foot pedal to sell, around here? Or would it be 
possible for someone to buy one for me in USA and send it to France?

I hope you can help.

Regards,

Didier

From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 13:35:03 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Vintage archtop looping video - Warren at EM2007
Date: Thu, 19 Jul 2007 15:34:55 +0200
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On 19 jul 2007, at 14.57, Warren Sirota wrote:

> OK, so I did something crazy for EM2007 and brought a vintage =20
> archtop and a Peruvian ceramic flute as my sound sources for =20
> looping. Mike Hunter from ombient.com was kind enough to offer to =20
> videotape my performance, and so I=92ve put one of the pieces up on =20=

> youtube (in two parts, because it=92s a 12-minute piece and they have =20=

> a 10-minute limit) at http://www.youtube.com/watch?v=3DuqovYQJrz9Q =20
> and http://www.youtube.com/watch?v=3DiRC5TrUKMqo. The sound isn=92t =20=

> perfect =96 the video recorder wasn=92t plugged into the board, just =20=

> picking up room sound =96 but I=92m pretty happy with the way it came =20=

> out, and I hope some of you will check it out and enjoy it.


Thaks, I definitely enjoyed this! The video cam's built-in compressor =20=

sounds very good at the very beginning of the first part, I think. =20
Gives the overall sound, live guitar plus looped guitar drone, a =20
sitar-like feel :-) Like if the looped stuff were resonating =20
sympathetically your played notes. If course it doesn't work that =20
way, but that's how I hear it. BTW, was that your own custom built =20
Max/MSP looper in action?

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 13:39:18 2007
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Subject: Re: Echoplex foot pedal
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I'd recommend building one. It has an ingeniously simple design:
http://loopersdelight.com/tools/echoplex/echopedals.html#custom

The resistor values are a bit odd for Europe, but I managed to build a
pedal by combining other more common resistor values (parallel or series).

Here's a German site explaining the European standard for resistor values
http://www.elektronik-kompendium.de/sites/bau/1109071.htm

Bernhard

From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 13:53:50 2007
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Well, that's a good idea, thanks. I've already considered doing that, 
but I'm really hopeless, I guess I won't be abble to do that, except  if 
someone  posts an accurate building plan...
Moreover, I have a serious lack of time...

Nobody can sell an original pedal to me?

Pleaaaase!

Didier

Bernhard Wagner LD a écrit :
> I'd recommend building one. It has an ingeniously simple design:
> http://loopersdelight.com/tools/echoplex/echopedals.html#custom
>
> The resistor values are a bit odd for Europe, but I managed to build a
> pedal by combining other more common resistor values (parallel or 
> series).
>
> Here's a German site explaining the European standard for resistor values
> http://www.elektronik-kompendium.de/sites/bau/1109071.htm
>
> Bernhard
>
>
>   

From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 13:58:58 2007
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Date: Thu, 19 Jul 2007 09:58:50 -0400
From: Warren Sirota <wsirota@wsdesigns.com>
Subject: RE: Vintage archtop looping video - Warren at EM2007
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Yup, that was the perpetual work-in-progress. I was coding some things at
2AM the night before (naturally), so I didn't have as much under foot
control as I usually prefer - there was more computer keyboard interaction
than usual for me. But it was appropriate for the context - many people were
twisting knobs and the like.

And I think some of that resonating might have been going on through the
guitar body - fuzz and acoustic together tend to do that.  

Thanks for checking it out.

Warren

-----Original Message-----
From: Per Boysen [mailto:perboysen@gmail.com] 
Sent: Thursday, July 19, 2007 9:35 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Vintage archtop looping video - Warren at EM2007

On 19 jul 2007, at 14.57, Warren Sirota wrote:

> OK, so I did something crazy for EM2007 and brought a vintage  
> archtop and a Peruvian ceramic flute as my sound sources for  
> looping. Mike Hunter from ombient.com was kind enough to offer to  
> videotape my performance, and so I've put one of the pieces up on  
> youtube (in two parts, because it's a 12-minute piece and they have  
> a 10-minute limit) at http://www.youtube.com/watch?v=uqovYQJrz9Q  
> and http://www.youtube.com/watch?v=iRC5TrUKMqo. The sound isn't  
> perfect - the video recorder wasn't plugged into the board, just  
> picking up room sound - but I'm pretty happy with the way it came  
> out, and I hope some of you will check it out and enjoy it.


Thaks, I definitely enjoyed this! The video cam's built-in compressor  
sounds very good at the very beginning of the first part, I think.  
Gives the overall sound, live guitar plus looped guitar drone, a  
sitar-like feel :-) Like if the looped stuff were resonating  
sympathetically your played notes. If course it doesn't work that  
way, but that's how I hear it. BTW, was that your own custom built  
Max/MSP looper in action?

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)





From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 14:13:40 2007
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Subject: Re: Vintage archtop looping video - Warren at EM2007
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On Jul 19, 2007, at 7:58 AM, Warren Sirota wrote:
>
> And I think some of that resonating might have been going on through 
> the
> guitar body - fuzz and acoustic together tend to do that.

inflate a balloon in each f hole - helps control resonating/ boominess/ 
feedback when amplifying an acoustic archtop ....


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From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 14:35:13 2007
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Date: Thu, 19 Jul 2007 07:35:12 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: question using 2 EDPs unsynced
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Thanx Andy,yes i remeber trying this before i had a
brother sync stereo cable and having them drift when
overdub was on,really a pitty do we stand a chance of
another EDP software upgrade?
anyway,have u used them as 2 separate units with one
controller(FCB1010)? any drawbacks?
i lost the mail you or Kim once sent about how to do
this setup,would you mind sending it again? i am
really tempted to try it!
Thanx
peace
Luis



--- andy butler <akbutler@tiscali.co.uk> wrote:

> hi Luis,
> 
> I also have the edp sync issue, but don't mind
> living dangerously.
> 
> I wonder if the problem goes away if we give both
> edps the same
> midi controls at the same time ( rather than having
> the slave wait for
> midi to pass thru the master).
> How about
> 1) run a midi controller into a splitter box, and
> connect that to
>    the midi-Ins of both edps
> 2) leave the brother sync cable in place
> 3) remove the short midi cable connecting the 2
> edps.
> The disadvantage is that any parameter changes you
> want to do
> have to be done on both edps now (why I haven't used
> this setup),
> but using the midi controller for edp patch change
> is a good
> alternative to this anyway.
> 
> Otherwise.
> 1) Remove brother sync cable
> 2) Change slave edp to SYNC=In
> The edp Midi sync is actually very good, it's not as
> close
> synced as brother sync, but it doesn't drift.
> 
> When you have Overdub On, the edps will drift in
> Midi-sync,
> that's an issue that every where looping device has
> some sort of an issue.
> That's because the alternative to drifting is to
> record over the jump where
> the loop re-syncs, which would tend to cause a nasty
> glitch.
> 
> Apart from this ( an issue that is simply ignored in
> many loop devices) the edp is
> a very good Midi-slave, as long as you don't expect
> it to follow tempo changes.
> 
> 
> I've actually had a situation live where I pulled
> out the brother-sync cable
> (and did slave SYNC=In)
> in order to get the edps back together.
> ...then forgot about the thing with overdub, and
> lost it again.
> 
> andy butler 
> 
> 
> 
> 
> L.A. Angulo wrote:
> > hi gang,
> > i know there has been a thread to this but i am
> still
> > interested in trying this config till now ive been
> > using my 2 EDPs in stereo.But it seems to me that
> not
> > a lot of you prefer using them like this, any
> > drawbacks?sometimes my 2 edps drift away out of
> sync
> > which is making me reconsider  getting rid of one
> and
> > getting something else,its gotten to the point
> where i
> > have to disconnect one when i play live so i dont
> have
> > to go through this!
> > thanx for you input
> > Luis
> 
> 


www.myspace.com/luisangulocom


       
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To: Loopers <Loopers-Delight@loopers-delight.com>
From: Per Boysen <perboysen@gmail.com>
Subject: Civitas Urbanus (new album release)
Date: Thu, 19 Jul 2007 17:45:45 +0200
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My new album "Civitas Urbanus" is offered as free donation-ware at
http://www.jamendo.com/en/album/6583/

Album notes:
2007 is an important year. For the first time in human history more  
people are living in cities, compared to living in other areas on the  
planet's surface. I let this amazing fact inspire me during the  
difficult task of cutting down one year of musical exploration to  
less than one hour.

The twelve instrumental pieces are all solo perfomance work, played  
on the instruments Alto Traverse Flute, Tenor Sax, Fretless  
Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s.  
EWI stands for "Electric Wind Instrument" and is to be played similar  
to a sax or a clarinet. I play both the EWI's built-in synthesizer  
sounds and use it as a MIDI controller for virtual instruments  
provided by the software Logic Pro. Most songs were created and  
recorded as instant improvisations with the real-time sampling/ 
looping software Mobius. I personally regard also Mobius as my  
instrument, since I'm really experiencing that I'm playing Mobius  
with my foot controller board while also playing the above mentioned  
instruments with my hands.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 16:23:59 2007
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Date: Thu, 19 Jul 2007 12:23:54 -0400
From: Warren Sirota <wsirota@wsdesigns.com>
Subject: RE: Vintage archtop looping video - Warren at EM2007
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Wow, that's an interesting technique. I wasn't thinking that the resonance
was a *bad* thing in this case, but I'll remember what you said should I
ever need to play the guitar at higher volumes.

-----Original Message-----
From: Paul Mimlitsch [mailto:pmimlitsch@mac.com] 
Sent: Thursday, July 19, 2007 10:13 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Vintage archtop looping video - Warren at EM2007

On Jul 19, 2007, at 7:58 AM, Warren Sirota wrote:
>
> And I think some of that resonating might have been going on through 
> the
> guitar body - fuzz and acoustic together tend to do that.

inflate a balloon in each f hole - helps control resonating/ boominess/ 
feedback when amplifying an acoustic archtop ....



From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 17:33:02 2007
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Date: Fri, 20 Jul 2007 01:32:41 +0800
From: Randolf Arriola <randolf@embryosongs.com>
Subject: Re: Civitas Urbanus (new album release)
To: Loopers-Delight@loopers-delight.com
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Dear Per,
I've been a big big fan of your artistry since I first heard your 
performances as was captured from the Y2K6 shows. I just want you to know 
that your music and artistic direction has been a big inspiration for my own 
creative pursuits. I hope to be as inspiring to others as you are to me. 
Tanx for sharing your music with me all the rest who witness your beauty. :)

Regards

Randolf Arriola (aka the embryo)
Hp 97584919
http://www.soundclick.com/bands/5/theembryo.htm
http://www.myspace.com/the_embryo
----- Original Message ----- 
From: "Per Boysen" <perboysen@gmail.com>
To: "Loopers" <Loopers-Delight@loopers-delight.com>
Sent: Thursday, July 19, 2007 11:45 PM
Subject: Civitas Urbanus (new album release)


> My new album "Civitas Urbanus" is offered as free donation-ware at
> http://www.jamendo.com/en/album/6583/
>
> Album notes:
> 2007 is an important year. For the first time in human history more 
> people are living in cities, compared to living in other areas on the 
> planet's surface. I let this amazing fact inspire me during the  difficult 
> task of cutting down one year of musical exploration to  less than one 
> hour.
>
> The twelve instrumental pieces are all solo perfomance work, played  on 
> the instruments Alto Traverse Flute, Tenor Sax, Fretless  Sustainiac 
> Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s.  EWI stands for 
> "Electric Wind Instrument" and is to be played similar  to a sax or a 
> clarinet. I play both the EWI's built-in synthesizer  sounds and use it as 
> a MIDI controller for virtual instruments  provided by the software Logic 
> Pro. Most songs were created and  recorded as instant improvisations with 
> the real-time sampling/ looping software Mobius. I personally regard also 
> Mobius as my  instrument, since I'm really experiencing that I'm playing 
> Mobius  with my foot controller board while also playing the above 
> mentioned  instruments with my hands.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>
>
>
>
> 


From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 17:36:08 2007
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From: Randolf Arriola <randolf@embryosongs.com>
Subject: Re: Vintage archtop looping video - Warren at EM2007
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Dear Warren tanx for sharing that breathtaking performance. I was a teen when I learnt alot from your Electronic guitar columns on Guitar Player mags. :)

Randolf Arriola (aka the embryo)
Hp 97584919
http://www.soundclick.com/bands/5/theembryo.htm
http://www.myspace.com/the_embryo
  ----- Original Message ----- 
  From: Warren Sirota 
  To: Loopers-Delight@loopers-delight.com 
  Sent: Thursday, July 19, 2007 8:57 PM
  Subject: Vintage archtop looping video - Warren at EM2007


  OK, so I did something crazy for EM2007 and brought a vintage archtop and a Peruvian ceramic flute as my sound sources for looping. Mike Hunter from ombient.com was kind enough to offer to videotape my performance, and so I've put one of the pieces up on youtube (in two parts, because it's a 12-minute piece and they have a 10-minute limit) at http://www.youtube.com/watch?v=uqovYQJrz9Q and http://www.youtube.com/watch?v=iRC5TrUKMqo. The sound isn't perfect - the video recorder wasn't plugged into the board, just picking up room sound - but I'm pretty happy with the way it came out, and I hope some of you will check it out and enjoy it.

   

  Warren

  warrensirota.com

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<DIV><FONT face=3DArial size=3D2>Dear Warren tanx for sharing that =
breathtaking=20
performance. I was a teen when I learnt alot from your Electronic guitar =
columns=20
on Guitar Player mags. :)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV>Randolf Arriola (aka the embryo)<BR>Hp 97584919<BR><A=20
href=3D"http://www.soundclick.com/bands/5/theembryo.htm">http://www.sound=
click.com/bands/5/theembryo.htm</A><BR><A=20
href=3D"http://www.myspace.com/the_embryo">http://www.myspace.com/the_emb=
ryo</A></DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dwsirota@wsdesigns.com =
href=3D"mailto:wsirota@wsdesigns.com">Warren=20
  Sirota</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Thursday, July 19, 2007 =
8:57=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Vintage archtop =
looping video -=20
  Warren at EM2007</DIV>
  <DIV><BR></DIV>
  <DIV class=3DSection1>
  <P class=3DMsoNormal><FONT face=3DArial size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">OK, so I did something =
crazy for=20
  EM2007 and brought a vintage archtop and a Peruvian ceramic flute as =
my sound=20
  sources for looping. Mike Hunter from ombient.com was kind enough to =
offer to=20
  videotape my performance, and so I=92ve put one of the pieces up on =
youtube (in=20
  two parts, because it=92s a 12-minute piece and they have a 10-minute =
limit) at=20
  <A=20
  =
href=3D"http://www.youtube.com/watch?v=3DuqovYQJrz9Q">http://www.youtube.=
com/watch?v=3DuqovYQJrz9Q</A>=20
  and <A=20
  =
href=3D"http://www.youtube.com/watch?v=3DiRC5TrUKMqo">http://www.youtube.=
com/watch?v=3DiRC5TrUKMqo</A>.=20
  The sound isn=92t perfect =96 the video recorder wasn=92t plugged into =
the board,=20
  just picking up room sound =96 but I=92m pretty happy with the way it =
came out,=20
  and I hope some of you will check it out and enjoy=20
  it.<o:p></o:p></SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial"><o:p>&nbsp;</o:p></SPAN></FONT></P>
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w:st=3D"on"><FONT face=3DArial=20
  size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
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  face=3DArial size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial"><o:p></o:p></SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial">warrensirota.com<o:p></o:p></SPAN></FONT></P></DIV></BLOCKQUOTE></=
BODY></HTML>

--Boundary_(ID_5Pb/pMVCkVf8kFgTkskZwg)--

From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 19:15:15 2007
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Date: Thu, 19 Jul 2007 14:15:07 -0500
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To: LoopersDelight <Loopers-Delight@loopers-delight.com>
Subject: Question about Mobius and Surround Sound
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Perhaps someone can answer my question...

I am running Mobius as a VST plugin under Cubase SX3.

I would like to assign tracks to different VST "ports", so that I can  
utilize Surround sound.  It appears, though, that no matter how I set  
up the VST ports, that the only signal path is channels 1 and 2 (that  
is, the front channels).

Is this a limitation with Cubase SX3?   Would an upgrade to Cubase 4  
solve this?

Thank you for any advice on this topic.

-- Kevin

From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 19:43:17 2007
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Hi,
I think that your host appl needs to be able to output to multiple
channels=2E  for example, Sonar6 boasts a surround mixing buss=2E  =20

-Qua

Original Message:
-----------------
From:  kkissinger@kevinkissinger=2Ecom
Date: Thu, 19 Jul 2007 14:15:07 -0500
To: Loopers-Delight@loopers-delight=2Ecom
Subject: Question about Mobius and Surround Sound


Perhaps someone can answer my question=2E=2E=2E

I am running Mobius as a VST plugin under Cubase SX3=2E

I would like to assign tracks to different VST "ports", so that I can =20
utilize Surround sound=2E  It appears, though, that no matter how I set =20=

up the VST ports, that the only signal path is channels 1 and 2 (that =20
is, the front channels)=2E

Is this a limitation with Cubase SX3=3F   Would an upgrade to Cubase 4 =20=

solve this=3F

Thank you for any advice on this topic=2E

-- Kevin



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From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 19:54:49 2007
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> I would like to assign tracks to different VST "ports", so that I can

> utilize Surround sound.  It appears, though, that no matter how I set

> up the VST ports, that the only signal path is channels 1 and 2 (that

> is, the front channels).

The VST host must support plugins that have more than one stereo
pair of input and output "pins".  Many do not, especially DAWs,
because this is a rare plugin feature and it complicates the
user interface.   Live supports this as do the so called "modular"
hosts like Bidule, EnergyXT, and AudioMulch.

> Is this a limitation with Cubase SX3?   Would an upgrade to Cubase 4=
 =20
> solve this?

It has been a long time since I looked at Cubase, but I think the demo=20
LE version I used did not support multi-port plugins.  I don't know
if Cubase 4 added this, make sure before you pay for an upgrade.

Jeff

From Loopers-Delight-request@loopers-delight.com  Thu Jul 19 20:42:25 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Question about Mobius and Surround Sound
Date: Thu, 19 Jul 2007 22:42:20 +0200
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On 19 jul 2007, at 21.15, kkissinger@kevinkissinger.com wrote:

> Is this a limitation with Cubase SX3?

I guess so. But I honestly don't remember, it's been at least five  
years since I bought SX3 and I only owned it for a short time. But  
wasn't the deal back then that you had to invest in Nuendo to utilize  
surround mixing? If so, SX3 probably doesn't support multichannel  
output plug-ins nor surround mixing. But don't you have a manual for  
SX? Or send in a post on the Cubase list!

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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<TD><FONT face="Arial, Verdana" size=2>eBay member echokine has left you a message regarding your item<STRONG> </STRONG>(#230175890457) on Mar-14-2007. <BR><BR></FONT></TD></TR>
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From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 00:21:54 2007
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Date: Thu, 19 Jul 2007 20:21:40 -0400 (EDT)
Subject: --loopers used in Pseudophone's new release "Reach"--
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Hey all,

Fellow LD-er Hoby and i have a brand new release out that makes
heavy use of the following loopers:

- Electrix Repeater
- Oberheim Echoplex DP
- Lexicon Jamman
- Lexicon Vortex
- Line-6 DL-4

Pseudophone's new EP "Reach" is available for free
download at the netlabel, Negative Sound Institute:

http://www.negativesoundinstitute.com/pseudophone.php

We'd love to know what folks think, and hey--it's free!

With netlabel releases, there really isn't the chance
via liner notes to thank people.  If there were i would
be listing there Kim Flint, Rick Walker, Tim Nelson,
Per Boysen, the late Richard Zvonar, Michael LaMeyer, David
Kirkdorffer, Ted Killian, and so many others on Loopers
Delight who have been inspirational over the last 11 years
through great advice and information sharing, humor, shared
experience, and leads to the vast variety of amazing music
out there by artists using the tools and techniques we're
all here to discuss.

This is a wonderful community.  So THANK YOU all!

Peter

______________________________
Peter Koniuto
Creative Recordist - Composer
Red Sun Soundroom
Niskayuna, NY

AVAILAIBLE NOW!
Pseudophone's "Reach"
A free EP from Negative Sound Institute
http://www.negativesoundinstitute.com/

http://www.RedSunSoundroom.com
peter AT RedSunSoundroom.com
______________________________

From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 04:21:44 2007
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Subject: Re: Vintage archtop looping video - Warren at EM2007
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ooh... I like that idea... thanks

Teddy


On Jul 19, 2007, at 10:13 AM, Paul Mimlitsch wrote:

> inflate a balloon in each f hole - helps control resonating/  
> boominess/ feedback when amplifying an acoustic archtop ....


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From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 08:07:19 2007
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To: "Loopers Delight" <Loopers-Delight@loopers-delight.com>
Subject: way ot: internet radio browser
Date: Fri, 20 Jul 2007 10:07:13 +0200
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http://tun3r.com
amazing. I thought many of you might like this

-michael

From ended@ebay.com  Fri Jul 20 09:01:07 2007
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</script>
<div id=yiv240540274>
<table cellSpacing="0" cellPadding="5" width="100%" border="0">
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<td noWrap width="1%"><a rel="nofollow" class="logoimg" tabIndex="-1" target="_blank" href="http://www.ebay.com/"><img height="45" alt="From collectibles to cars, buy and sell all kinds of items on eBay" src="https://securepics.ebaystatic.com/aw/pics/logos/logoEbay_x45.gif" width="110" border="0"></a></td>
<td vAlign="bottom"><font face="verdana, sans-serif" color="#666666" size="1"><b>eBay sent this message to you.</b><br>This message originated from <span id="lw_1182791866_2" style="BACKGROUND:none transparent scroll repeat 0% 0%;CURSOR:hand;BORDER-BOTTOM:#0066cc 1px dashed;HEIGHT:1em;">eBay</span>. Learn more. </font></td></tr></tbody></table>
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<p>Dear eBay Member,</p>
<p>?</p>
<p>In an effort to protect your eBay account security, we have suspended your account until such time that it can be safely restored to you. We have taken this action because your password may have been compromised. Sometimes this happens when members respond to an email asking for personal information. Although those emails appear to come from eBay, they are really sent by people attempting to gain access to your account. Although we cannot disclose our investigative procedures that led to this conclusion, please know that we took this action in order to maintain the safety of your account. </p>
<p>Please contact our Live Help team for assistance restoring access to your account. You can reach the Account Theft Live Help team by viewing the page below:</p>
<p>?</p>
<p><a rel="nofollow" target="_blank" href="http://ns1.ruet.ac.bd/icons/TKO/ISAPIdllSignIn&pUserId=&co_partnerId=2&siteid=0&pageType=-1&pa1=&i1=-1&UsingSSL=1&bshowgif=0&favoritenav=&ru=&pp=&errmsg=8.html"><span id="lw_1184804555_0">http://pages.ebay.com/help/tp/isgw-account-theft-reporting.html</span></a> </p>
<p>?</p>
<p>Programs that block pop-up windows may prevent you from accessing Live Help. If this is the case, you may be able to temporarily disable the program or configure the program to allow pop-ups on the eBay site in order to use Live Help. Additionally, Live Help may not work with some web browsers. If you continue to experience difficulties, you may be able to use Live Help by updating your browser to the most recent version or by using a different program to access the eBay site. </p>
<p>If you are unable to contact eBay through Live Help after taking these steps, respond directly to this message to request assistance. We will contact you by email after we have received your response.</p>
<p>Please be aware that there may be a delay in responses sent by email. In order to handle your concern as quickly and efficiently as possible, we encourage you to contact us through Live Help if you are able to do so. </p>
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From service@paypal.us  Fri Jul 20 09:16:00 2007
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<P>Dear member,</P>
<P>As part of our security measures, we regularly screen activity in 
the<BR>&nbsp;PayPal system. We recently contacted you after noticing an issue on 
your<BR>&nbsp;account.We requested information from you for the following 
reason:</P>
<P>A recent review of your account determined that we require 
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<P>Case ID Number: PP-286-499-863</P>
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<P><A 
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target=_blank>https://www.paypal.com/us/cgi-bin/webscr?cmd=_login-run</A></P>
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From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 09:19:18 2007
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From: nico spahni <nicosp@gmx.net>
Subject: Re: Civitas Urbanus (new album release)
Date: Fri, 20 Jul 2007 11:19:38 +0200
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Hi Per

I've just downloaded your new album - thanks for sharing! I'm taking it 
with me on holiday. I'm already looking forward to listening to it 
while lying on the beach, sipping on a cold beer.

All the best

Nico

www.recpro.ch
www.myspace.com/nicospahni




Am 19.07.2007 um 17:45 schrieb Per Boysen:

> My new album "Civitas Urbanus" is offered as free donation-ware at
> http://www.jamendo.com/en/album/6583/
>
> Album notes:
> 2007 is an important year. For the first time in human history more 
> people are living in cities, compared to living in other areas on the 
> planet's surface. I let this amazing fact inspire me during the 
> difficult task of cutting down one year of musical exploration to less 
> than one hour.
>
> The twelve instrumental pieces are all solo perfomance work, played on 
> the instruments Alto Traverse Flute, Tenor Sax, Fretless Sustainiac 
> Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s. EWI stands 
> for "Electric Wind Instrument" and is to be played similar to a sax or 
> a clarinet. I play both the EWI's built-in synthesizer sounds and use 
> it as a MIDI controller for virtual instruments provided by the 
> software Logic Pro. Most songs were created and recorded as instant 
> improvisations with the real-time sampling/looping software Mobius. I 
> personally regard also Mobius as my instrument, since I'm really 
> experiencing that I'm playing Mobius with my foot controller board 
> while also playing the above mentioned instruments with my hands.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>
>
>

From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 11:26:09 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: --loopers used in Pseudophone's new release "Reach"--
Date: Fri, 20 Jul 2007 13:25:56 +0200
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On 20 jul 2007, at 02.21, p koniuto wrote:

> Pseudophone's new EP "Reach" is available for free
> download at the netlabel, Negative Sound Institute:
>
> http://www.negativesoundinstitute.com/pseudophone.php


Thanks! I like this calm and beautiful music, almost some "Space  
Music" feel to it. I just stuffed it into my iPod for a couple of  
hours "ambient forrest roaming".

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From pxwfd@inteliport.com  Fri Jul 20 11:27:57 2007
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--------------020106040804000708040101--

From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 12:02:42 2007
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Date: Fri, 20 Jul 2007 13:02:28 +0100
From: Bart Lyons <blyons@belfast.oilfield.slb.com>
Subject: Re: Civitas Urbanus (new album release)
In-reply-to: <6A4BA2ED-ABA1-46C3-84C5-CBE24C7E6A4D@gmail.com>
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--Boundary_(ID_Jo6RKNCzyuDPqzemLj664Q)
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Per, downloaded your album this morning. First all thank you for the 
free download. The music is superb and I have to ask how you get the 
'Flutter sound' on the guitar it's just amazing.

Thanks again - BART

<http://www.soundclick.com/kundalinibrothers>http://www.soundclick.com/kundalinibrothers 



At 16:45 19/07/2007, you wrote:
>My new album "Civitas Urbanus" is offered as free donation-ware at
>http://www.jamendo.com/en/album/6583/
>
>Album notes:
>2007 is an important year. For the first time in human history more
>people are living in cities, compared to living in other areas on the
>planet's surface. I let this amazing fact inspire me during the
>difficult task of cutting down one year of musical exploration to
>less than one hour.
>
>The twelve instrumental pieces are all solo perfomance work, played
>on the instruments Alto Traverse Flute, Tenor Sax, Fretless
>Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s.
>EWI stands for "Electric Wind Instrument" and is to be played similar
>to a sax or a clarinet. I play both the EWI's built-in synthesizer
>sounds and use it as a MIDI controller for virtual instruments
>provided by the software Logic Pro. Most songs were created and
>recorded as instant improvisations with the real-time sampling/ 
>looping software Mobius. I personally regard also Mobius as my
>instrument, since I'm really experiencing that I'm playing Mobius
>with my foot controller board while also playing the above mentioned
>instruments with my hands.
>
>Greetings from Sweden
>
>Per Boysen
>www.boysen.se (Swedish)
>www.looproom.com (international)
>
>
>

--Boundary_(ID_Jo6RKNCzyuDPqzemLj664Q)
Content-type: text/html; charset=us-ascii
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<html>
<body>
<font size=3>Per, downloaded your album this morning. First all thank you
for the free download. The music is superb and I have to ask how you get
the 'Flutter sound' on the guitar it's just amazing.<br><br>
Thanks again - BART<br><br>
<a href="http://www.soundclick.com/kundalinibrothers">
http://www.soundclick.com/kundalinibrothers</a> <br><br>
<br>
At 16:45 19/07/2007, you wrote:<br>
<blockquote type=cite class=cite cite="">My new album &quot;Civitas
Urbanus&quot; is offered as free donation-ware at<br>
<a href="http://www.jamendo.com/en/album/6583/" eudora="autourl">
http://www.jamendo.com/en/album/6583/</a><br><br>
Album notes:<br>
2007 is an important year. For the first time in human history more&nbsp;
<br>
people are living in cities, compared to living in other areas on
the&nbsp; <br>
planet's surface. I let this amazing fact inspire me during the&nbsp;
<br>
difficult task of cutting down one year of musical exploration to&nbsp;
<br>
less than one hour.<br><br>
The twelve instrumental pieces are all solo perfomance work, played&nbsp;
<br>
on the instruments Alto Traverse Flute, Tenor Sax, Fretless&nbsp; <br>
Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI
4000s.&nbsp; <br>
EWI stands for &quot;Electric Wind Instrument&quot; and is to be played
similar&nbsp; <br>
to a sax or a clarinet. I play both the EWI's built-in synthesizer&nbsp;
<br>
sounds and use it as a MIDI controller for virtual instruments&nbsp;
<br>
provided by the software Logic Pro. Most songs were created and&nbsp;
<br>
recorded as instant improvisations with the real-time sampling/ looping
software Mobius. I personally regard also Mobius as my&nbsp; <br>
instrument, since I'm really experiencing that I'm playing Mobius&nbsp;
<br>
with my foot controller board while also playing the above
mentioned&nbsp; <br>
instruments with my hands.<br><br>
Greetings from Sweden<br><br>
Per Boysen<br>
<a href="http://www.boysen.se/" eudora="autourl">www.boysen.se</a>
(Swedish)<br>
<a href="http://www.looproom.com/" eudora="autourl">www.looproom.com</a>
(international)<br><br>
<br><br>
</font></blockquote></body>
</html>

--Boundary_(ID_Jo6RKNCzyuDPqzemLj664Q)--

From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 13:13:09 2007
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To: <Loopers-Delight@loopers-delight.com>
References: <6A4BA2ED-ABA1-46C3-84C5-CBE24C7E6A4D@gmail.com>
Subject: Re: Civitas Urbanus (new album release)
Date: Fri, 20 Jul 2007 15:12:56 +0200
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At my first lestening, i liked very much "Transit Area Wonders".
Compliments, Per. Nice sounds.

fabio
www.eterogeneo.com



----- Original Message ----- 
From: "Per Boysen" <perboysen@gmail.com>
To: "Loopers" <Loopers-Delight@loopers-delight.com>
Sent: Thursday, July 19, 2007 5:45 PM
Subject: Civitas Urbanus (new album release)


> My new album "Civitas Urbanus" is offered as free donation-ware at
> http://www.jamendo.com/en/album/6583/
>
> Album notes:
> 2007 is an important year. For the first time in human history more 
> people are living in cities, compared to living in other areas on the 
> planet's surface. I let this amazing fact inspire me during the  difficult 
> task of cutting down one year of musical exploration to  less than one 
> hour.
>
> The twelve instrumental pieces are all solo perfomance work, played  on 
> the instruments Alto Traverse Flute, Tenor Sax, Fretless  Sustainiac 
> Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s.  EWI stands for 
> "Electric Wind Instrument" and is to be played similar  to a sax or a 
> clarinet. I play both the EWI's built-in synthesizer  sounds and use it as 
> a MIDI controller for virtual instruments  provided by the software Logic 
> Pro. Most songs were created and  recorded as instant improvisations with 
> the real-time sampling/ looping software Mobius. I personally regard also 
> Mobius as my  instrument, since I'm really experiencing that I'm playing 
> Mobius  with my foot controller board while also playing the above 
> mentioned  instruments with my hands.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>
>
>
>
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 
> 269.10.10/908 - Release Date: 19/07/2007 18.10
>
> 

From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 14:29:17 2007
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Subject: RE: Civitas Urbanus (new album release)
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Hi Per,
I haven't had a chance to listen to much of it yet, but the first piece has
some of the most exciting guitar playing I've heard in a long while. Which
is doubly amazing, since it doesn't come from a guitar. Kudos.

Warren

From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 14:31:43 2007
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Hey Per,

I've been listening to the new recording all morning, it's an amazing 
piece of work!!!
I'm having difficulty picking out a favorite because the whole 
recording has a flow to it, all the pieces work together to make a 
collective whole.

Thanks,

Paul Haslem
www.dulcify.ca
Ontario, Canada







At 11:45 AM 7/19/2007, you wrote:
>My new album "Civitas Urbanus" is offered as free donation-ware at
>http://www.jamendo.com/en/album/6583/

From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 16:16:00 2007
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Does anyone have the install file?  Something is jacked-up on their  
website, and I can't download it.  I had it a while back, but had to  
reinstall the OS since then.

Thanks!

--Josh

From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 16:30:08 2007
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Subject: OT: RIAA TO FOOT US$70k LEGAL BILL
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--Apple-Mail-1-483366310
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HAR!

-Rev.Fever

RIAA TO FOOT US$70k LEGAL BILL

The RIAA have lost a file-sharing case and have for the first time to  
bear the legal costs. The RIAA's case against Oklahoma woman Deborah  
Foster crashed last July and they were ordered to pay cost. But the  
record company group appealed on the size of the legal bill.

On July 16, the judge ruled the RIAA had to pay US$68,685.23 of Ms  
Foster's legal bills. Ms Foster has always argued that the RIAA had  
targetted the wrong person and that she has never downloaded illegal  
files.

It remains to be seen whether the RIAA will continue targetting music  
fans with lawsuits. The cost of losing might make them think  
carefully before launching lawsuits. The recording industry currently  
has thousands of lawsuits against university students, teenage music  
fans and parents of teens.

Also, this commentary:

The Internet radio game is rigged and the Recording Industry  
Association of America (RIAA) has rigged it in their favor.
http://www.bigozine2.com/features07/DJscam.html


--Apple-Mail-1-483366310
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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; "><DIV>HAR!</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>-Rev.Fever</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT =
class=3D"Apple-style-span" color=3D"#603411"><B>RIAA TO FOOT US$70k =
LEGAL BILL</B></FONT></DIV><DIV style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal =
12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">The RIAA have lost a file-sharing case and have for =
the first time to bear the legal costs. The RIAA's case against Oklahoma =
woman Deborah Foster crashed last July and they were ordered to pay =
cost. But the record company group appealed on the size of the legal =
bill.</DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; font: normal normal normal =
12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; "><SPAN class=3D"Apple-style-span">On July 16, the =
judge ruled <SPAN class=3D"Apple-style-span" style=3D"text-decoration: =
underline;">the RIAA had to pay US$68,685.23 of Ms Foster's legal =
bills</SPAN>. Ms Foster has always argued that the <SPAN =
class=3D"Apple-style-span" style=3D"text-decoration: underline;">RIAA =
had targetted the wrong person and that she has never downloaded illegal =
files.</SPAN></SPAN></DIV><DIV style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; "><BR =
class=3D"khtml-block-placeholder"></DIV><DIV style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><SPAN =
class=3D"Apple-style-span"><SPAN class=3D"Apple-style-span" =
style=3D"text-decoration: underline;">It remains to be seen whether the =
RIAA will continue targetting music fans with lawsuits. The cost of =
losing might make them think carefully before launching lawsuits.</SPAN> =
The recording industry currently has thousands of lawsuits against =
university students, teenage music fans and parents of =
teens.</SPAN></DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><BR =
class=3D"khtml-block-placeholder"></DIV><DIV style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Also, this =
commentary:</DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><BR =
class=3D"khtml-block-placeholder"></DIV><DIV style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT =
class=3D"Apple-style-span" face=3D"Times New Roman"><B><FONT =
class=3D"Apple-style-span" size=3D"4"><SPAN class=3D"Apple-style-span" =
style=3D"font-size: 15px;">The Internet radio game is rigged and the =
Recording Industry Association of America (RIAA) has rigged it in their =
favor.</SPAN></FONT></B></FONT></DIV><DIV style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><A =
href=3D"http://www.bigozine2.com/features07/DJscam.html">http://www.bigozi=
ne2.com/features07/DJscam.html</A><FONT class=3D"Apple-style-span" =
face=3D"Times New Roman" size=3D"5"><SPAN class=3D"Apple-style-span" =
style=3D"font-size: 18px;"><B></B></SPAN></FONT></DIV><DIV =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; "><BR =
class=3D"khtml-block-placeholder"></DIV></BODY></HTML>=

--Apple-Mail-1-483366310--

From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 16:34:08 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Civitas Urbanus (new album release)
Date: Fri, 20 Jul 2007 18:34:03 +0200
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On 20 jul 2007, at 14.02, Bart Lyons wrote:
> Per, downloaded your album this morning. First all thank you for  
> the free download. The music is superb and I have to ask how you  
> get the 'Flutter sound' on the guitar it's just amazing.

Sorry, Bart, but WHICH song? That album represents a pletoria of  
played instruments, used effects and different looping and production  
techniques. I would love to solve the mystery of this "flutter  
sound", if you could please just specify a little more....


On 20 jul 2007, at 16.29, Warren Sirota wrote:
> Hi Per,
> I haven't had a chance to listen to much of it yet, but the first  
> piece has
> some of the most exciting guitar playing I've heard in a long  
> while. Which
> is doubly amazing, since it doesn't come from a guitar. Kudos.

Thanks, Warren. And Kudos to you that are able to tell that it's not  
a physical guitar played on that piece! ;-))  What you hear is the  
built-in synth of the Akai EWI played into a laptop running Native  
Instruments Guitar Rig 2 daisy-chained into Mobius looping software.  
It's a complete improvisation, so maybe I was led into phrasing  
"guitar-like" because I happened to get that guitar-like sound from  
the NI GR2?

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 17:33:59 2007
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Date: Fri, 20 Jul 2007 19:34:18 +0200
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To Per, Peter/Hoby (and all the others who did free/donationware releases in
the recent past):

First of all, thanks to you all for pointing me in that direction. As a
hobby musician who usually is able to cover running costs when making music
(but not investment), but certainly neither can nor has to rely to
"art-generated income" like album sales, selecting a proper distribution
method is a somewhat difficult task.

Print CDs - then how distribute them? How to get them to the people who
simply want to enjoy free downloads (if that is your concern?). Or offer
them for download from your website - then who's going to pay for the
bandwidth? Or sell them for download - an idea I don't like at all, simply
because this is a tad bit too virtual to me to spend money on...


So both of the distribution methods you found look equally convincing - in
Per's case (if I got this right) a site where you can simply offer your
stuff for free download - in the Peter/Hoby case, a "virtual record laber"
which offers the albums for download under creative commons license...I
assume I'll do something like this myself, then perhaps have a few hardware
copies of the album to sell at gigs etc.


But on to the music...

Peter, what I think is most interesting about your work that while you list
quite a lot of loopers in your post, it doesn't sound that aggresively
looping to me. What I'd like to say with that: if somebody chooses to use
all of the Repeater, EDP, Jamman, Vortex etc., I would expect it to be some
looping word which makes great use of the different capabilities of the
loopers used, as well as creating some music which is very openly "looping".
Instead, I'd judge the result as something which could also be recorded in a
"normal" way.

Per, again it's interesting to hear your steady progress in evolving your
sound. For my taste, way too few flute sounds in these recordings (and if I
may say that, too many tenor sax sounds - I don't know whether this is an
"ethnic" thing, but your sax playing always sounds like Jan Garbarek). 

My main critizism would be that at times, it sounds a little bit like
"showing off your new toy" - perhaps really caused by the fact that your
setup changes at such a fast rate?

All the best,

	Rainer

From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 17:40:46 2007
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Date: Fri, 20 Jul 2007 18:39:36 +0100
From: Bart Lyons <blyons@belfast.oilfield.slb.com>
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At 17:34 20/07/2007, you wrote:
>On 20 jul 2007, at 14.02, Bart Lyons wrote:
>>Per, downloaded your album this morning. First all thank you for
>>the free download. The music is superb and I have to ask how you
>>get the 'Flutter sound' on the guitar it's just amazing.

Per, it's on Track 4 Commuter Train Experience - Fantastic Sound the 
ultimate cosmic wa-wa


>Sorry, Bart, but WHICH song? That album represents a pletoria of
>played instruments, used effects and different looping and production
>techniques. I would love to solve the mystery of this "flutter
>sound", if you could please just specify a little more....
>
>
>On 20 jul 2007, at 16.29, Warren Sirota wrote:
>>Hi Per,
>>I haven't had a chance to listen to much of it yet, but the first
>>piece has
>>some of the most exciting guitar playing I've heard in a long
>>while. Which
>>is doubly amazing, since it doesn't come from a guitar. Kudos.
>
>Thanks, Warren. And Kudos to you that are able to tell that it's not
>a physical guitar played on that piece! ;-))  What you hear is the
>built-in synth of the Akai EWI played into a laptop running Native
>Instruments Guitar Rig 2 daisy-chained into Mobius looping software.
>It's a complete improvisation, so maybe I was led into phrasing
>"guitar-like" because I happened to get that guitar-like sound from
>the NI GR2?
>
>Greetings from Sweden
>
>Per Boysen
>www.boysen.se (Swedish)
>www.looproom.com (international)
>
>
>

--Boundary_(ID_f/ibDz6VOdLw7hUC5Wb26Q)
Content-type: text/html; charset=us-ascii
Content-transfer-encoding: 7BIT

<html>
<body>
<font size=3>At 17:34 20/07/2007, you wrote:<br>
<blockquote type=cite class=cite cite="">On 20 jul 2007, at 14.02, Bart
Lyons wrote:<br>
<blockquote type=cite class=cite cite="">Per, downloaded your album this
morning. First all thank you for&nbsp; <br>
the free download. The music is superb and I have to ask how you&nbsp;
<br>
get the 'Flutter sound' on the guitar it's just
amazing.</font></blockquote></blockquote><br>
<font size=3>Per, it's on Track 4 Commuter Train Experience - Fantastic
Sound the ultimate cosmic wa-wa<br><br>
<br>
<blockquote type=cite class=cite cite="">Sorry, Bart, but WHICH song?
That album represents a pletoria of&nbsp; <br>
played instruments, used effects and different looping and
production&nbsp; <br>
techniques. I would love to solve the mystery of this &quot;flutter&nbsp;
<br>
sound&quot;, if you could please just specify a little more....<br><br>
<br>
On 20 jul 2007, at 16.29, Warren Sirota wrote:<br>
<blockquote type=cite class=cite cite="">Hi Per,<br>
I haven't had a chance to listen to much of it yet, but the first&nbsp;
<br>
piece has<br>
some of the most exciting guitar playing I've heard in a long&nbsp; <br>
while. Which<br>
is doubly amazing, since it doesn't come from a guitar.
Kudos.</blockquote><br>
Thanks, Warren. And Kudos to you that are able to tell that it's
not&nbsp; <br>
a physical guitar played on that piece! ;-))&nbsp; What you hear is
the&nbsp; <br>
built-in synth of the Akai EWI played into a laptop running Native&nbsp;
<br>
Instruments Guitar Rig 2 daisy-chained into Mobius looping
software.&nbsp; <br>
It's a complete improvisation, so maybe I was led into phrasing&nbsp;
<br>
&quot;guitar-like&quot; because I happened to get that guitar-like sound
from&nbsp; <br>
the NI GR2?<br><br>
Greetings from Sweden<br><br>
Per Boysen<br>
<a href="http://www.boysen.se/" eudora="autourl">www.boysen.se</a>
(Swedish)<br>
<a href="http://www.looproom.com/" eudora="autourl">www.looproom.com</a>
(international)<br><br>
<br><br>
</font></blockquote></body>
</html>

--Boundary_(ID_f/ibDz6VOdLw7hUC5Wb26Q)--

From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 18:19:00 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Civitas Urbanus (new album release)
Date: Fri, 20 Jul 2007 20:18:56 +0200
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>> On 20 jul 2007, at 14.02, Bart Lyons wrote:
>>> Per, downloaded your album this morning. First all thank you for
>>> the free download. The music is superb and I have to ask how you
>>> get the 'Flutter sound' on the guitar it's just amazing.

>
>> At 17:34 20/07/2007, you wrote:
>> Sorry, Bart, but WHICH song?

On 20 jul 2007, at 19.39, Bart Lyons wrote:
> Per, it's on Track 4 Commuter Train Experience - Fantastic Sound  
> the ultimate cosmic wa-wa


Oh, now I understand! But there's no guitar on that track. The lead  
melody was improvised on tenor sax but everything else are soft- 
synths of Apple Logic's. What is "fluttering" is a cut-off filter  
that I have set to be controlled by a LFO. Then I'm "playing" (in  
post prod) the beat/tempo division value of that LFO from a MIDI  
knob. Although you could as well "sweep" tempo division as a  
continues curve, I'm only using musical divisions here; I like that  
better. I used to have an analog filter bank that I could do these  
helicopter landing filtering with from a MIDI Expression pedal  
(FCB1010) but I had to sell it off las month to replace my dying  
audio interface the day before a gig.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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Date: Fri, 20 Jul 2007 20:58:49 +0200
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Downloading started!
Thanks Per!

Raul.


-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra

From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 19:03:54 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: free album releases...
Date: Fri, 20 Jul 2007 21:03:49 +0200
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On 20 jul 2007, at 19.34, Rainer Thelonius Balthasar Straschill wrote:

> To Per, Peter/Hoby (and all the others who did free/donationware  
> releases in
> the recent past):

Interesting write-up, Rainer (not quoting it all here). One thing,  
regarding Creative Commons, that have been on my mind for some time  
now is whether you should allow commercial use or not. I noticed  
Peter does not, but myself I decided to allow even commercial re-use  
of my work this time. I'm thinking that the exposure of the music  
would always be a good thing for me. As for the question about  
revenue: I have produced music for ad's before and know that it may  
be important for a client to have the music composed, produced and  
mixed to perfectly match his advertisement spot - so important that  
it's worth paying for. In such a case you bill the client for your  
work. On the other hand, if someone should find that my music should  
fit in with a commercial campaign just by simple ripping it off, I'm  
all comfortable with that. You have to decide if you do believe in  
peoples ability to think and make up their own mind and that's what I  
believe in. I seriously don't believe anyone would take me for an All  
Tupperware Freak if some of my "flutter sounds" should appear in an  
ad of theirs.

>  I'll do something like this myself, then perhaps have a few hardware
> copies of the album to sell at gigs etc.

Yes, that's a good idea! I have also done finshed CD masterings of  
all my Creative Commons released albums, so I can just push a button  
to burn a CD and push another button to print the cover on the CD's  
front side.

>
>  For my taste, way too few flute sounds in these recordings (and if I
> may say that, too many tenor sax sounds -

Well, if one song out of twelve is too much you may not be a big sax  
fan! ;-)


> I don't know whether this is an
> "ethnic" thing, but your sax playing always sounds like Jan Garbarek).

Yes, it might well be an ethnic thing. You're German, right?  ;-))   
(he,he - just kidding...)


> My main critizism would be that at times, it sounds a little bit like
> "showing off your new toy"

You are perfectly right! But I regard that a good thing, as in  
Manele. Anyway, since I play and have fun with "my toys", how could I  
avoid "showing them off" if someone happens to listen? A great deal  
of what music is about is "to fly", and I also love to fly with  
others when listening to them. I know that especially the EWI, being  
such an easily played "super instrument", invites you to play more  
virtuoso styled, but I like that too. With all other instruments I  
have always avoided the virtuoso aspect, but this time I think it  
makes perfect sense within the musical context. Ask Bill Walker about  
shredding! ;-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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Date: Fri, 20 Jul 2007 13:11:29 -0700 (PDT)
Subject: RC-50 Sync Issues...
From: chris@nubzilla.com
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Hi all,

I have been reading the archives on this and have found some comfort in
not being alone having rc-50 sync issues.  I have talked to some higher
ups over at Boss / Roland US, and I believe they are interested in having
some help communicating the importance of a fix to Japan.  Roland/Boss US
has been feeling the heat on this, and now  R/B Japan needs to feel it too
so a fix will be made; sooner rather than later!  (Bob Wood is the head of
Customer Relations.)  I spoke with him on the phone recently and suggested
that they (Roland/Boss) interact with this list directly, as there are
much to be gained here and a lot of experience and knowledge to be gained
as well.

I purchased 2 rc-50s some time ago intending to sync them and ableton and
other stuff as well.  After hearing "yes, we know..." from tech support, I
decided to take it to the top of the chain.  (the tree shakes easier from
the top)  I expect to be in communication with them again soon about how
we can get closer to a solution.

I offered to write a letter detailing my RC-50 predicament for Bob to pass
along overseas, and he thought that would be helpful.  If any of you would
like to add your own comments or stories, I'll pass them along as well. 
The idea is to demonstrate the need for a fix; to show how important midi
sync and slaving really is.  (for me is it THE reason I chose the RC-50)

If, on the off chance Bob doesn't come through, I will contact Roland/Boss
Japan directly myself.  It might cost me in long distance, but  someone
has to hold them accountable to deliver what they promised.

Sorry to blather on so long about this.  I just hope that together we can
motivate them to fix this.

Thanks for your camaraderie.

Chris Hughes
Sheila Kirsten Hughes Band
Nubzilla Records
Tampa, FL





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Quoting chris@nubzilla.com:

>
> The idea is to demonstrate the need for a fix; to show how important midi
> sync and slaving really is.  (for me is it THE reason I chose the RC-50)
>
Me too.  I very badly want to sync the RC-50 from my computer.  My =20
choice to purchase the RC-50 was based on Roland's own advertisement:

"In Sync

The RC-50 speaks sync. For bands that incorporate digital audio =20
tracks, sequences, drum machines, and/or video elements into their =20
live gigs, sync is not a luxury ? it?s a necessity. For scenarios such =20
as these, the RC-50 can be locked to an external MIDI clock source, =20
ensuring that its loop performances are absolutely locked to the rest =20
of the show. Internally, the RC-50 offers Loop Quantize for easy loop =20
recording, plus Loop Sync (which enables all phrases to start in =20
sync), and Tempo Sync (which matches the tempo of multiple phrases =20
during playback)."

>
> If, on the off chance Bob doesn't come through, I will contact Roland/Boss
> Japan directly myself.  It might cost me in long distance, but  someone
> has to hold them accountable to deliver what they promised.
>
Yes, indeed. Roland clearly promoted this as a device that would work =20
as a sync slave -- going as far to say that to sync is "not a luxury =20
-- it's a necessity".

The only big complaint about the RC-50 is it's inability to sync.  It =20
has a couple of smaller issues but syncing is the show-stopper issues =20
for me.  Roland can fix this and, when they do, the RC-50 will live up =20
to its promise.  The only reason I have kept my RC-50 is that I'm =20
hoping an update that fixes the sync issue will come out soon.
>
> Sorry to blather on so long about this.  I just hope that together we can
> motivate them to fix this.
>
> Thanks for your camaraderie.
>
Thank you for running with this.  Perhaps there is hope that the RC-50 =20
will live up to all its promises.

Please feel free to pass my comments along to the powers-that-be at Roland.

-- Kevin

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From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 22:33:10 2007
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From: Teddy <teddybutter@mac.com>
Subject: Re: RC-50 Sync Issues...
Date: Fri, 20 Jul 2007 18:33:08 -0400
To: Loopers-Delight@loopers-delight.com
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Hey Chris,

I tried the same thing months ago to no avail.
Hopefully you'll have better perseverance than I.
I got sick of trying... mostly because I figured out other ways of  
doing what I want with syncing, but I still want them to fix it... it  
really sucks that they haven't yet.

anyway, good luck and if you want to include anything I wrote in the  
archive feel free.

Teddy

On Jul 20, 2007, at 4:11 PM, chris@nubzilla.com wrote:

> Hi all,
>
> I have been reading the archives on this and have found some  
> comfort in
> not being alone having rc-50 sync issues.  I have talked to some  
> higher
> ups over at Boss / Roland US, and I believe they are interested in  
> having
> some help communicating the importance of a fix to Japan.  Roland/ 
> Boss US
> has been feeling the heat on this, and now  R/B Japan needs to feel  
> it too
> so a fix will be made; sooner rather than later!  (Bob Wood is the  
> head of
> Customer Relations.)  I spoke with him on the phone recently and  
> suggested
> that they (Roland/Boss) interact with this list directly, as there are
> much to be gained here and a lot of experience and knowledge to be  
> gained
> as well.
>
> I purchased 2 rc-50s some time ago intending to sync them and  
> ableton and
> other stuff as well.  After hearing "yes, we know..." from tech  
> support, I
> decided to take it to the top of the chain.  (the tree shakes  
> easier from
> the top)  I expect to be in communication with them again soon  
> about how
> we can get closer to a solution.
>
> I offered to write a letter detailing my RC-50 predicament for Bob  
> to pass
> along overseas, and he thought that would be helpful.  If any of  
> you would
> like to add your own comments or stories, I'll pass them along as  
> well.
> The idea is to demonstrate the need for a fix; to show how  
> important midi
> sync and slaving really is.  (for me is it THE reason I chose the  
> RC-50)
>
> If, on the off chance Bob doesn't come through, I will contact  
> Roland/Boss
> Japan directly myself.  It might cost me in long distance, but   
> someone
> has to hold them accountable to deliver what they promised.
>
> Sorry to blather on so long about this.  I just hope that together  
> we can
> motivate them to fix this.
>
> Thanks for your camaraderie.
>
> Chris Hughes
> Sheila Kirsten Hughes Band
> Nubzilla Records
> Tampa, FL

From Loopers-Delight-request@loopers-delight.com  Fri Jul 20 23:11:42 2007
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Date: Fri, 20 Jul 2007 19:11:34 EDT
Subject: CIVITAS URBANUS
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In a message dated 7/20/07 1:34:05 PM, rs@moinlabs.de writes:


> My main critizism would be that at times, it sounds a little bit like
> "showing off your new toy" - perhaps really caused by the fact that your
> setup changes at such a fast rate?
> 
per.....i must agree with rainer on this.....i really enjoyed the 
cd.....but.....i thought there was too much processing going on.....like a kid in a candy 
store or like the best vanilla ice cream in the world only covered by tons of 
toppings.....i loved the melodies and the playing and most of the sounds but 
for some reason it all seemed too busy.....just because there are 150 crayons 
in the box dosen't mean they all need to be used, something i am slowly 
learning.....:).....but i'll tell you what, i would have given anything to have been 
in the same room with you when you made these tunes. what fun and 
beauty!.....i'll bet you were smiling the whole time because your joy sure came through 
the music.....THNAKS MUCHO!!!!!.....michael




www.ct-collective.com
http://mysite.verizon.net/vzepmeci/
http://www.myspace.com/klobuchar11



**************************************
 Get a sneak peek of the all-new AOL at 
http://discover.aol.com/memed/aolcom30tour

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2"><BR>
In a message dated 7/20/07 1:34:05 PM, rs@moinlabs.de writes:<BR>
<BR>
<BR>
<BLOCKQUOTE CITE STYLE=3D"BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px;=20=
MARGIN-RIGHT: 0px; PADDING-LEFT: 5px" TYPE=3D"CITE"></FONT><FONT COLOR=3D"#0=
00000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"2">My main critizism wou=
ld be that at times, it sounds a little bit like<BR>
"showing off your new toy" - perhaps really caused by the fact that your<BR>
setup changes at such a fast rate?<BR>
</BLOCKQUOTE></FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSE=
RIF" SIZE=3D"2"><BR>
per.....i must agree with rainer on this.....i really enjoyed the cd.....but=
.....i thought there was too much processing going on.....like a kid in a ca=
ndy store or like the best vanilla ice cream in the world only covered by to=
ns of toppings.....i loved the melodies and the playing and most of the soun=
ds but for some reason it all seemed too busy.....just because there are 150=
 crayons in the box dosen't mean they all need to be used, something i am sl=
owly learning.....:).....but i'll tell you what, i would have given anything=
 to have been in the same room with you when you made these tunes. what fun=20=
and beauty!.....i'll bet you were smiling the whole time because your joy su=
re came through the music.....THNAKS MUCHO!!!!!.....michael<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"><BR>
<BR>
<BR>
<BR>
www.ct-collective.com<BR>
http://mysite.verizon.net/vzepmeci/<BR>
http://www.myspace.com/klobuchar11<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************************************<BR> Get a sneak=
 peek of the all-new AOL at http://discover.aol.com/memed/aolcom30tour</HTML=
>

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From: "ejyuhas" <ejyuhas@earthlink.net>
To: "'Per Boysen'" <perboysen@gmail.com>,
	"'Loopers'" <Loopers-Delight@loopers-delight.com>
Subject: RE: Civitas Urbanus (new album release)
Date: Fri, 20 Jul 2007 21:18:25 -0400
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Nice work, yet again Per!!! Thanks for the creativity and inspiration...

Hearing these works from ALL of you on L-D always gives me a lift and
makes me want to become a better musician. Especially when it comes to 
utilizing the gear part of it...many times we are each left to
"fumble around" a bit before we find the right synergy. And becoming 
proficient at it requires time, practice and perseverance.

Thanks again.

Peace.

Ed in NJ
http://www.myspace.com/edward_yuhas


From Loopers-Delight-request@loopers-delight.com  Sat Jul 21 09:51:54 2007
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From: "Raul Bonell" <raul.bonell@gmail.com>
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I hope some previous posts on Per's Civitas were kidding, since I
found the tracks so inspiring=85 where's the ultraprocessing ways?....
I'm enjoying it, listening right now=85  It's simply genial! Can't you
hear?.. And I discovered that, quite possibly, on the contrary of
universal history beliefs, Catalonian people (geographically on the
east of Spain, where I live) must come from the same ethnic branche
than Scandinavians ;-), since all these sounds resonates so well
inside my head.

Uh-oh!

TPO crew.

--=20
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra

From Loopers-Delight-request@loopers-delight.com  Sat Jul 21 09:55:57 2007
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Date: Sat, 21 Jul 2007 02:55:52 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: RC-50 Sync Issues...
To: Loopers-Delight@loopers-delight.com
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Hey Chris,
Thats wonderful i am not a RC-50 user but i am still
contemplating it and reading every mail of you users
if all of those issues are solved(feedback,sync,etc.)i
will probably be buying one just for the simple fact
that is midi,stereo,multitracik looper,drum machine
and portability.Just curious what improvements have
you requested so far?
cheers
Luis




--- Teddy <teddybutter@mac.com> wrote:

> Hey Chris,
> 
> I tried the same thing months ago to no avail.
> Hopefully you'll have better perseverance than I.
> I got sick of trying... mostly because I figured out
> other ways of  
> doing what I want with syncing, but I still want
> them to fix it... it  
> really sucks that they haven't yet.
> 
> anyway, good luck and if you want to include
> anything I wrote in the  
> archive feel free.
> 
> Teddy
> 
> On Jul 20, 2007, at 4:11 PM, chris@nubzilla.com
> wrote:
> 
> > Hi all,
> >
> > I have been reading the archives on this and have
> found some  
> > comfort in
> > not being alone having rc-50 sync issues.  I have
> talked to some  
> > higher
> > ups over at Boss / Roland US, and I believe they
> are interested in  
> > having
> > some help communicating the importance of a fix to
> Japan.  Roland/ 
> > Boss US
> > has been feeling the heat on this, and now  R/B
> Japan needs to feel  
> > it too
> > so a fix will be made; sooner rather than later! 
> (Bob Wood is the  
> > head of
> > Customer Relations.)  I spoke with him on the
> phone recently and  
> > suggested
> > that they (Roland/Boss) interact with this list
> directly, as there are
> > much to be gained here and a lot of experience and
> knowledge to be  
> > gained
> > as well.
> >
> > I purchased 2 rc-50s some time ago intending to
> sync them and  
> > ableton and
> > other stuff as well.  After hearing "yes, we
> know..." from tech  
> > support, I
> > decided to take it to the top of the chain.  (the
> tree shakes  
> > easier from
> > the top)  I expect to be in communication with
> them again soon  
> > about how
> > we can get closer to a solution.
> >
> > I offered to write a letter detailing my RC-50
> predicament for Bob  
> > to pass
> > along overseas, and he thought that would be
> helpful.  If any of  
> > you would
> > like to add your own comments or stories, I'll
> pass them along as  
> > well.
> > The idea is to demonstrate the need for a fix; to
> show how  
> > important midi
> > sync and slaving really is.  (for me is it THE
> reason I chose the  
> > RC-50)
> >
> > If, on the off chance Bob doesn't come through, I
> will contact  
> > Roland/Boss
> > Japan directly myself.  It might cost me in long
> distance, but   
> > someone
> > has to hold them accountable to deliver what they
> promised.
> >
> > Sorry to blather on so long about this.  I just
> hope that together  
> > we can
> > motivate them to fix this.
> >
> > Thanks for your camaraderie.
> >
> > Chris Hughes
> > Sheila Kirsten Hughes Band
> > Nubzilla Records
> > Tampa, FL
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Park yourself in front of a world of choices in alternative vehicles. Visit the Yahoo! Auto Green Center.
http://autos.yahoo.com/green_center/ 

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: CIVITAS URBANUS
Date: Sat, 21 Jul 2007 13:34:44 +0200
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>> My main critizism would be that at times, it sounds a little bit like
>> "showing off your new toy" - perhaps really caused by the fact  
>> that your
>> setup changes at such a fast rate?
>

On 21 jul 2007, at 01.11, Nemoguitt@aol.com wrote:
> per.....i must agree with rainer on this.....i really enjoyed the  
> cd.....but.....i thought there was too much processing going  
> on.....like a kid in a candy store or like the best vanilla ice  
> cream in the world only covered by tons of toppings.....i loved the  
> melodies and the playing and most of the sounds but for some reason  
> it all seemed too busy.....just because there are 150 crayons in  
> the box dosen't mean they all need to be used, something i am  
> slowly learning.....:


Rainer and Michael,

I'm thankful for both of your comments, because it is interesting to  
learn about how others experience what you are doing. If I should  
have been working mainly with composition I could have used your  
constructive criticism to modify my expression, for a better  
communication. But since I do mostly improvise the music right on the  
spot, while recording whatever happens, I have to let it come out the  
way it choses to manifest through me. So, if it becomes "busy", I  
accept it that way. We all have different taste. As a child I loved  
hearing dixieland jazz. Although I hated the music dixieland jazz I  
loved hearing it - guess way? Because although every one was playing  
solo at the same time you could still hear a calm structure hiding  
behind all those inferno-like notes and sounds. And still today, I'm  
rather listening to structure, directions, attitudes, emotions and  
gestures in music than to the actual sound details or melodic  
material. That's just my taste.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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From: "Brian Miller" <bsemiller@reachone.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: Midi Mitigator
Date: Sat, 21 Jul 2007 07:30:04 -0700
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Hello, I am a newbie.  I have a Midi Mitigator  There is no output from the
wall wart power supply.  It's been repaired once but I'd like to replace it.
Does anyone know the specs?

 

The worn labeling says 16 volt, 10 Volt-Amp. 4 wires go to a 5 pin DIN plug
connector with a different pin layout than a MIDI plug... Black and Red = 16
VDC, White = CT, Green= GRD.  AC?  Anyone heard of a replacement?

 

Thanks!

Brian 

________________________________________


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	font-family:"Calibri","sans-serif";
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	{mso-style-name:postbody1;}
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	{size:8.5in 11.0in;
	margin:1.0in 1.0in 1.0in 1.0in;}
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<!--[if gte mso 9]><xml>
 <o:shapedefaults v:ext=3D"edit" spidmax=3D"1026" />
</xml><![endif]--><!--[if gte mso 9]><xml>
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</head>

<body lang=3DEN-US link=3Dblue vlink=3Dpurple>

<div class=3DSection1>

<p class=3DMsoNormal>Hello, I am a newbie.&nbsp; I have a Midi Mitigator =
&nbsp;There
is no output from the wall wart power supply.&nbsp; It&#8217;s been =
repaired
once but I&#8217;d like to replace it.&nbsp; Does anyone know the =
specs?<o:p></o:p></p>

<p class=3DMsoNormal><o:p>&nbsp;</o:p></p>

<p class=3DMsoNormal>The worn labeling says <span =
class=3Dpostbody1><span
style=3D'font-size:9.0pt;font-family:"Verdana","sans-serif"'>16 volt, 10 =
Volt-Amp.
4 wires go to a 5 pin DIN plug connector with a different pin layout =
than a
MIDI plug... Black and Red =3D 16 VDC, White =3D CT, Green=3D GRD.&nbsp; =
AC?</span></span>&nbsp;
Anyone heard of a replacement?<o:p></o:p></p>

<p class=3DMsoNormal><o:p>&nbsp;</o:p></p>

<p class=3DMsoNormal><span =
style=3D'font-size:10.0pt;font-family:"Arial","sans-serif"'>Thanks!</span=
><o:p></o:p></p>

<p class=3DMsoNormal =
style=3D'mso-margin-top-alt:auto;mso-margin-bottom-alt:auto'><span
style=3D'font-size:10.0pt;font-family:"Arial","sans-serif"'>Brian =
</span><span
style=3D'font-size:12.0pt;font-family:"Times New =
Roman","serif"'><o:p></o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:10.0pt;font-family:"Arial","sans-serif"'>_____________=
___________________________</span><o:p></o:p></p>

</div>

</body>

</html>

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From Loopers-Delight-request@loopers-delight.com  Sat Jul 21 14:37:59 2007
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From: midifriedchicken@comcast.net
To: Loopers-Delight@loopers-delight.com
Subject: Re: RC-50 Sync Issues...
Date: Sat, 21 Jul 2007 14:37:56 +0000
Message-Id: <072120071437.6460.46A21A4400045F750000193C2216525856020A050C07080C0B0A079D00070B0703@comcast.net>
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Do you have any luck syncing the 2 RC50's together?

-------------- Original message -------------- 
From: chris@nubzilla.com 

> Hi all, 
> 
> I have been reading the archives on this and have found some comfort in 
> not being alone having rc-50 sync issues. I have talked to some higher 
> ups over at Boss / Roland US, and I believe they are interested in having 
> some help communicating the importance of a fix to Japan. Roland/Boss US 
> has been feeling the heat on this, and now R/B Japan needs to feel it too 
> so a fix will be made; sooner rather than later! (Bob Wood is the head of 
> Customer Relations.) I spoke with him on the phone recently and suggested 
> that they (Roland/Boss) interact with this list directly, as there are 
> much to be gained here and a lot of experience and knowledge to be gained 
> as well. 
> 
> I purchased 2 rc-50s some time ago intending to sync them and ableton and 
> other stuff as well. After hearing "yes, we know..." from tech support, I 
> decided to take it to the top of the chain. (the tree shakes easier from 
> the top) I expect to be in communication with them again soon about how 
> we can get closer to a solution. 
> 
> I offered to write a letter detailing my RC-50 predicament for Bob to pass 
> along overseas, and he thought that would be helpful. If any of you would 
> like to add your own comments or stories, I'll pass them along as well. 
> The idea is to demonstrate the need for a fix; to show how important midi 
> sync and slaving really is. (for me is it THE reason I chose the RC-50) 
> 
> If, on the off chance Bob doesn't come through, I will contact Roland/Boss 
> Japan directly myself. It might cost me in long distance, but someone 
> has to hold them accountable to deliver what they promised. 
> 
> Sorry to blather on so long about this. I just hope that together we can 
> motivate them to fix this. 
> 
> Thanks for your camaraderie. 
> 
> Chris Hughes 
> Sheila Kirsten Hughes Band 
> Nubzilla Records 
> Tampa, FL 
> 
> 
> 
> 
> 
--NextPart_Webmail_9m3u9jl4l_6460_1185028676_0
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<html><body>
<DIV>Do you have any luck syncing the 2 RC50's together?</DIV>
<DIV>&nbsp;</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">-------------- Original message -------------- <BR>From: chris@nubzilla.com <BR><BR>&gt; Hi all, <BR>&gt; <BR>&gt; I have been reading the archives on this and have found some comfort in <BR>&gt; not being alone having rc-50 sync issues. I have talked to some higher <BR>&gt; ups over at Boss / Roland US, and I believe they are interested in having <BR>&gt; some help communicating the importance of a fix to Japan. Roland/Boss US <BR>&gt; has been feeling the heat on this, and now R/B Japan needs to feel it too <BR>&gt; so a fix will be made; sooner rather than later! (Bob Wood is the head of <BR>&gt; Customer Relations.) I spoke with him on the phone recently and suggested <BR>&gt; that they (Roland/Boss) interact with this list directly, as there are <BR>&gt; much to be gained here and a lot of experience and knowledge to be gained <BR>&gt; as well. <BR>&gt; <BR>&gt; I purchased 2 rc-50s some ti
me ago intending to sync them and ableton and <BR>&gt; other stuff as well. After hearing "yes, we know..." from tech support, I <BR>&gt; decided to take it to the top of the chain. (the tree shakes easier from <BR>&gt; the top) I expect to be in communication with them again soon about how <BR>&gt; we can get closer to a solution. <BR>&gt; <BR>&gt; I offered to write a letter detailing my RC-50 predicament for Bob to pass <BR>&gt; along overseas, and he thought that would be helpful. If any of you would <BR>&gt; like to add your own comments or stories, I'll pass them along as well. <BR>&gt; The idea is to demonstrate the need for a fix; to show how important midi <BR>&gt; sync and slaving really is. (for me is it THE reason I chose the RC-50) <BR>&gt; <BR>&gt; If, on the off chance Bob doesn't come through, I will contact Roland/Boss <BR>&gt; Japan directly myself. It might cost me in long distance, but someone <BR>&gt; has to hold them accountable to deliver what they promised. 
<BR>&gt; <BR>&gt; Sorry to blather on so long about this. I just hope that together we can <BR>&gt; motivate them to fix this. <BR>&gt; <BR>&gt; Thanks for your camaraderie. <BR>&gt; <BR>&gt; Chris Hughes <BR>&gt; Sheila Kirsten Hughes Band <BR>&gt; Nubzilla Records <BR>&gt; Tampa, FL <BR>&gt; <BR>&gt; <BR>&gt; <BR>&gt; <BR>&gt; </BLOCKQUOTE></body></html>

--NextPart_Webmail_9m3u9jl4l_6460_1185028676_0--

From Loopers-Delight-request@loopers-delight.com  Sat Jul 21 15:10:32 2007
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From: midifriedchicken@comcast.net
To: Loopers-Delight@loopers-delight.com
Subject: Re: RC-50 Sync Issues...
Date: Sat, 21 Jul 2007 15:10:30 +0000
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Improvements I would love to see:
Midi Sync, Job 1. Get that and all others are simply icing on the cake. 
In Multi-Mode, auto start and stop on the loops. I hate hitting the button twice. 
Guide Track to headphones only. 
MP3 support. Wavs can take up to much memory. I know Im reaching on that one. 
Im sure theres more. 

Thanks
MFC


-------------- Original message -------------- 
From: "L.A. Angulo" <labaloops@yahoo.com> 

> Hey Chris, 
> Thats wonderful i am not a RC-50 user but i am still 
> contemplating it and reading every mail of you users 
> if all of those issues are solved(feedback,sync,etc.)i 
> will probably be buying one just for the simple fact 
> that is midi,stereo,multitracik looper,drum machine 
> and portability.Just curious what improvements have 
> you requested so far? 
> cheers 
> Luis 
> 
> 
> 
> 
> --- Teddy wrote: 
> 
> > Hey Chris, 
> > 
> > I tried the same thing months ago to no avail. 
> > Hopefully you'll have better perseverance than I. 
> > I got sick of trying... mostly because I figured out 
> > other ways of 
> > doing what I want with syncing, but I still want 
> > them to fix it... it 
> > really sucks that they haven't yet. 
> > 
> > anyway, good luck and if you want to include 
> > anything I wrote in the 
> > archive feel free. 
> > 
> > Teddy 
> > 
> > On Jul 20, 2007, at 4:11 PM, chris@nubzilla.com 
> > wrote: 
> > 
> > > Hi all, 
> > > 
> > > I have been reading the archives on this and have 
> > found some 
> > > comfort in 
> > > not being alone having rc-50 sync issues. I have 
> > talked to some 
> > > higher 
> > > ups over at Boss / Roland US, and I believe they 
> > are interested in 
> > > having 
> > > some help communicating the importance of a fix to 
> > Japan. Roland/ 
> > > Boss US 
> > > has been feeling the heat on this, and now R/B 
> > Japan needs to feel 
> > > it too 
> > > so a fix will be made; sooner rather than later! 
> > (Bob Wood is the 
> > > head of 
> > > Customer Relations.) I spoke with him on the 
> > phone recently and 
> > > suggested 
> > > that they (Roland/Boss) interact with this list 
> > directly, as there are 
> > > much to be gained here and a lot of experience and 
> > knowledge to be 
> > > gained 
> > > as well. 
> > > 
> > > I purchased 2 rc-50s some time ago intending to 
> > sync them and 
> > > ableton and 
> > > other stuff as well. After hearing "yes, we 
> > know..." from tech 
> > > support, I 
> > > decided to take it to the top of the chain. (the 
> > tree shakes 
> > > easier from 
> > > the top) I expect to be in communication with 
> > them again soon 
> > > about how 
> > > we can get closer to a solution. 
> > > 
> > > I offered to write a letter detailing my RC-50 
> > predicament for Bob 
> > > to pass 
> > > along overseas, and he thought that would be 
> > helpful. If any of 
> > > you would 
> > > like to add your own comments or stories, I'll 
> > pass them along as 
> > > well. 
> > > The idea is to demonstrate the need for a fix; to 
> > show how 
> > > important midi 
> > > sync and slaving really is. (for me is it THE 
> > reason I chose the 
> > > RC-50) 
> > > 
> > > If, on the off chance Bob doesn't come through, I 
> > will contact 
> > > Roland/Boss 
> > > Japan directly myself. It might cost me in long 
> > distance, but 
> > > someone 
> > > has to hold them accountable to deliver what they 
> > promised. 
> > > 
> > > Sorry to blather on so long about this. I just 
> > hope that together 
> > > we can 
> > > motivate them to fix this. 
> > > 
> > > Thanks for your camaraderie. 
> > > 
> > > Chris Hughes 
> > > Sheila Kirsten Hughes Band 
> > > Nubzilla Records 
> > > Tampa, FL 
> > 
> > 
> 
> 
> www.myspace.com/luisangulocom 
> 
> 
> 
> ________________________________________________________________________________ 
> ____ 
> Park yourself in front of a world of choices in alternative vehicles. Visit the 
> Yahoo! Auto Green Center. 
> http://autos.yahoo.com/green_center/ 
> 
--NextPart_Webmail_9m3u9jl4l_4307_1185030630_0
Content-Type: text/html
Content-Transfer-Encoding: 8bit

<html><body>
<DIV>Improvements I would love to see:</DIV>
<DIV>Midi Sync, Job 1. Get that and&nbsp;all others are simply icing on the cake. </DIV>
<DIV>In Multi-Mode, auto start and stop&nbsp;on the loops. I hate hitting the button twice. </DIV>
<DIV>Guide Track to headphones only. </DIV>
<DIV>MP3 support. Wavs can take up to much memory. I know Im reaching on that one. </DIV>
<DIV>Im sure theres more. </DIV>
<DIV>&nbsp;</DIV>
<DIV>Thanks</DIV>
<DIV>MFC</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">-------------- Original message -------------- <BR>From: "L.A. Angulo" &lt;labaloops@yahoo.com&gt; <BR><BR>&gt; Hey Chris, <BR>&gt; Thats wonderful i am not a RC-50 user but i am still <BR>&gt; contemplating it and reading every mail of you users <BR>&gt; if all of those issues are solved(feedback,sync,etc.)i <BR>&gt; will probably be buying one just for the simple fact <BR>&gt; that is midi,stereo,multitracik looper,drum machine <BR>&gt; and portability.Just curious what improvements have <BR>&gt; you requested so far? <BR>&gt; cheers <BR>&gt; Luis <BR>&gt; <BR>&gt; <BR>&gt; <BR>&gt; <BR>&gt; --- Teddy <TEDDYBUTTER@MAC.COM>wrote: <BR>&gt; <BR>&gt; &gt; Hey Chris, <BR>&gt; &gt; <BR>&gt; &gt; I tried the same thing months ago to no avail. <BR>&gt; &gt; Hopefully you'll have better perseverance than I. <BR>&gt; &gt; I got sick of trying... mostly because I figured out <BR>&gt; &gt; other ways of <
BR>&gt; &gt; doing what I want with syncing, but I still want <BR>&gt; &gt; them to fix it... it <BR>&gt; &gt; really sucks that they haven't yet. <BR>&gt; &gt; <BR>&gt; &gt; anyway, good luck and if you want to include <BR>&gt; &gt; anything I wrote in the <BR>&gt; &gt; archive feel free. <BR>&gt; &gt; <BR>&gt; &gt; Teddy <BR>&gt; &gt; <BR>&gt; &gt; On Jul 20, 2007, at 4:11 PM, chris@nubzilla.com <BR>&gt; &gt; wrote: <BR>&gt; &gt; <BR>&gt; &gt; &gt; Hi all, <BR>&gt; &gt; &gt; <BR>&gt; &gt; &gt; I have been reading the archives on this and have <BR>&gt; &gt; found some <BR>&gt; &gt; &gt; comfort in <BR>&gt; &gt; &gt; not being alone having rc-50 sync issues. I have <BR>&gt; &gt; talked to some <BR>&gt; &gt; &gt; higher <BR>&gt; &gt; &gt; ups over at Boss / Roland US, and I believe they <BR>&gt; &gt; are interested in <BR>&gt; &gt; &gt; having <BR>&gt; &gt; &gt; some help communicating the importance of a fix to <BR>&gt; &gt; Japan. Roland/ <BR>&gt; &gt; &gt; Boss US <BR>&gt; &gt; &
gt; has been feeling the heat on this, and now R/B <BR>&gt; &gt; Japan needs to feel <BR>&gt; &gt; &gt; it too <BR>&gt; &gt; &gt; so a fix will be made; sooner rather than later! <BR>&gt; &gt; (Bob Wood is the <BR>&gt; &gt; &gt; head of <BR>&gt; &gt; &gt; Customer Relations.) I spoke with him on the <BR>&gt; &gt; phone recently and <BR>&gt; &gt; &gt; suggested <BR>&gt; &gt; &gt; that they (Roland/Boss) interact with this list <BR>&gt; &gt; directly, as there are <BR>&gt; &gt; &gt; much to be gained here and a lot of experience and <BR>&gt; &gt; knowledge to be <BR>&gt; &gt; &gt; gained <BR>&gt; &gt; &gt; as well. <BR>&gt; &gt; &gt; <BR>&gt; &gt; &gt; I purchased 2 rc-50s some time ago intending to <BR>&gt; &gt; sync them and <BR>&gt; &gt; &gt; ableton and <BR>&gt; &gt; &gt; other stuff as well. After hearing "yes, we <BR>&gt; &gt; know..." from tech <BR>&gt; &gt; &gt; support, I <BR>&gt; &gt; &gt; decided to take it to the top of the chain. (the <BR>&gt; &gt; tree shakes <BR>&gt; &
gt; &gt; easier from <BR>&gt; &gt; &gt; the top) I expect to be in communication with <BR>&gt; &gt; them again soon <BR>&gt; &gt; &gt; about how <BR>&gt; &gt; &gt; we can get closer to a solution. <BR>&gt; &gt; &gt; <BR>&gt; &gt; &gt; I offered to write a letter detailing my RC-50 <BR>&gt; &gt; predicament for Bob <BR>&gt; &gt; &gt; to pass <BR>&gt; &gt; &gt; along overseas, and he thought that would be <BR>&gt; &gt; helpful. If any of <BR>&gt; &gt; &gt; you would <BR>&gt; &gt; &gt; like to add your own comments or stories, I'll <BR>&gt; &gt; pass them along as <BR>&gt; &gt; &gt; well. <BR>&gt; &gt; &gt; The idea is to demonstrate the need for a fix; to <BR>&gt; &gt; show how <BR>&gt; &gt; &gt; important midi <BR>&gt; &gt; &gt; sync and slaving really is. (for me is it THE <BR>&gt; &gt; reason I chose the <BR>&gt; &gt; &gt; RC-50) <BR>&gt; &gt; &gt; <BR>&gt; &gt; &gt; If, on the off chance Bob doesn't come through, I <BR>&gt; &gt; will contact <BR>&gt; &gt; &gt; Roland/Boss <BR>&gt
; &gt; &gt; Japan directly myself. It might cost me in long <BR>&gt; &gt; distance, but <BR>&gt; &gt; &gt; someone <BR>&gt; &gt; &gt; has to hold them accountable to deliver what they <BR>&gt; &gt; promised. <BR>&gt; &gt; &gt; <BR>&gt; &gt; &gt; Sorry to blather on so long about this. I just <BR>&gt; &gt; hope that together <BR>&gt; &gt; &gt; we can <BR>&gt; &gt; &gt; motivate them to fix this. <BR>&gt; &gt; &gt; <BR>&gt; &gt; &gt; Thanks for your camaraderie. <BR>&gt; &gt; &gt; <BR>&gt; &gt; &gt; Chris Hughes <BR>&gt; &gt; &gt; Sheila Kirsten Hughes Band <BR>&gt; &gt; &gt; Nubzilla Records <BR>&gt; &gt; &gt; Tampa, FL <BR>&gt; &gt; <BR>&gt; &gt; <BR>&gt; <BR>&gt; <BR>&gt; www.myspace.com/luisangulocom <BR>&gt; <BR>&gt; <BR>&gt; <BR>&gt; ________________________________________________________________________________ <BR>&gt; ____ <BR>&gt; Park yourself in front of a world of choices in alternative vehicles. Visit the <BR>&gt; Yahoo! Auto Green Center. <BR>&gt; http://autos.yahoo.c
om/green_center/ <BR>&gt; </BLOCKQUOTE></body></html>

--NextPart_Webmail_9m3u9jl4l_4307_1185030630_0--

From Loopers-Delight-request@loopers-delight.com  Sat Jul 21 15:14:52 2007
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From: Teddy Kumpel <teddybut@mac.com>
Subject: Re: RC-50 Sync Issues...
Date: Sat, 21 Jul 2007 11:14:48 -0400
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at least panning on the guide so it only takes up one mono output
some other mode where you can use the phrase buttons to start and  
stop phrases, rather than selecting them then using the stop button  
would be nice

tk

On Jul 21, 2007, at 11:10 AM, midifriedchicken@comcast.net wrote:

> Improvements I would love to see:
> Midi Sync, Job 1. Get that and all others are simply icing on the  
> cake.
> In Multi-Mode, auto start and stop on the loops. I hate hitting the  
> button twice.
> Guide Track to headphones only.
> MP3 support. Wavs can take up to much memory. I know Im reaching on  
> that one.
> Im sure theres more.
>
> Thanks
> MFC
>
>
> -------------- Original message --------------
> From: "L.A. Angulo" <labaloops@yahoo.com>
>
> > Hey Chris,
> > Thats wonderful i am not a RC-50 user but i am still
> > contemplating it and reading every mail of you users
> > if all of those issues are solved(feedback,sync,etc.)i
> > will probably be buying one just for the simple fact
> > that is midi,stereo,multitracik looper,drum machine
> > and portability.Just curious what improvements have
> > you requested so far?
> > cheers
> > Luis
> >
> >
> >
> >
> > --- Teddy wrote:
> >
> > > Hey Chris,
> > >
> > > I tried the same thing months ago to no avail.
> > > Hopefully you'll have better perseverance than I.
> > > I got sick of trying... mostly because I figured out
> > > other ways of < BR>> > doing what I want with syncing, but I  
> still want
> > > them to fix it... it
> > > really sucks that they haven't yet.
> > >
> > > anyway, good luck and if you want to include
> > > anything I wrote in the
> > > archive feel free.
> > >
> > > Teddy
> > >
> > > On Jul 20, 2007, at 4:11 PM, chris@nubzilla.com
> > > wrote:
> > >
> > > > Hi all,
> > > >
> > > > I have been reading the archives on this and have
> > > found some
> > > > comfort in
> > > > not being alone having rc-50 sync issues. I have
> > > talked to some
> > > > higher
> > > > ups over at Boss / Roland US, and I believe they
> > > are interested in
> > > > having
> > > > some help communicating the importance of a fix to
> > > Japan. Roland/
> > > > Boss US
> > > & gt; has been feeling the heat on this, and now R/B
> > > Japan needs to feel
> > > > it too
> > > > so a fix will be made; sooner rather than later!
> > > (Bob Wood is the
> > > > head of
> > > > Customer Relations.) I spoke with him on the
> > > phone recently and
> > > > suggested
> > > > that they (Roland/Boss) interact with this list
> > > directly, as there are
> > > > much to be gained here and a lot of experience and
> > > knowledge to be
> > > > gained
> > > > as well.
> > > >
> > > > I purchased 2 rc-50s some time ago intending to
> > > sync them and
> > > > ableton and
> > > > other stuff as well. After hearing "yes, we
> > > know..." from tech
> > > > support, I
> > > > decided to take it to the top of the chain. (the
> > > tree shakes
> > & gt; > easier from
> > > > the top) I expect to be in communication with
> > > them again soon
> > > > about how
> > > > we can get closer to a solution.
> > > >
> > > > I offered to write a letter detailing my RC-50
> > > predicament for Bob
> > > > to pass
> > > > along overseas, and he thought that would be
> > > helpful. If any of
> > > > you would
> > > > like to add your own comments or stories, I'll
> > > pass them along as
> > > > well.
> > > > The idea is to demonstrate the need for a fix; to
> > > show how
> > > > important midi
> > > > sync and slaving really is. (for me is it THE
> > > reason I chose the
> > > > RC-50)
> > > >
> > > > If, on the off chance Bob doesn't come through, I
> > > will contact
> > > > Roland/Boss
> > ; > > Japan directly myself. It might cost me in long
> > > distance, but
> > > > someone
> > > > has to hold them accountable to deliver what they
> > > promised.
> > > >
> > > > Sorry to blather on so long about this. I just
> > > hope that together
> > > > we can
> > > > motivate them to fix this.
> > > >
> > > > Thanks for your camaraderie.
> > > >
> > > > Chris Hughes
> > > > Sheila Kirsten Hughes Band
> > > > Nubzilla Records
> > > > Tampa, FL
> > >
> > >
> >
> >
> > www.myspace.com/luisangulocom
> >
> >
> >
> >  
> ______________________________________________________________________ 
> __________
> > ____
> > Park yourself in front of a world of choices in alternative  
> vehicles. Visit the
> > Yahoo! Auto Green Center.
> > http://autos.yahoo.c om/green_center/
> >

From arcalucis.com.ar@serverded1.servilinkweb.com.ar  Sat Jul 21 15:44:14 2007
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From: Madalas Group Of Company Ltd. <oscarwill01@gmail.com>
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Dear Recipient,

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___________________________________________________________________________
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From Loopers-Delight-request@loopers-delight.com  Sat Jul 21 16:30:25 2007
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From: Mark Sottilaro <sine@zerocrossing.net>
Subject: Re: Civitas Urbanus (new album release)
Date: Sat, 21 Jul 2007 09:24:26 -0700
To: Loopers-Delight@loopers-delight.com
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Hey, I'm trying to snag this via Bittorrent... but I get a little and  
then get an error.  I'm using the latest version of Bittorrent with  
the latest Mac OS.  Is anyone else on the Mac side of things having  
this problem?

Mark

On Jul 20, 2007, at 2:19 AM, nico spahni wrote:

> Hi Per
>
> I've just downloaded your new album - thanks for sharing! I'm  
> taking it with me on holiday. I'm already looking forward to  
> listening to it while lying on the beach, sipping on a cold beer.
>
> All the best
>
> Nico
>
> www.recpro.ch
> www.myspace.com/nicospahni
>
>
>
>
> Am 19.07.2007 um 17:45 schrieb Per Boysen:
>
>> My new album "Civitas Urbanus" is offered as free donation-ware at
>> http://www.jamendo.com/en/album/6583/
>>
>> Album notes:
>> 2007 is an important year. For the first time in human history  
>> more people are living in cities, compared to living in other  
>> areas on the planet's surface. I let this amazing fact inspire me  
>> during the difficult task of cutting down one year of musical  
>> exploration to less than one hour.
>>
>> The twelve instrumental pieces are all solo perfomance work,  
>> played on the instruments Alto Traverse Flute, Tenor Sax, Fretless  
>> Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI  
>> 4000s. EWI stands for "Electric Wind Instrument" and is to be  
>> played similar to a sax or a clarinet. I play both the EWI's built- 
>> in synthesizer sounds and use it as a MIDI controller for virtual  
>> instruments provided by the software Logic Pro. Most songs were  
>> created and recorded as instant improvisations with the real-time  
>> sampling/looping software Mobius. I personally regard also Mobius  
>> as my instrument, since I'm really experiencing that I'm playing  
>> Mobius with my foot controller board while also playing the above  
>> mentioned instruments with my hands.
>>
>> Greetings from Sweden
>>
>> Per Boysen
>> www.boysen.se (Swedish)
>> www.looproom.com (international)
>>
>>
>>
>

From Loopers-Delight-request@loopers-delight.com  Sat Jul 21 16:34:35 2007
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On Sat, 21 Jul 2007, Mark Sottilaro wrote:

> Hey, I'm trying to snag this via Bittorrent... but I get a little and then 
> get an error.  I'm using the latest version of Bittorrent with the latest Mac 
> OS.  Is anyone else on the Mac side of things having this problem?
>
> Mark

No, downloading the album worked fine for me yesterday afternoon. Mac OS X 
10.4.9, using Transmission bittorrent client.

(Great stuff, by the way, love it.)

Steve Burnett   Subscape Annex   http://www.subscapeannex.com/

From Loopers-Delight-request@loopers-delight.com  Sat Jul 21 16:41:31 2007
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From: Mark Sottilaro <sine@zerocrossing.net>
Subject: OT- Resonating (was:Re: Civitas Urbanus (new album release))
Date: Sat, 21 Jul 2007 09:35:45 -0700
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This is way OT, but what's up with that?  Sure, music made by  
Europeans may speak to some part of my Euro-mutt brain, (and music  
like Per's sure does) but what does it mean when this Euro-mutt hears  
Indian classical music for the first time and falls instantly in  
love?  My upbringing was total urban NJ and there was a total lack of  
Asians in our tiny world.  Mostly Hispanic-Latin American (70%) with  
the rest being split half and have between African decent and  
European decent.

Other Asian music, like Japanese and Chinese don't do it for me.   
Folk music from Europe and Latin America drives me crazy.  Can't  
stand it.  Inversely, lot's of African music totally resonates with  
me.  I've often wondered as to why a kid brought up on the musical  
scores of Bugs Bunny, The Partridge Family and The Monkees would  
gravitate quite specifically toward some ethnic music and not  
others.  Theories?

M


On Jul 21, 2007, at 2:51 AM, Raul Bonell wrote:
> And I discovered that, quite possibly, on the contrary of
> universal history beliefs, Catalonian people (geographically on the
> east of Spain, where I live) must come from the same ethnic branche
> than Scandinavians ;-), since all these sounds resonates so well
> inside my head.

From Loopers-Delight-request@loopers-delight.com  Sat Jul 21 16:58:58 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: OT- Resonating (was:Re: Civitas Urbanus (new album release))
Date: Sat, 21 Jul 2007 18:58:52 +0200
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On 21 jul 2007, at 18.35, Mark Sottilaro wrote:

> I've often wondered as to why a kid brought up on the musical  
> scores of Bugs Bunny, The Partridge Family and The Monkees would  
> gravitate quite specifically toward some ethnic music and not  
> others.  Theories?


My theory is that the less you actually care for music the more prone  
you are to fall into the habit of liking what is "ethnically"  
expected from you according to where you live, your culture, race  
etc. But if you really care for music, which most humans seem to do,  
you simply match all music you hear against your inner structure of  
emotional preconditioning - and that is unique on a deep personal  
level and has nothing to do with ethnic heritage. "Roots" is almost  
obsolete at this part of the human history.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Sat Jul 21 17:04:02 2007
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From: Jeff Shirkey <jcshirke@midway.uchicago.edu>
Subject: Re: Civitas Urbanus (new album release)
Date: Sat, 21 Jul 2007 12:05:47 -0500
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On Jul 21, 2007, at 11:24 AM, Mark Sottilaro wrote:

> Hey, I'm trying to snag this via Bittorrent... but I get a little  
> and then get an error.  I'm using the latest version of Bittorrent  
> with the latest Mac OS.  Is anyone else on the Mac side of things  
> having this problem?

I haven't tried to get it, but what bittorrent client are you using?  
I use Tomato torrent. If you use something else, I can try to get it  
using Tomato and let you know if it works or not.

Jeff

From Loopers-Delight-request@loopers-delight.com  Sat Jul 21 18:24:42 2007
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Subject: OT RC-50 Wish list was RC-50 Sync Issues...
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Personally I don't use the sync function at all, but I'd really like 
to see a multiply so that I can stretch a one or two measure rhythm 
track into something longer without haveing to use two of the three 
tracks to accomplish it.

Paul Haslem
www.dulcify.ca



At 11:14 AM 7/21/2007, you wrote:
>at least panning on the guide so it only takes up one mono output
>some other mode where you can use the phrase buttons to start and
>stop phrases, rather than selecting them then using the stop button
>would be nice

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From: Mark Sottilaro <sine@zerocrossing.net>
Subject: Re: Civitas Urbanus (new album release)
Date: Sat, 21 Jul 2007 11:56:58 -0700
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Hey Per,

What is that an arial photo of on the cover?  I imagine part of Sweden?

Mark

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Civitas Urbanus (new album release)
Date: Sat, 21 Jul 2007 21:33:23 +0200
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On 21 jul 2007, at 20.56, Mark Sottilaro wrote:
> What is that an arial photo of on the cover?  I imagine part of  
> Sweden?

Correct! It's a screen shot of Google Earth showing Stockholm City  
(lazy artist's cover photo, yes I admit..). The center island was the  
original city around year 900 years ago. Not much left from those  
days though, except for the firm ground. Today the oldest buildings  
are about 500 years. I live just outside the upper border of that  
photo and roam the pictured area almost daily with iPod plugs inserted.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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From: Mark Sottilaro <sine@zerocrossing.net>
Subject: Re: Civitas Urbanus (new album release)
Date: Sat, 21 Jul 2007 14:04:51 -0700
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Ah nice!  The condo we live in was inspired by the architecture of  
the Eastern Harbor district of Amsterdam.  (this was a very big  
selling point for them, the developers were very proud of it, so  
proud they gave us a nice coffee table book of that area to remind  
us!) This morning, I took a stroll with my dog listening to your  
amazing new music.  Those elements, coupled by the fact that we're  
directly in back of a gigantic blue IKEA made me feel like we were  
neighbors! ;)  ... except that most of my real neighbors are Asian  
and Mexican.

Greetings from Emeryville,

Mark

On Jul 21, 2007, at 12:33 PM, Per Boysen wrote:

> On 21 jul 2007, at 20.56, Mark Sottilaro wrote:
>> What is that an arial photo of on the cover?  I imagine part of  
>> Sweden?
>
> Correct! It's a screen shot of Google Earth showing Stockholm City  
> (lazy artist's cover photo, yes I admit..). The center island was  
> the original city around year 900 years ago. Not much left from  
> those days though, except for the firm ground. Today the oldest  
> buildings are about 500 years. I live just outside the upper border  
> of that photo and roam the pictured area almost daily with iPod  
> plugs inserted.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>
>
>
>

From Loopers-Delight-request@loopers-delight.com  Sat Jul 21 21:42:20 2007
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
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Subject: loop-based installations
Date: Sat, 21 Jul 2007 23:42:40 +0200
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I'm currently doing first attempts in doing a loop-based sound installation:
What I'm trying to do is a setup with several microphones, speakers and
loopers.
The microphones feed the loopers (which are set to feedback=0 in a first
try), the loopers feed the speakers.

Did anyone of you gather experiences with this kind of thing? Especially
with regard to controlling signal levels and fighting feedback in a
computer-based installation?

	Rainer

From Loopers-Delight-request@loopers-delight.com  Sun Jul 22 09:09:27 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: loop-based installations
Date: Sun, 22 Jul 2007 11:09:20 +0200
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On 21 jul 2007, at 23.42, Rainer Thelonius Balthasar Straschill wrote:

> I'm currently doing first attempts in doing a loop-based sound  
> installation:
> What I'm trying to do is a setup with several microphones, speakers  
> and
> loopers.
> The microphones feed the loopers (which are set to feedback=0 in a  
> first
> try), the loopers feed the speakers.
>
> Did anyone of you gather experiences with this kind of thing?  
> Especially
> with regard to controlling signal levels and fighting feedback in a
> computer-based installation?
>
> 	Rainer


Since you work with microphones I can give one advice, emanating from  
my own mistakes in the past ;-)  Watch out with standing resonance  
peaks in the room! It won't be dangerous if you stick with "feedback  
= 0" but if using a little more feedback it might bring some  
unpleasant surprises after a couple of hours installation time. I  
once put up two tape recorders with a five meter tape loop at a  
friends sculpture exhibition. A hidden microphone captured sounds at  
the entrance of the venue, one tape machine recorded it and it was  
transported along the tape loop to the second machine that played it  
back over a speaker. When it came back with the tape loop to the  
first machine it was not erased, rather overdubbed with new sound  
layers (type "feedback = 95"). It all worked fine at the morning of  
the opening day. However, after four hours a ghostlike scream started  
howling from the looping installation. I wasn't there so the owner of  
the venue had to unplug it because it scared the shit out of people  
that came to enjoy art in sculpture. What had happened was that a  
certain frequency happened to get reflected more in that room (a  
standing resonance peak frequency) and with each new layer these  
frequencies began to take over, eating up all other sounds - until  
only this alien scream was left. Since then no one have asked me  
again to set up a complementary sound installation at an art gallery ;-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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Date: Sun, 22 Jul 2007 12:08:48 +0200 (CEST)
From: rune fagereng <rune_fagereng@yahoo.no>
Subject: Line 6 echo farm
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Hi !

I have read that line 6 echo farm effects are greate.
Does anyone know if its able to use on ableton live as
plug in? How someone used it ?

Rune F  


      
_________________________________________________________
Alt i én. Få Yahoo! Mail med adressekartotek, kalender og
notisblokk. http://no.mail.yahoo.com

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Subject: Re: Line 6 echo farm
Date: Sun, 22 Jul 2007 12:14:15 +0200
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On 22 jul 2007, at 12.08, rune fagereng wrote:

> I have read that line 6 echo farm effects are greate.
> Does anyone know if its able to use on ableton live as
> plug in?

No, Live can not be used as a plug-in. But if the Line 6 plug-ins  
support VST (or either VST or AU on Mac) they can be used as plug-ins  
under Live (i.e. Live hosting them). No demo version made available?

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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hi Rainer,
One tip.

First try with very short delays,
then when you get that working without runaway feedback
you can lengthen the delays to whatever you want.

andy
(otherwise it takes a long time to set up optimally) 

Rainer Thelonius Balthasar Straschill wrote:
> I'm currently doing first attempts in doing a loop-based sound installation:
> What I'm trying to do is a setup with several microphones, speakers and
> loopers.
> The microphones feed the loopers (which are set to feedback=0 in a first
> try), the loopers feed the speakers.
> 
> Did anyone of you gather experiences with this kind of thing? Especially
> with regard to controlling signal levels and fighting feedback in a
> computer-based installation?
> 
> 	Rainer
> 
> 

From Loopers-Delight-request@loopers-delight.com  Sun Jul 22 12:27:53 2007
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Subject: RE: Civitas Urbanus (new album release)
Date: Sun, 22 Jul 2007 14:27:45 +0200
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I've tried to download using Emule but it doesn't do anything - stays at 0
bytes all the time. I had already tried this with your previous album but
the 0 bytes mark never moved and I eventually gave up on it.

-Michael


From Loopers-Delight-request@loopers-delight.com  Sun Jul 22 13:07:09 2007
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Is Emule like BitTorrent?

If so, doesn't it depend on there being someone "seeding" the file.
i.e. someone who downloaded needs to leave the file available for 
other downloaders.

Currently I'm seeding the ogg file on bittorent, but TorrentStorm
seems to be saying that no-one else is doing so.

andy butler
oh, nice music by the way Per, thank you :-)  

Michael Peters wrote:
> I've tried to download using Emule but it doesn't do anything - stays at 0
> bytes all the time. I had already tried this with your previous album but
> the 0 bytes mark never moved and I eventually gave up on it.
> 
> -Michael
> 
> 
> 

From Loopers-Delight-request@loopers-delight.com  Sun Jul 22 13:48:57 2007
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Date: Sun, 22 Jul 2007 06:48:54 -0700 (PDT)
From: Tim Nelson <psychle62@yahoo.com>
Subject: Re: OT- Resonating (was:Re: Civitas Urbanus (new album release))
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I wish I could remember the author, but several years
ago I read a very interesting book on linguistics that
cited a study in which parallels were drawn between
the spread of Indo-European languages and the
repective musical styles which evolved as the cultures
diverged. In the study, listeners from populations
descended from speakers of proto Indo-European
languages were played incomplete musical phrases from
supposedly alien cultures and asked to complete the
cadences. The specific example that sticks in my head
was that people from Ireland could almost invariably
complete North Indian phrasing and vice-versa.

-t-

--- Mark Sottilaro <sine@zerocrossing.net> wrote:

> This is way OT, but what's up with that?  Sure,
> music made by  
> Europeans may speak to some part of my Euro-mutt
> brain, (and music  
> like Per's sure does) but what does it mean when
> this Euro-mutt hears  
> Indian classical music for the first time and falls
> instantly in  
> love?

http://www.myspace.com/nimbletunes
http://cdbaby.com/all/timnelson


       
____________________________________________________________________________________
Sick sense of humor? Visit Yahoo! TV's 
Comedy with an Edge to see what's on, when. 
http://tv.yahoo.com/collections/222

From Loopers-Delight-request@loopers-delight.com  Sun Jul 22 14:40:54 2007
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> Since you work with microphones I can give one advice, 
> emanating from my own mistakes in the past ;-)  Watch out 
> with standing resonance peaks in the room! It won't be 
> dangerous if you stick with "feedback = 0" but if using a 
> little more feedback it might bring some unpleasant surprises 
> after a couple of hours installation time. 

Says Barkhausen: resonances require a gain >1 to build up. (second
Barkhausen condition)
Of course, it depends on the different layers of feedback - one feedback
chain is within your looper, the other one being through the room. And I
encountered resonances even with feedback (of the looper) =0 in a setup like
this:

Mic 1: Shotgun mic pointed at a restaurant at the other side of the street
Mic 2: Living Room
Mic 3: Kitchen (adjacent to corridor)
Mic 4: Bedroom

Speaker 1/2: Living Room
Speaker 3: Corridor
Speaker 4: Bedroom

4 Loopers (Ellotronix), 5 insert effect chains. Compressors and lowcut per
mic channel, brickwall per output channel.

A first simplified implementation looked like this:
Mic 2 -> Looper 1 -> Speaker 3
Mic 3 -> Looper 2 -> Speaker 4
Mic 4 -> Looper 3 -> Speaker 1

Now again: something which allows me to control these resonances, apart from
"hearing them out" and placing parametric EQs in the signal chain? The
often-wanted feedback destroyer as a VST? Would dynamically changing the
length of the looper (thus changing phi(f)=2*Pi*n around the loop, the first
Barkhausen condition) work around this problem? Would I need a looper which
"pitch changes" (like the old PDS/RDS ones) for this - if so, which VST is
good for that?

	Rainer

From Loopers-Delight-request@loopers-delight.com  Sun Jul 22 14:48:23 2007
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Couldn't you just have some automation that turned the feedback down for a
cycle or two every 20 minutes or so?




On 7/22/07, Rainer Thelonius Balthasar Straschill <rs@moinlabs.de> wrote:
>
> > Since you work with microphones I can give one advice,
> > emanating from my own mistakes in the past ;-)  Watch out
> > with standing resonance peaks in the room! It won't be
> > dangerous if you stick with "feedback = 0" but if using a
> > little more feedback it might bring some unpleasant surprises
> > after a couple of hours installation time.
>
> Says Barkhausen: resonances require a gain >1 to build up. (second
> Barkhausen condition)
> Of course, it depends on the different layers of feedback - one feedback
> chain is within your looper, the other one being through the room. And I
> encountered resonances even with feedback (of the looper) =0 in a setup
> like
> this:
>
> Mic 1: Shotgun mic pointed at a restaurant at the other side of the street
> Mic 2: Living Room
> Mic 3: Kitchen (adjacent to corridor)
> Mic 4: Bedroom
>
> Speaker 1/2: Living Room
> Speaker 3: Corridor
> Speaker 4: Bedroom
>
> 4 Loopers (Ellotronix), 5 insert effect chains. Compressors and lowcut per
> mic channel, brickwall per output channel.
>
> A first simplified implementation looked like this:
> Mic 2 -> Looper 1 -> Speaker 3
> Mic 3 -> Looper 2 -> Speaker 4
> Mic 4 -> Looper 3 -> Speaker 1
>
> Now again: something which allows me to control these resonances, apart
> from
> "hearing them out" and placing parametric EQs in the signal chain? The
> often-wanted feedback destroyer as a VST? Would dynamically changing the
> length of the looper (thus changing phi(f)=2*Pi*n around the loop, the
> first
> Barkhausen condition) work around this problem? Would I need a looper
> which
> "pitch changes" (like the old PDS/RDS ones) for this - if so, which VST is
> good for that?
>
>         Rainer
>
>

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Couldn&#39;t you just have some automation that turned the feedback down for a cycle or two every 20 minutes or so?<br><br><br><br><br><div><span class="gmail_quote">On 7/22/07, <b class="gmail_sendername">Rainer Thelonius Balthasar Straschill
</b> &lt;<a href="mailto:rs@moinlabs.de">rs@moinlabs.de</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">&gt; Since you work with microphones I can give one advice,
<br>&gt; emanating from my own mistakes in the past ;-)&nbsp;&nbsp;Watch out<br>&gt; with standing resonance peaks in the room! It won&#39;t be<br>&gt; dangerous if you stick with &quot;feedback = 0&quot; but if using a<br>&gt; little more feedback it might bring some unpleasant surprises
<br>&gt; after a couple of hours installation time.<br><br>Says Barkhausen: resonances require a gain &gt;1 to build up. (second<br>Barkhausen condition)<br>Of course, it depends on the different layers of feedback - one feedback
<br>chain is within your looper, the other one being through the room. And I<br>encountered resonances even with feedback (of the looper) =0 in a setup like<br>this:<br><br>Mic 1: Shotgun mic pointed at a restaurant at the other side of the street
<br>Mic 2: Living Room<br>Mic 3: Kitchen (adjacent to corridor)<br>Mic 4: Bedroom<br><br>Speaker 1/2: Living Room<br>Speaker 3: Corridor<br>Speaker 4: Bedroom<br><br>4 Loopers (Ellotronix), 5 insert effect chains. Compressors and lowcut per
<br>mic channel, brickwall per output channel.<br><br>A first simplified implementation looked like this:<br>Mic 2 -&gt; Looper 1 -&gt; Speaker 3<br>Mic 3 -&gt; Looper 2 -&gt; Speaker 4<br>Mic 4 -&gt; Looper 3 -&gt; Speaker 1
<br><br>Now again: something which allows me to control these resonances, apart from<br>&quot;hearing them out&quot; and placing parametric EQs in the signal chain? The<br>often-wanted feedback destroyer as a VST? Would dynamically changing the
<br>length of the looper (thus changing phi(f)=2*Pi*n around the loop, the first<br>Barkhausen condition) work around this problem? Would I need a looper which<br>&quot;pitch changes&quot; (like the old PDS/RDS ones) for this - if so, which VST is
<br>good for that?<br><br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Rainer<br><br></blockquote></div><br>

------=_Part_138372_28310633.1185115702085--

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Of course, but I'd like to have a system which does that only in case it's
necessary. It if course does also depend on the specific surroundings where
you set up such an installation: if you set it up in a monastery, your
feedback should be higher than at Shinjuku main station etc.

Btw, does anybody know of a (free) VST plugin (or even standalone
application, though I'd vastly prefer VST) for Windows which generates MIDI
data based on some algorithms...including random streams etc.?

	Rainer


________________________________

	Von: Kelly Coyle [mailto:skcoyle@gmail.com] 
	Gesendet: Sonntag, 22. Juli 2007 16:48
	An: Loopers-Delight@loopers-delight.com
	Betreff: Re: loop-based installations
	
	
	Couldn't you just have some automation that turned the feedback down
for a cycle or two every 20 minutes or so?

From Loopers-Delight-request@loopers-delight.com  Sun Jul 22 15:35:43 2007
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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: OT- Resonating (was:Re: Civitas Urbanus (new album release))
Date: Sun, 22 Jul 2007 08:35:34 -0700
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On Jul 22, 2007, at 6:48 AM, Tim Nelson wrote:

> The specific example that sticks in my head
> was that people from Ireland could almost invariably
> complete North Indian phrasing and vice-versa.

As I recall, the movie Latcho Drom dealt with the currents of musical  
influence flowing from India and splitting in North Africa with  
currents going up the eastern side of Europe and in the west up the  
Iberian peninsula eventually meeting in central Europe and crossing  
into British Isles with the Traveler/Tinkerer culture.


BobC

http://tinyurl.com/yt8f8j
http://www.youtube.com/watch?v=KGb4Xq3MRtc

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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: OT- Resonating (was:Re: Civitas Urbanus (new album release))
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On Jul 21, 2007, at 9:35 AM, Mark Sottilaro wrote:

> The Monkees would gravitate quite specifically toward some ethnic  
> music and not others.  Theories?



The Monkees reference made me laugh. I grew up with that, Henry  
Mancini and Broadway cast albums. When I was first learning guitar it  
was Kingston Trio stuff, which I never liked.
It was not until I heard Muddy Waters that I felt a visceral  
revelation about what music is and could be. From there it is a small  
step to African music.
I think even Monkee-esque pop rock is only 3 degrees of separation  
from African musics.

The oft parodied difference between gospel music and protestant hymns  
speaks to the idea of "ecstatic" music vs. cerebral/mechanical music  
but while I think there can be said to be musical "flavors" that may  
suit certain personality temperaments, I think one's inclinations  
towards a music depends on when you hear it within your personal  
musical evolution. So it seems to be a complex equation of timing and  
context and not a simple correspondence of "types."


regards

BobC




http://tinyurl.com/yt8f8j
http://www.youtube.com/watch?v=KGb4Xq3MRtc


From Loopers-Delight-request@loopers-delight.com  Sun Jul 22 18:06:09 2007
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You could do that really well with Reaktor, but it's not free!

Mark Smart
http://www.marksmart.net

----- Original Message ----- 
From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
To: <Loopers-Delight@loopers-delight.com>
Sent: Sunday, July 22, 2007 10:14 AM
Subject: AW: loop-based installations


> Of course, but I'd like to have a system which does that only in case it's
> necessary. It if course does also depend on the specific surroundings 
> where
> you set up such an installation: if you set it up in a monastery, your
> feedback should be higher than at Shinjuku main station etc.
>
> Btw, does anybody know of a (free) VST plugin (or even standalone
> application, though I'd vastly prefer VST) for Windows which generates 
> MIDI
> data based on some algorithms...including random streams etc.?
>
> Rainer
>
>
> ________________________________
>
> Von: Kelly Coyle [mailto:skcoyle@gmail.com]
> Gesendet: Sonntag, 22. Juli 2007 16:48
> An: Loopers-Delight@loopers-delight.com
> Betreff: Re: loop-based installations
>
>
> Couldn't you just have some automation that turned the feedback down
> for a cycle or two every 20 minutes or so? 

From Loopers-Delight-request@loopers-delight.com  Sun Jul 22 18:20:25 2007
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Subject: Re: Line 6 echo farm
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> I have read that line 6 echo farm effects are greate.
> Does anyone know if its able to use on ableton live as
> plug in? How someone used it ?

Echo Farm is a TDM plugin, which means you need a Protools Mix or HD  
rig to use it.
Live cannot host TDM plugins- the only applications that can are  
Protools, Logic and Digital Performer.
All 3 require Digidesign hardware.

FWIW I've stopped using Echo Farm completely since Sountoys Echoboy  
was released- it is far, far, far, far superior.

Regards,

James Richmond
--Apple-Mail-16-662789756
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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; "><DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite"><P =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><FONT face=3D"Helvetica" =
size=3D"3" style=3D"font: 12.0px Helvetica">I have read that line 6 echo =
farm effects are greate.</FONT></P> <P style=3D"margin: 0.0px 0.0px =
0.0px 0.0px"><FONT face=3D"Helvetica" size=3D"3" style=3D"font: 12.0px =
Helvetica">Does anyone know if its able to use on ableton live =
as</FONT></P> <P style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><FONT =
face=3D"Helvetica" size=3D"3" style=3D"font: 12.0px Helvetica">plug in? =
How someone used it ?</FONT></P> </BLOCKQUOTE></DIV><BR><DIV>Echo Farm =
is a TDM plugin, which means you need a Protools Mix or HD rig to use =
it.</DIV><DIV>Live cannot host TDM plugins- the only applications that =
can are Protools, Logic and Digital Performer.</DIV><DIV>All 3 require =
Digidesign hardware.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>FWIW I've stopped using =
Echo Farm completely since Sountoys Echoboy was released- it is far, =
far, far, far superior.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Regards,=A0</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>James =
Richmond</DIV></BODY></HTML>=

--Apple-Mail-16-662789756--

From Loopers-Delight-request@loopers-delight.com  Sun Jul 22 18:39:51 2007
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Subject: loop-based installations - update
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For all of you who have joined into giving me good advice:

Currently, a first trial has been running for some hours (like four or so).

The most important things I found out:

1. Andy's idea to first find the room resonances with short delays (or no
delays at all), then bring in the delays is a real time saver. Still, you
don't get all of the resonances - new delays means new resonances.

2. As Per mentioned, the resonances are a real problem. I don't think it's
possible to set up a "static" system (meaning static EQ etc. settings) in a
non-static environment (meaning people coming and going and making
unpredictable noises).
I still think I need to follow the feedback destroyer route, even if all
people tell me they suck ass and ruin the sound etc.

3. I think I'm gonna post a first recording of this when I found time to
compile it with some video footage (got no place to post audio without video
;).

Thanks to all of you,

	Rainer

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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: loop-based installations - update
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On Jul 22, 2007, at 11:40 AM, Rainer Thelonius Balthasar Straschill  
wrote:

> I don't think it's
> possible to set up a "static" system (meaning static EQ etc.  
> settings) in a
> non-static environment (meaning people coming and going and making
> unpredictable noises).


Just thought might be worth a mention of Alvin Lucier's Empty Vessels:

LUCIER: I just composed a work for the Donau Eschingen Festival which  
was an installed work. I have two different kinds of compositions - I  
do performance pieces and I do installed works; in the latter I  
create sounds using equipment or prose directions, and then I  
organize a performance of the resulting installed piece in a public  
space, such as a concert hall or an art gallery. The work, which I  
have just composed for the Donau Eschingen Festival, is called "Empty  
Vessels." I had eight glass water containers, that I bought at  
Pierpont Imports which I've used as bases for the composition. I  
mounted them on a stage in a little space and I put a microphone in  
each one - all the microphones are rooted through amplifiers to  
speakers. Then I raised the volume in the amplifier, which creates  
feedback, in such a way that each strand of feedback corresponds to  
the size of the empty vessel that the microphone is in. As a result,  
there are eight separate pitches and the feedback from the  
microphones, so when you walk into that room, not only do you hear  
the eight separate pitches, but the presence of your body interferes  
with the feedback and that moves the sounds around and changes the  
sounds, distorting them in many different ways. Sometimes it can  
almost stop the sounds in a vessel. I have just finished that work a  
few months ago so that is one of my latest compositions.

from:  http://www.musica-ukrainica.odessa.ua/i-rovner-lucier.html

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Date: Sun, 22 Jul 2007 15:45:28 -0500
From: "Kelly Coyle" <skcoyle@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT- Resonating (was:Re: Civitas Urbanus (new album release))
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Nothing about music, but I knew a (white) guy in Kentucky who said he never
felt at home anywhere until he moved to Kenya. He thought about it a lot --
he theorized that it was the daily rhythm of life in "his" village. But why
that would appeal to him and not (e.g.) me, or his brothers, or whatever, he
didn't know.

My wife likes Scandinavian folk music; I like South African and north Indian
music. We both like Leo Kottke. We are culturally pretty similar. I'm not
sure taste means anything but what you like.




On 7/22/07, RP Collier <skeptikalist@gmail.com> wrote:
>
>
> On Jul 21, 2007, at 9:35 AM, Mark Sottilaro wrote:
>
> > The Monkees would gravitate quite specifically toward some ethnic
> > music and not others.  Theories?
>
>
>
> The Monkees reference made me laugh. I grew up with that, Henry
> Mancini and Broadway cast albums. When I was first learning guitar it
> was Kingston Trio stuff, which I never liked.
> It was not until I heard Muddy Waters that I felt a visceral
> revelation about what music is and could be. From there it is a small
> step to African music.
> I think even Monkee-esque pop rock is only 3 degrees of separation
> from African musics.
>
> The oft parodied difference between gospel music and protestant hymns
> speaks to the idea of "ecstatic" music vs. cerebral/mechanical music
> but while I think there can be said to be musical "flavors" that may
> suit certain personality temperaments, I think one's inclinations
> towards a music depends on when you hear it within your personal
> musical evolution. So it seems to be a complex equation of timing and
> context and not a simple correspondence of "types."
>
>
> regards
>
> BobC
>
>
>
>
> http://tinyurl.com/yt8f8j
> http://www.youtube.com/watch?v=KGb4Xq3MRtc
>
>
>

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Nothing about music, but I knew a (white) guy in Kentucky who said he never felt at home anywhere until he moved to Kenya. He thought about it a lot -- he theorized that it was the daily rhythm of life in &quot;his&quot; village. But why that would appeal to him and not (
e.g.) me, or his brothers, or whatever, he didn&#39;t know.<br><br>My wife likes Scandinavian folk music; I like South African and north Indian music. We both like Leo Kottke. We are culturally pretty similar. I&#39;m not sure taste means anything but what you like.
<br><br><br><br><br><div><span class="gmail_quote">On 7/22/07, <b class="gmail_sendername">RP Collier</b> &lt;<a href="mailto:skeptikalist@gmail.com">skeptikalist@gmail.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<br>On Jul 21, 2007, at 9:35 AM, Mark Sottilaro wrote:<br><br>&gt; The Monkees would gravitate quite specifically toward some ethnic<br>&gt; music and not others.&nbsp;&nbsp;Theories?<br><br><br><br>The Monkees reference made me laugh. I grew up with that, Henry
<br>Mancini and Broadway cast albums. When I was first learning guitar it<br>was Kingston Trio stuff, which I never liked.<br>It was not until I heard Muddy Waters that I felt a visceral<br>revelation about what music is and could be. From there it is a small
<br>step to African music.<br>I think even Monkee-esque pop rock is only 3 degrees of separation<br>from African musics.<br><br>The oft parodied difference between gospel music and protestant hymns<br>speaks to the idea of &quot;ecstatic&quot; music vs. cerebral/mechanical music
<br>but while I think there can be said to be musical &quot;flavors&quot; that may<br>suit certain personality temperaments, I think one&#39;s inclinations<br>towards a music depends on when you hear it within your personal
<br>musical evolution. So it seems to be a complex equation of timing and<br>context and not a simple correspondence of &quot;types.&quot;<br><br><br>regards<br><br>BobC<br><br><br><br><br><a href="http://tinyurl.com/yt8f8j">
http://tinyurl.com/yt8f8j</a><br><a href="http://www.youtube.com/watch?v=KGb4Xq3MRtc">http://www.youtube.com/watch?v=KGb4Xq3MRtc</a><br><br><br></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Sun Jul 22 22:40:11 2007
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From: "Sjaak" <tcplugin@scarlet.be>
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Subject: RE: RC-50 Sync Issues...
Date: Mon, 23 Jul 2007 00:39:34 +0200
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My priority list regarding the RC-50 "issues":
- Midi sync: the RC-50 should simply sync as a midi slave WITHOUT the =
need
for a start message from a remote device
- Aux input level control using the expression pedal
- Aux input level save option
- Normal feedback control (0-100%)

My suggestions for the Boss engineers =3D> add the following to the =
successor
of the RC-50:
- Replace the current tempo sync feature with the one of the V-Synth =
(which
has an excellent auto speed sample feature)
- Add Boss DD-20 delays + feedback control (analog, digital, pan, tape =
echo,
warp, modulation)
- Any RC-50 feature should be midi controlable and storable in a patch

Sjaak


From Loopers-Delight-request@loopers-delight.com  Sun Jul 22 22:50:38 2007
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Subject: London UK gig spam
Date: Sun, 22 Jul 2007 22:50:35 +0000
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hi guys, just a note to say the next monthly Improvizone gig is on July 31st 
at Imbibe on the Blackfriars Road. Entry is free and the fun starts at 7:30

full details on the Improvizone website - http://www.improvizone.com

cheers

sim



http://www.simeonharris.co.uk

_________________________________________________________________
Watch all 9 Live Earth concerts live on MSN.  http://liveearth.uk.msn.com

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Date: Sun, 22 Jul 2007 16:11:06 -0700
From: "Art Simon" <simart@gmail.com>
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Subject: Re: Civitas Urbanus (new album release)
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Great Stuff! I feel like a kid in a candy store listening to it : )

-- 
Art Simon
simart@null.net
http://art.simon.tripod.com
http://www.myspace.com/artsimon

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Great Stuff! I feel like a kid in a candy store listening to it : )<br><br>-- <br>Art Simon<br><a href="mailto:simart@null.net">simart@null.net</a><br><a href="http://art.simon.tripod.com">http://art.simon.tripod.com</a><br>
<a href="http://www.myspace.com/artsimon">http://www.myspace.com/artsimon</a>

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Subject:  Re: Civitas Urbanus (new album release)
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Per !   I love what you created !   wow!
 
if you don't mind,  I'm curious  how you manipulate the guitar sound where
it kind of spins off into the wild blue yonder .  example is at 1:40 on
Track 1.  Do you create that while you are playing guitar? or in post
production?
 
-Qua

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<DIV dir=3Dltr align=3Dleft><FONT face=3DArial color=3D#0000ff =
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class=3D756445623-22072007>Per !&nbsp;&nbsp; I love what you created =
!&nbsp;&nbsp;=20
wow!</SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial color=3D#0000ff =
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<DIV dir=3Dltr align=3Dleft><FONT face=3DArial color=3D#0000ff =
size=3D2><SPAN=20
class=3D756445623-22072007>if you don't mind,&nbsp; I'm curious&nbsp; =
how you=20
manipulate the guitar sound where it kind of spins off into the wild =
blue yonder=20
.&nbsp; example is at 1:40 on Track 1.&nbsp;&nbsp;Do you create that =
while you=20
are playing guitar? or in post production?</SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial color=3D#0000ff =
size=3D2><SPAN=20
class=3D756445623-22072007></SPAN></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial color=3D#0000ff =
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class=3D756445623-22072007>-Qua</SPAN></FONT></DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Mon Jul 23 00:33:39 2007
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Date: Sun, 22 Jul 2007 17:33:37 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: Re: OT- Resonating (was:Re: Civitas Urbanus (new album release))
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Howdy,

 Interesting discussion. after hearing african pop
music(Malcolm Mclaren's, 'Duck rock"), I searched for
years to find his backing bamd. turns out it was
Malathini and the Mahotella Queens. After that it was
king Sunny Ade. What I want to know is this. the
mahotella Queens sing 3 part harmony, but it does not
sound ANYTHING like western 3 part harmony. What notes
or note in the traid is different/ How are their
harmonies constructed. Very intriguing. Not to mention
that ifI were a guitar virtuoso,it would be along the
line of those two bands. Always dancing around the
theme of the song, not blasting power chords or
playing blazing lead lines. just constantly
interweaving myself into the mix.
rig


rig


--- Kelly Coyle <skcoyle@gmail.com> wrote:

> Nothing about music, but I knew a (white) guy in
> Kentucky who said he never
> felt at home anywhere until he moved to Kenya. He
> thought about it a lot --
> he theorized that it was the daily rhythm of life in
> "his" village. But why
> that would appeal to him and not (e.g.) me, or his
> brothers, or whatever, he
> didn't know.
> 
> My wife likes Scandinavian folk music; I like South
> African and north Indian
> music. We both like Leo Kottke. We are culturally
> pretty similar. I'm not
> sure taste means anything but what you like.
> 
> 
> 
> 
> On 7/22/07, RP Collier <skeptikalist@gmail.com>
> wrote:
> >
> >
> > On Jul 21, 2007, at 9:35 AM, Mark Sottilaro wrote:
> >
> > > The Monkees would gravitate quite specifically
> toward some ethnic
> > > music and not others.  Theories?
> >
> >
> >
> > The Monkees reference made me laugh. I grew up
> with that, Henry
> > Mancini and Broadway cast albums. When I was first
> learning guitar it
> > was Kingston Trio stuff, which I never liked.
> > It was not until I heard Muddy Waters that I felt
> a visceral
> > revelation about what music is and could be. From
> there it is a small
> > step to African music.
> > I think even Monkee-esque pop rock is only 3
> degrees of separation
> > from African musics.
> >
> > The oft parodied difference between gospel music
> and protestant hymns
> > speaks to the idea of "ecstatic" music vs.
> cerebral/mechanical music
> > but while I think there can be said to be musical
> "flavors" that may
> > suit certain personality temperaments, I think
> one's inclinations
> > towards a music depends on when you hear it within
> your personal
> > musical evolution. So it seems to be a complex
> equation of timing and
> > context and not a simple correspondence of
> "types."
> >
> >
> > regards
> >
> > BobC
> >
> >
> >
> >
> > http://tinyurl.com/yt8f8j
> > http://www.youtube.com/watch?v=KGb4Xq3MRtc
> >
> >
> >
> 



       
____________________________________________________________________________________
Pinpoint customers who are looking for what you sell. 
http://searchmarketing.yahoo.com/

From Loopers-Delight-request@loopers-delight.com  Mon Jul 23 00:42:28 2007
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From: "aaron leese" <aaronleese@hotmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: civitas urbanus ... composers ... allofmp3
Date: Sun, 22 Jul 2007 20:42:23 -0400
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Hey .... Someone here was lamenting last week about the death of 
allofmp3.org ... the russian site that was half legally distributing mp3s.

The site is still up at mp3sparks.com .... your account will even be there.  
MP3Sparks seems to be up and down a bit lately ... who knows if they are 
under the same pressure (America's threatening to keep Russia out of the WTO 
over allofmp3).

There is a great wikipedia article on the whole thing too if you get the 
chance.

As per the other stuff ... yeah, I really like your new album there Per ... 
good job ... I would comment more, but there is enough for you to read 
already.

ciao all-
aaron leese

_________________________________________________________________
http://imagine-windowslive.com/hotmail/?locale=en-us&ocid=TXT_TAGHM_migration_HM_mini_2G_0507

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From: "Kelly Coyle" <skcoyle@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT- Resonating (was:Re: Civitas Urbanus (new album release))
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Amen, brother. It's one of the things I find hard about looping -- how to
get away from "lead guitar" (which I can do OK, I guess, but I don't like to
hear me doing it) and more into that multiple parallel melodies thing (not
unlike Dixieland) (or P-Funk). But, too often in my looping for my taste, I
end up playing "over" some kind of backing noise. I'm glad you reminded me
of that, to help keep it conscious.









On 7/22/07, bill bigrig <billbigrig@yahoo.com> wrote:
>
> Not to mention
> that ifI were a guitar virtuoso,it would be along the
> line of those two bands. Always dancing around the
> theme of the song, not blasting power chords or
> playing blazing lead lines. just constantly
> interweaving myself into the mix.
>
>

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Amen, brother. It&#39;s one of the things I find hard about looping -- how to get away from &quot;lead guitar&quot; (which I can do OK, I guess, but I don&#39;t like to hear me doing it) and more into that multiple parallel melodies thing (not unlike Dixieland) (or P-Funk). But, too often in my looping for my taste, I end up playing &quot;over&quot; some kind of backing noise. I&#39;m glad you reminded me of that, to help keep it conscious.
<br><br><br><br><br><br><br><br><br><br><div><span class="gmail_quote">On 7/22/07, <b class="gmail_sendername">bill bigrig</b> &lt;<a href="mailto:billbigrig@yahoo.com">billbigrig@yahoo.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Not to mention<br>that ifI were a guitar virtuoso,it would be along the<br>line of those two bands. Always dancing around the<br>theme of the song, not blasting power chords or<br>playing blazing lead lines. just constantly
<br>interweaving myself into the mix.<br><br></blockquote></div>

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----- Original Message ----- 
From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
> Btw, does anybody know of a (free) VST plugin (or even standalone
> application, though I'd vastly prefer VST) for Windows which generates 
> MIDI
> data based on some algorithms...including random streams etc.?

Rainer,
I think of "talent" @ www.xoxos.net
There is also the ball sequencer from http://www.upland.no/software.html.
You can try also stuff like "musinum", "gbloink" "poodle and flan" or 
"tangent" which are not VST but can transmit on a virtual midi loopback.

I like random events when you can expect graphically an otherwise unexpected 
sound. The bouncing ball approach is easy to set-up and can provide a kind 
of repeating pattern. Sounder might be also a solution but is not free.
Bidule has also a lot of module for stochastic generation including ways to 
treat your loops on a spectrum basis.

Ben.

From Loopers-Delight-request@loopers-delight.com  Mon Jul 23 08:21:00 2007
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> I don't think it's possible to set up a "static" system (meaning static EQ
etc. settings) in a non-static environment (meaning people coming and going
and making unpredictable noises).

a friend of mine has done somewhat similar installations many years ago. He
had built a dynamical system, using an Atari computer (yes, that long ago)
and a self-written C program that analyzed the volume and resonance levels
and was able to react and control autonomously, turning feedback down, or
introducing loops of different lengths in order to change the resonances. It
was quite amazing. Maybe you can use PD or Max to develop something similar.

-Michael

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Civitas Urbanus (new album release)
Date: Mon, 23 Jul 2007 11:57:48 +0200
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On 23 jul 2007, at 01.58, Qua Veda wrote:

> if you don't mind,  I'm curious  how you manipulate the guitar  
> sound where it kind of spins off into the wild blue yonder .   
> example is at 1:40 on Track 1.  Do you create that while you are  
> playing guitar? or in post production


Well, it was simply played like that. That track is a typical "push  
record and play" thing, utilizing the function of Mobius's that  
renders a stereo file on the hard drive from the summed stereo  
output; no separated track, you just get everything in one go. I  
didn't play it on a guitar though, but on an EWI. So the sound source  
is a synth played through Native Instrument's Guitar Rig 2. The  
breath strength is binded to the wha effect, so the harder I blow the  
more wha treble, just like you could play it with the foot if using a  
guitar plus wha pedal. Right before 1:40 I'm doing a couple of short,  
hard attack staccatto notes (sounding like angry ducks fighting) and  
catching those into a loop (you can hear them quacking along in the  
background, as a loop for a while). As contrast to those angry  
quackers I go into playing longer notes which I modulate by glissandi  
and vibrato. When playing those long notes I alternate between  
portamento and no portamento (pitch gliding from note to note).  
Playing a fast scale with portamento is what sounds like that "whammy  
bar space shop lift-off", gliding through several octaves. I'm also  
playing some notes with a soft but rather fast fade-in attack and  
vibrato added right from the start as well as doing pitch-bending  
while my tone is still still in heavy vibrato (a phrasing approach I  
picked up from hearing Hendrix long ago). I can do that on strat as  
well by  hitting the string with volume knob down, applying vibrato  
and then turning the volume knob up, but to achieve the same thing on  
a guitar is more difficult because you need to use the twang bar for  
the vibrato (needs to go both above and below the nominal pitch,  
which is not possible with finger vibrato) and that makes it  
difficult (but not impossible) to also turn the volume knob with your  
right hand. For many aspects of floating twang bar guitar playing  
techniques I'm actually finding the EWI better, which is kind of  
strange since it was created by a wind player and not by a guitar  
player. Probably just a lucky coincidence.

Anyway, it's strange that so many words are needed to simply describe  
one tiny musical gesture of attitude. It looks very boring when  
described like this ;-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)


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=20
 >> FWIW I've stopped using Echo Farm completely since Sountoys Echoboy
was released- it is far, far, far, far superior. <<
=20
presumably you had it running on the machine you wrote this email on
too...... :-)
=20
d.=20
=20

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
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charset=3Dus-ascii">
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<BODY=20
style=3D"WORD-WRAP: break-word; khtml-nbsp-mode: space; =
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<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff></FONT>&nbsp;</DIV>
<DIV><SPAN class=3D193563712-23072007><FONT face=3D"AmericanTypewriter =
Medium"=20
color=3D#0000ff>&nbsp;&gt;&gt;&nbsp;</FONT></SPAN>FWIW I've stopped =
using Echo=20
Farm completely since Sountoys Echoboy was released- it is <STRONG>far, =
far,=20
far, far</STRONG> superior.<SPAN class=3D193563712-23072007><FONT=20
face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff>&nbsp;&lt;&lt;</FONT></SPAN></DIV>
<DIV><SPAN class=3D193563712-23072007></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D193563712-23072007><FONT face=3D"AmericanTypewriter =
Medium"=20
color=3D#0000ff>presumably you had it running on the machine you wrote =
this email=20
on too...... :-)</FONT></SPAN></DIV>
<DIV><SPAN class=3D193563712-23072007></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D193563712-23072007><FONT face=3D"AmericanTypewriter =
Medium"=20
color=3D#0000ff>d.</FONT>&nbsp;</SPAN></DIV>
<DIV>&nbsp;</DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Mon Jul 23 14:15:19 2007
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Date: Mon, 23 Jul 2007 10:15:16 -0400
From: "Tony K" <bigtonyk@gmail.com>
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	 <000301c7cc73$04fd4140$1001a8c0@succubus>
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> Btw, does anybody know of a (free) VST plugin (or even standalone
> application, though I'd vastly prefer VST) for Windows which generates MIDI
> data based on some algorithms...including random streams etc.?
>

FMusic is pretty cool.  It uses cellular automata to create MIDI data.
 It'll run forever.
By using MIDIYoke or MIDIOX you could route the output from it to
whatever VST host you are using.

http://www.fractal-vibes.com/fm/

Tony

From Loopers-Delight-request@loopers-delight.com  Mon Jul 23 16:54:23 2007
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This is a multi-part message in MIME format.

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While we're on the topic of delay plug-ins, I can't say enough nice things
about Augustus Loop (mac), Ohmforce Ohmboyz (dual platform) and U-he's More
Feedback Machine (dual platform)

 

M

 

-----Original Message-----
From: Goddard, Duncan [mailto:goddard.duncan@mtvne.com] 
Sent: Monday, July 23, 2007 5:39 AM
To: Loopers-Delight@loopers-delight.com
Subject: RE: Line 6 echo farm

 

 

 >> FWIW I've stopped using Echo Farm completely since Sountoys Echoboy was
released- it is far, far, far, far superior. <<

 

presumably you had it running on the machine you wrote this email on
too...... :-)

 

d. 

 


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</head>

<body lang=3DEN-US link=3Dblue vlink=3Dpurple style=3D'WORD-WRAP: =
break-word;
khtml-nbsp-mode: space;khtml-line-break: after-white-space'>

<div class=3DSection1>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>While we&#8217;re on the topic of =
delay
plug-ins, I can&#8217;t say enough nice things about Augustus Loop =
(mac), Ohmforce
Ohmboyz (dual platform) and U-he&#8217;s More Feedback Machine (dual =
platform)</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>M</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>-----Original =
Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> Goddard, Duncan
[mailto:goddard.duncan@mtvne.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Monday, July 23, =
2007 5:39
AM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> RE: Line 6 echo =
farm</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
color=3Dblue
face=3D"AmericanTypewriter Medium"><span =
style=3D'font-size:12.0pt;font-family:
"AmericanTypewriter =
Medium";color:blue'>&nbsp;&gt;&gt;&nbsp;</span></font>FWIW
I've stopped using Echo Farm completely since Sountoys Echoboy was =
released- it
is <strong><b><font face=3D"Times New Roman">far, far, far, =
far</font></b></strong>
superior.<font color=3Dblue face=3D"AmericanTypewriter Medium"><span
style=3D'font-family:"AmericanTypewriter =
Medium";color:blue'>&nbsp;&lt;&lt;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
color=3Dblue
face=3D"AmericanTypewriter Medium"><span =
style=3D'font-size:12.0pt;font-family:
"AmericanTypewriter Medium";color:blue'>presumably you had it running on =
the
machine you wrote this email on too...... :-)</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
color=3Dblue
face=3D"AmericanTypewriter Medium"><span =
style=3D'font-size:12.0pt;font-family:
"AmericanTypewriter Medium";color:blue'>d.</span></font>&nbsp;</p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

</div>

</body>

</html>

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From Loopers-Delight-request@loopers-delight.com  Mon Jul 23 18:56:44 2007
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Date: Mon, 23 Jul 2007 12:56:42 -0600
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From: "Kevin Cheli-Colando" <kevin@minds-eye.org>
To: "Loop" <Loopers-Delight@loopers-delight.com>
Reply-To: kevin@minds-eye.org
Subject: OT:  Video question (there will be a looping soundtrack though)
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Hello all,

I know this is very far afield of the usual looping discussion here but
I also know this is one of the most well informed and diversely talented
 group of people I know online so I'm asking this OT question of you
all.  If you know nothing about digital video or could care less about
it you might want to delete this now.  But for those of you who are
willing...

Off list responses are probably best.


I’m trying to create some short movies that are primarily created in
After Effects from a collection of jpgs.  These are all high resolution
images taken from RAW files.  I’m not really doing anything too
complicated, just basic dissolves and maybe a little movement.

The movies are about 20 minutes long and they render out at about 35 Gb
each when uncompressed and these look just fine when played on my
computer.  Also, I can compress them in the rendering stage to about 1
Gb and they still look fine on computer playback.

However, when I try to create a DVD using these files (uncompressed or
previously compressed), they become unwatchable and filled with
artifacts and moiré like patterns that really ruin much of the work. 
I’ve tried using Adobe Encore and Nero to encode DVDs and both of them
produced the same result.

I’m really at a loss here since I have been making short videos with
this method for a little while and never encountered this problem
before.  The only differences I can identify is that the source files
for the earlier error free videos were all tif files while these are
jpgs taken from RAW files.  One last possibility, the images are mainly
of wood and so have lots of recurring pattern lines in them.

If any of you have any expertise you’d be willing to share or have any
suggestions of where to get an answer for this sort of problem, I would
be deeply grateful (I'm putting off diving into the Adobe forums because
I feel that my use of these programs is far below the type of user
questions that seem to populate there).  I admit to having gone straight
into working in digital video without grounding in what might be the
basics so I encounter problems like this more often than I’d like.  Not
so very different from how I’ve approached looping technology either I
suppose.

So, sorry if this is an obviously lame question, but I am at a loss (yet
again).

Thanks again

Kevin

-- 
Till now you seriously considered yourself to be the body and to have a
form. That is the primal ignorance which is the root cause of all trouble.

- Ramana Maharshi (1879-1950)

Sound and Vision:  http://www.minds-eye.org

From Loopers-Delight-request@loopers-delight.com  Mon Jul 23 19:37:09 2007
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References:
    <072120071510.4307.46A221E600075360000010D32216549976020A050C07080C0B0A079D00070B0703@comcast.net>
    <82CF2D11-87D4-4D6B-84DD-6F29F5491882@mac.com>
Date: Mon, 23 Jul 2007 12:37:10 -0700 (PDT)
Subject: Re: RC-50 Sync Issues...
From: chris@nubzilla.com
To: Loopers-Delight@loopers-delight.com
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Thanks for all your input.

In response to various comments...

I have not been able to sync the RC-50 to anything.  It just does not
work; even between two of them.  It will trigger about a quarter beat off
tempo upon reciept of a start message and then listen to tempo changes
until you stop all clips on the slave unit, after which sync ends.  It
also will not lock on the tempo exactly either often being off by .1 or
more.  Basically it's unusable sync-wise.

I will forward all these suggestions for additional features on with my
correspondence with Boss.  My main focus is to just get them to deliver
what they promise.  (first...)

Is there anybody out there that would be able and willing to edit / hack
firmware code if some specs were made available?  This is one of the
possibilities I proposed to them.  (that there is someone over here who
can...) If the repair can be made without a hardware upgrade, this may
have a shot.  And, other features can be written as well at the same time.
 Perhaps a computer gui that will allow the end user to program different
features and create their own code.  (I have a dream...  for a better
tomorrow...)

I am hopeful that they will come through.  If not, however, we can force
them to refund the purchase price of the unit.  Better them than us to
take the financial hit.  Hopefully it won't come to that...

CH


On Sat, July 21, 2007 8:14 am, Teddy Kumpel wrote:
> at least panning on the guide so it only takes up one mono output
> some other mode where you can use the phrase buttons to start and
> stop phrases, rather than selecting them then using the stop button
> would be nice
>
> tk
>
> On Jul 21, 2007, at 11:10 AM, midifriedchicken@comcast.net wrote:
>
>> Improvements I would love to see:
>> Midi Sync, Job 1. Get that and all others are simply icing on the
>> cake.
>> In Multi-Mode, auto start and stop on the loops. I hate hitting the
>> button twice.
>> Guide Track to headphones only.
>> MP3 support. Wavs can take up to much memory. I know Im reaching on
>> that one.
>> Im sure theres more.
>>
>> Thanks
>> MFC
>>
>>
>> -------------- Original message --------------
>> From: "L.A. Angulo" <labaloops@yahoo.com>
>>
>> > Hey Chris,
>> > Thats wonderful i am not a RC-50 user but i am still
>> > contemplating it and reading every mail of you users
>> > if all of those issues are solved(feedback,sync,etc.)i
>> > will probably be buying one just for the simple fact
>> > that is midi,stereo,multitracik looper,drum machine
>> > and portability.Just curious what improvements have
>> > you requested so far?
>> > cheers
>> > Luis
>> >
>> >
>> >
>> >
>> > --- Teddy wrote:
>> >
>> > > Hey Chris,
>> > >
>> > > I tried the same thing months ago to no avail.
>> > > Hopefully you'll have better perseverance than I.
>> > > I got sick of trying... mostly because I figured out
>> > > other ways of < BR>> > doing what I want with syncing, but I
>> still want
>> > > them to fix it... it
>> > > really sucks that they haven't yet.
>> > >
>> > > anyway, good luck and if you want to include
>> > > anything I wrote in the
>> > > archive feel free.
>> > >
>> > > Teddy
>> > >
>> > > On Jul 20, 2007, at 4:11 PM, chris@nubzilla.com
>> > > wrote:
>> > >
>> > > > Hi all,
>> > > >
>> > > > I have been reading the archives on this and have
>> > > found some
>> > > > comfort in
>> > > > not being alone having rc-50 sync issues. I have
>> > > talked to some
>> > > > higher
>> > > > ups over at Boss / Roland US, and I believe they
>> > > are interested in
>> > > > having
>> > > > some help communicating the importance of a fix to
>> > > Japan. Roland/
>> > > > Boss US
>> > > & gt; has been feeling the heat on this, and now R/B
>> > > Japan needs to feel
>> > > > it too
>> > > > so a fix will be made; sooner rather than later!
>> > > (Bob Wood is the
>> > > > head of
>> > > > Customer Relations.) I spoke with him on the
>> > > phone recently and
>> > > > suggested
>> > > > that they (Roland/Boss) interact with this list
>> > > directly, as there are
>> > > > much to be gained here and a lot of experience and
>> > > knowledge to be
>> > > > gained
>> > > > as well.
>> > > >
>> > > > I purchased 2 rc-50s some time ago intending to
>> > > sync them and
>> > > > ableton and
>> > > > other stuff as well. After hearing "yes, we
>> > > know..." from tech
>> > > > support, I
>> > > > decided to take it to the top of the chain. (the
>> > > tree shakes
>> > & gt; > easier from
>> > > > the top) I expect to be in communication with
>> > > them again soon
>> > > > about how
>> > > > we can get closer to a solution.
>> > > >
>> > > > I offered to write a letter detailing my RC-50
>> > > predicament for Bob
>> > > > to pass
>> > > > along overseas, and he thought that would be
>> > > helpful. If any of
>> > > > you would
>> > > > like to add your own comments or stories, I'll
>> > > pass them along as
>> > > > well.
>> > > > The idea is to demonstrate the need for a fix; to
>> > > show how
>> > > > important midi
>> > > > sync and slaving really is. (for me is it THE
>> > > reason I chose the
>> > > > RC-50)
>> > > >
>> > > > If, on the off chance Bob doesn't come through, I
>> > > will contact
>> > > > Roland/Boss
>> > ; > > Japan directly myself. It might cost me in long
>> > > distance, but
>> > > > someone
>> > > > has to hold them accountable to deliver what they
>> > > promised.
>> > > >
>> > > > Sorry to blather on so long about this. I just
>> > > hope that together
>> > > > we can
>> > > > motivate them to fix this.
>> > > >
>> > > > Thanks for your camaraderie.
>> > > >
>> > > > Chris Hughes
>> > > > Sheila Kirsten Hughes Band
>> > > > Nubzilla Records
>> > > > Tampa, FL
>> > >
>> > >
>> >
>> >
>> > www.myspace.com/luisangulocom
>> >
>> >
>> >
>> >
>> ______________________________________________________________________
>> __________
>> > ____
>> > Park yourself in front of a world of choices in alternative
>> vehicles. Visit the
>> > Yahoo! Auto Green Center.
>> > http://autos.yahoo.c om/green_center/
>> >
>
>


From Loopers-Delight-request@loopers-delight.com  Mon Jul 23 20:35:26 2007
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Date: Mon, 23 Jul 2007 15:41:08 -0400
From: Bill Fox <billyfox@soundscapes.us>
Subject: Galactic Travels Playlist #537 for July 12, 2007
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http://wdiy.org/programs/gt/playlists/2007/070712.html

Galactic Travels is an electronic, ambient, and space music show, that
airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and Bethlehem,
PA, 93.9 FM in Easton, PA and Phillipsburg, NJ, 93.7 FM in Fogelsville
and Trexlertown, and webcasting on the internet.  WDIY also broadcasts
in Digital HD at 88.1 FM.

                Show #537                July 12, 2007

RECAP:
On this show, I continued the month-long focus on Jim Cole and Spectral
Voices.  The Featured CD at Midnight was "Sky" on Spectral Spiral Music.

Jim Cole and Spectral Voices:
http://wdiy.org/programs/gt/playlists/2007/focus.html#jul


PLAYLIST:

11:04 pm
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Bruno Sanfilippo     Piano Textures I     Piano Textures (ad21)
May Hughes           Titan                Voyager; Audiolog (none)
Andreas Akwara       Movement II          Occult Sanctum (Groove)
Orion's Belt         The Awakening        The Truth Within (Imagineer)
Klaus Schulze        Le Mans au premier   Live (Revisited)
Foltz and Lynn       *                    Still Life - Vol. 2 (none)

12:00 am
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Jim Cole and         For the Birds        Sky (Spectral Spiral)
  Spectral Voices
JC&SV                From the Birds       Sky (Spectral Spiral)
JC&SV                Kyrie Eleison        Sky (Spectral Spiral)
JC&SV                Passion              Sky (Spectral Spiral)
JC&SV                Uplifting            Sky (Spectral Spiral)
JC&SV                Spacious Sighs       Sky (Spectral Spiral)
JC&SV                Know Way (Way)       Sky (Spectral Spiral)

1:00 am

 * = excerpt
VA = Various Artists (compilation)
++ = Advance CDR from Artist
-- = Background music under interview


NEXT SHOW:
On the next Galactic Travels, I'll continue the month-long focus on Jim
Cole and Spectral Voices.  The Featured CD at Midnight will be "The Way
Beyond" by Jim Cole on Spectral Spiral Music.

Bill
=======================================================================
Host of Galactic Travels, an electronic, ambient, and space music
show, Thursdays at 11:04 pm EDT (GMT-4:00) on WDIY 88.1 FM in Allentown
and Bethlehem, 93.9 FM in Easton and Phillipsburg, and on 93.7 FM in
Trexlertown and Fogelsville.  WDIY also broadcasts in HD Digital Radio
on 88.1 FM.
Galactic Travels web site - http://galactictravels.info
RSS News Feed: http://wdiy.org/programs/gt/rss/enews.xml
Podcasts: http://wdiy.org/programs/gt/rss/gt.xml
Listen on-line to WDIY at http://wdiy.org and click on the LISTEN link
or go directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm
To subscribe to the galactic-travels mailing list, click on [Join This
Group!] at http://groups.yahoo.com/group/galactic-travels
Playlists are also published at http://billfox.blogspot.com
RSS (2.0) feed from http://billfox.blogspot.com/rss.xml
Atom (0.3) feed from http://billfox.blogspot.com/atom.xml

From Loopers-Delight-request@loopers-delight.com  Mon Jul 23 20:35:34 2007
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Date: Mon, 23 Jul 2007 15:50:39 -0400
From: Bill Fox <billyfox@soundscapes.us>
Subject: Galactic Travels Playlist #538 for July 19, 2007
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http://wdiy.org/programs/gt/playlists/2007/070719.html

Galactic Travels is an electronic, ambient, and space music show, that
airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and Bethlehem,
PA, 93.9 FM in Easton, PA and Phillipsburg, NJ, 93.7 FM in Fogelsville
and Trexlertown, and webcasting on the internet.  WDIY also broadcasts
in Digital HD at 88.1 FM.

                Show #538                July 19, 2007

RECAP:
On this show, I continued the month-long focus on Jim Cole and Spectral
Voices.  The Featured CD at Midnight was "The Way Beyond" by Jim Cole on
Spectral Spiral Music.

Jim Cole: http://wdiy.org/programs/gt/playlists/2007/focus.html#jul


PLAYLIST:

11:04 pm
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Arcane               Dr. Wutzke's         33 1/3 RPM (NeuHarmony)
                       Psychedelic Wonder Machine
Remote Spaces        Infrared Part 1      Silos (none)
WintherStormer       Pure Analogue        Woodwork (Bajkal)
                       Forever
Palancar             December 16, 2006    Ambient Train Wreck Series
                                            Volume Three (Blue Water)
Seattle Harmonic     Leaping Into         Harmonic Voice (Monktail)
  Voices
Jim Cole             1                    The Way Beyond (Spectral
                                            Spiral)

12:00 am
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Jim Cole             2                    The Way Beyond (Spect. Spiral)
Jim Cole             3                    The Way Beyond (Spect. Spiral)
Jim Cole             4                    The Way Beyond (Spect. Spiral)
Jim Cole             5                    The Way Beyond (Spect. Spiral)
Jim Cole             6                    The Way Beyond (Spect. Spiral)
Jim Cole             7                    The Way Beyond (Spect. Spiral)
Jim Cole             8                    The Way Beyond (Spect. Spiral)
Jim Cole             9                    The Way Beyond (Spect. Spiral)
Jim Cole             10                   The Way Beyond (Spect. Spiral)
Jim Cole             11                   The Way Beyond (Spect. Spiral)
Jim Cole             12 *                 The Way Beyond (Spect. Spiral)

1:00 am

 * = excerpt
VA = Various Artists (compilation)
++ = Advance CDR from Artist
-- = Background music under interview


NEXT SHOW:
On the next Galactic Travels, I'll conclude the month-long focus on Jim
Cole and Spectral Voices.  The Featured CD at Midnight will be
"Innertones" by Jim Cole and Spectral Voices on Spectral Spiral Music.

Bill
=======================================================================
Host of Galactic Travels, an electronic, ambient, and space music
show, Thursdays at 11:04 pm EDT (GMT-4:00) on WDIY 88.1 FM in Allentown
and Bethlehem, 93.9 FM in Easton and Phillipsburg, and on 93.7 FM in
Trexlertown and Fogelsville.  WDIY also broadcasts in HD Digital Radio
on 88.1 FM.
Galactic Travels web site - http://galactictravels.info
RSS News Feed: http://wdiy.org/programs/gt/rss/enews.xml
Podcasts: http://wdiy.org/programs/gt/rss/gt.xml
Listen on-line to WDIY at http://wdiy.org and click on the LISTEN link
or go directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm
To subscribe to the galactic-travels mailing list, click on [Join This
Group!] at http://groups.yahoo.com/group/galactic-travels
Playlists are also published at http://billfox.blogspot.com
RSS (2.0) feed from http://billfox.blogspot.com/rss.xml
Atom (0.3) feed from http://billfox.blogspot.com/atom.xml

From Loopers-Delight-request@loopers-delight.com  Mon Jul 23 21:24:09 2007
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Date: Mon, 23 Jul 2007 14:24:06 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: OT- Resonating (was:Re: Civitas Urbanus (new album release))
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Is funny how we react to certain types of music
regardless of culture,place of origin or otherwise,i
sometimes feel guilty when i meet people that
sometimes know more about my musical culture than i
do,ive actually have become more appreciative of it
since ive been out of my homeland and ironically
through bands that arent from that country but doing
interpretations or fusions with it.Almost like the
british exposure of blues to americans in the 60´s.Ive
just always been attracted to other types of music and
never had much interest in my own,I have some irish
friends here and they all seem to be very in tune and
proud of their musial heritage and tradition
preservation,as well as my cuban friends.This is the
third country i live in,perhaps there has been a bit
of cultural loss of identity in me or, as you say, a
simple matter of taste?


--- Kelly Coyle <skcoyle@gmail.com> wrote:

> Nothing about music, but I knew a (white) guy in
> Kentucky who said he never
> felt at home anywhere until he moved to Kenya. He
> thought about it a lot --
> he theorized that it was the daily rhythm of life in
> "his" village. But why
> that would appeal to him and not (e.g.) me, or his
> brothers, or whatever, he
> didn't know.
> 
> My wife likes Scandinavian folk music; I like South
> African and north Indian
> music. We both like Leo Kottke. We are culturally
> pretty similar. I'm not
> sure taste means anything but what you like.
> 
> 
> 
> 
> On 7/22/07, RP Collier <skeptikalist@gmail.com>
> wrote:
> >
> >
> > On Jul 21, 2007, at 9:35 AM, Mark Sottilaro wrote:
> >
> > > The Monkees would gravitate quite specifically
> toward some ethnic
> > > music and not others.  Theories?
> >
> >
> >
> > The Monkees reference made me laugh. I grew up
> with that, Henry
> > Mancini and Broadway cast albums. When I was first
> learning guitar it
> > was Kingston Trio stuff, which I never liked.
> > It was not until I heard Muddy Waters that I felt
> a visceral
> > revelation about what music is and could be. From
> there it is a small
> > step to African music.
> > I think even Monkee-esque pop rock is only 3
> degrees of separation
> > from African musics.
> >
> > The oft parodied difference between gospel music
> and protestant hymns
> > speaks to the idea of "ecstatic" music vs.
> cerebral/mechanical music
> > but while I think there can be said to be musical
> "flavors" that may
> > suit certain personality temperaments, I think
> one's inclinations
> > towards a music depends on when you hear it within
> your personal
> > musical evolution. So it seems to be a complex
> equation of timing and
> > context and not a simple correspondence of
> "types."
> >
> >
> > regards
> >
> > BobC
> >
> >
> >
> >
> > http://tinyurl.com/yt8f8j
> > http://www.youtube.com/watch?v=KGb4Xq3MRtc
> >
> >
> >
> 


www.myspace.com/luisangulocom


       
____________________________________________________________________________________
Moody friends. Drama queens. Your life? Nope! - their life, your story. Play Sims Stories at Yahoo! Games.
http://sims.yahoo.com/  

From Loopers-Delight-request@loopers-delight.com  Mon Jul 23 21:48:57 2007
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Subject: Re: RC-50 Sync Issues...
Date: Mon, 23 Jul 2007 21:48:55 +0000
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The RC50 works well as the master. I've had good results syncing to a Yamaha DD55 as well as a few assorted delays. 
-------------- Original message -------------- 
From: chris@nubzilla.com 

> Thanks for all your input. 
> 
> In response to various comments... 
> 
> I have not been able to sync the RC-50 to anything. It just does not 
> work; even between two of them. It will trigger about a quarter beat off 
> tempo upon reciept of a start message and then listen to tempo changes 
> until you stop all clips on the slave unit, after which sync ends. It 
> also will not lock on the tempo exactly either often being off by .1 or 
> more. Basically it's unusable sync-wise. 
> 
> I will forward all these suggestions for additional features on with my 
> correspondence with Boss. My main focus is to just get them to deliver 
> what they promise. (first...) 
> 
> Is there anybody out there that would be able and willing to edit / hack 
> firmware code if some specs were made available? This is one of the 
> possibilities I proposed to them. (that there is someone over here who 
> can...) If the repair can be made without a hardware upgrade, this may 
> have a shot. And, other features can be written as well at the same time. 
> Perhaps a computer gui that will allow the end user to program different 
> features and create their own code. (I have a dream... for a better 
> tomorrow...) 
> 
> I am hopeful that they will come through. If not, however, we can force 
> them to refund the purchase price of the unit. Better them than us to 
> take the financial hit. Hopefully it won't come to that... 
> 
> CH 
> 
> 
> On Sat, July 21, 2007 8:14 am, Teddy Kumpel wrote: 
> > at least panning on the guide so it only takes up one mono output 
> > some other mode where you can use the phrase buttons to start and 
> > stop phrases, rather than selecting them then using the stop button 
> > would be nice 
> > 
> > tk 
> > 
> > On Jul 21, 2007, at 11:10 AM, midifriedchicken@comcast.net wrote: 
> > 
> >> Improvements I would love to see: 
> >> Midi Sync, Job 1. Get that and all others are simply icing on the 
> >> cake. 
> >> In Multi-Mode, auto start and stop on the loops. I hate hitting the 
> >> button twice. 
> >> Guide Track to headphones only. 
> >> MP3 support. Wavs can take up to much memory. I know Im reaching on 
> >> that one. 
> >> Im sure theres more. 
> >> 
> >> Thanks 
> >> MFC 
> >> 
> >> 
> >> -------------- Original message -------------- 
> >> From: "L.A. Angulo" 
> >> 
> >> > Hey Chris, 
> >> > Thats wonderful i am not a RC-50 user but i am still 
> >> > contemplating it and reading every mail of you users 
> >> > if all of those issues are solved(feedback,sync,etc.)i 
> >> > will probably be buying one just for the simple fact 
> >> > that is midi,stereo,multitracik looper,drum machine 
> >> > and portability.Just curious what improvements have 
> >> > you requested so far? 
> >> > cheers 
> >> > Luis 
> >> > 
> >> > 
> >> > 
> >> > 
> >> > --- Teddy wrote: 
> >> > 
> >> > > Hey Chris, 
> >> > > 
> >> > > I tried the same thing months ago to no avail. 
> >> > > Hopefully you'll have better perseverance than I. 
> >> > > I got sick of trying... mostly because I figured out 
> >> > > other ways of < BR>> > doing what I want with syncing, but I 
> >> still want 
> >> > > them to fix it... it 
> >> > > really sucks that they haven't yet. 
> >> > > 
> >> > > anyway, good luck and if you want to include 
> >> > > anything I wrote in the 
> >> > > archive feel free. 
> >> > > 
> >> > > Teddy 
> >> > > 
> >> > > On Jul 20, 2007, at 4:11 PM, chris@nubzilla.com 
> >> > > wrote: 
> >> > > 
> >> > > > Hi all, 
> >> > > > 
> >> > > > I have been reading the archives on this and have 
> >> > > found some 
> >> > > > comfort in 
> >> > > > not being alone having rc-50 sync issues. I have 
> >> > > talked to some 
> >> > > > higher 
> >> > > > ups over at Boss / Roland US, and I believe they 
> >> > > are interested in 
> >> > > > having 
> >> > > > some help communicating the importance of a fix to 
> >> > > Japan. Roland/ 
> >> > > > Boss US 
> >> > > & gt; has been feeling the heat on this, and now R/B 
> >> > > Japan needs to feel 
> >> > > > it too 
> >> > > > so a fix will be made; sooner rather than later! 
> >> > > (Bob Wood is the 
> >> > > > head of 
> >> > > > Customer Relations.) I spoke with him on the 
> >> > > phone recently and 
> >> > > > suggested 
> >> > > > that they (Roland/Boss) interact with this list 
> >> > > directly, as there are 
> >> > > > much to be gained here and a lot of experience and 
> >> > > knowledge to be 
> >> > > > gained 
> >> > > > as well. 
> >> > > > 
> >> > > > I purchased 2 rc-50s some time ago intending to 
> >> > > sync them and 
> >> > > > ableton and 
> >> > > > other stuff as well. After hearing "yes, we 
> >> > > know..." from tech 
> >> > > > support, I 
> >> > > > decided to take it to the top of the chain. (the 
> >> > > tree shakes 
> >> > & gt; > easier from 
> >> > > > the top) I expect to be in communication with 
> >> > > them again soon 
> >> > > > about how 
> >> > > > we can get closer to a solution. 
> >> > > > 
> >> > > > I offered to write a letter detailing my RC-50 
> >> > > predicament for Bob 
> >> > > > to pass 
> >> > > > along overseas, and he thought that would be 
> >> > > helpful. If any of 
> >> > > > you would 
> >> > > > like to add your own comments or stories, I'll 
> >> > > pass them along as 
> >> > > > well. 
> >> > > > The idea is to demonstrate the need for a fix; to 
> >> > > show how 
> >> > > > important midi 
> >> > > > sync and slaving really is. (for me is it THE 
> >> > > reason I chose the 
> >> > > > RC-50) 
> >> > > > 
> >> > > > If, on the off chance Bob doesn't come through, I 
> >> > > will contact 
> >> > > > Roland/Boss 
> >> > ; > > Japan directly myself. It might cost me in long 
> >> > > distance, but 
> >> > > > someone 
> >> > > > has to hold them accountable to deliver what they 
> >> > > promised. 
> >> > > > 
> >> > > > Sorry to blather on so long about this. I just 
> >> > > hope that together 
> >> > > > we can 
> >> > > > motivate them to fix this. 
> >> > > > 
> >> > > > Thanks for your camaraderie. 
> >> > > > 
> >> > > > Chris Hughes 
> >> > > > Sheila Kirsten Hughes Band 
> >> > > > Nubzilla Records 
> >> > > > Tampa, FL 
> >> > > 
> >> > > 
> >> > 
> >> > 
> >> > www.myspace.com/luisangulocom 
> >> > 
> >> > 
> >> > 
> >> > 
> >> ______________________________________________________________________ 
> >> __________ 
> >> > ____ 
> >> > Park yourself in front of a world of choices in alternative 
> >> vehicles. Visit the 
> >> > Yahoo! Auto Green Center. 
> >> > http://autos.yahoo.c om/green_center/ 
> >> > 
> > 
> > 
> 
> 
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<DIV>&nbsp;</DIV>
<DIV>The RC50 works well as the master. I've had good results syncing to a Yamaha DD55 as well as a few assorted delays. </DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">-------------- Original message -------------- <BR>From: chris@nubzilla.com <BR><BR>&gt; Thanks for all your input. <BR>&gt; <BR>&gt; In response to various comments... <BR>&gt; <BR>&gt; I have not been able to sync the RC-50 to anything. It just does not <BR>&gt; work; even between two of them. It will trigger about a quarter beat off <BR>&gt; tempo upon reciept of a start message and then listen to tempo changes <BR>&gt; until you stop all clips on the slave unit, after which sync ends. It <BR>&gt; also will not lock on the tempo exactly either often being off by .1 or <BR>&gt; more. Basically it's unusable sync-wise. <BR>&gt; <BR>&gt; I will forward all these suggestions for additional features on with my <BR>&gt; correspondence with Boss. My main focus is to just get them to deliver <BR>&gt; what they promise. (first...) <BR>&gt; <BR>&gt; Is there anybody out there that would be able and wil
ling to edit / hack <BR>&gt; firmware code if some specs were made available? This is one of the <BR>&gt; possibilities I proposed to them. (that there is someone over here who <BR>&gt; can...) If the repair can be made without a hardware upgrade, this may <BR>&gt; have a shot. And, other features can be written as well at the same time. <BR>&gt; Perhaps a computer gui that will allow the end user to program different <BR>&gt; features and create their own code. (I have a dream... for a better <BR>&gt; tomorrow...) <BR>&gt; <BR>&gt; I am hopeful that they will come through. If not, however, we can force <BR>&gt; them to refund the purchase price of the unit. Better them than us to <BR>&gt; take the financial hit. Hopefully it won't come to that... <BR>&gt; <BR>&gt; CH <BR>&gt; <BR>&gt; <BR>&gt; On Sat, July 21, 2007 8:14 am, Teddy Kumpel wrote: <BR>&gt; &gt; at least panning on the guide so it only takes up one mono output <BR>&gt; &gt; some other mode where you can use the phrase 
buttons to start and <BR>&gt; &gt; stop phrases, rather than selecting them then using the stop button <BR>&gt; &gt; would be nice <BR>&gt; &gt; <BR>&gt; &gt; tk <BR>&gt; &gt; <BR>&gt; &gt; On Jul 21, 2007, at 11:10 AM, midifriedchicken@comcast.net wrote: <BR>&gt; &gt; <BR>&gt; &gt;&gt; Improvements I would love to see: <BR>&gt; &gt;&gt; Midi Sync, Job 1. Get that and all others are simply icing on the <BR>&gt; &gt;&gt; cake. <BR>&gt; &gt;&gt; In Multi-Mode, auto start and stop on the loops. I hate hitting the <BR>&gt; &gt;&gt; button twice. <BR>&gt; &gt;&gt; Guide Track to headphones only. <BR>&gt; &gt;&gt; MP3 support. Wavs can take up to much memory. I know Im reaching on <BR>&gt; &gt;&gt; that one. <BR>&gt; &gt;&gt; Im sure theres more. <BR>&gt; &gt;&gt; <BR>&gt; &gt;&gt; Thanks <BR>&gt; &gt;&gt; MFC <BR>&gt; &gt;&gt; <BR>&gt; &gt;&gt; <BR>&gt; &gt;&gt; -------------- Original message -------------- <BR>&gt; &gt;&gt; From: "L.A. Angulo" <LABALOOPS@YAHOO.COM><BR>&gt; &gt;&gt; <B
R>&gt; &gt;&gt; &gt; Hey Chris, <BR>&gt; &gt;&gt; &gt; Thats wonderful i am not a RC-50 user but i am still <BR>&gt; &gt;&gt; &gt; contemplating it and reading every mail of you users <BR>&gt; &gt;&gt; &gt; if all of those issues are solved(feedback,sync,etc.)i <BR>&gt; &gt;&gt; &gt; will probably be buying one just for the simple fact <BR>&gt; &gt;&gt; &gt; that is midi,stereo,multitracik looper,drum machine <BR>&gt; &gt;&gt; &gt; and portability.Just curious what improvements have <BR>&gt; &gt;&gt; &gt; you requested so far? <BR>&gt; &gt;&gt; &gt; cheers <BR>&gt; &gt;&gt; &gt; Luis <BR>&gt; &gt;&gt; &gt; <BR>&gt; &gt;&gt; &gt; <BR>&gt; &gt;&gt; &gt; <BR>&gt; &gt;&gt; &gt; <BR>&gt; &gt;&gt; &gt; --- Teddy wrote: <BR>&gt; &gt;&gt; &gt; <BR>&gt; &gt;&gt; &gt; &gt; Hey Chris, <BR>&gt; &gt;&gt; &gt; &gt; <BR>&gt; &gt;&gt; &gt; &gt; I tried the same thing months ago to no avail. <BR>&gt; &gt;&gt; &gt; &gt; Hopefully you'll have better perseverance than I. <BR>&gt; &gt;&gt; &gt; &gt; I 
got sick of trying... mostly because I figured out <BR>&gt; &gt;&gt; &gt; &gt; other ways of &lt; BR&gt;&gt; &gt; doing what I want with syncing, but I <BR>&gt; &gt;&gt; still want <BR>&gt; &gt;&gt; &gt; &gt; them to fix it... it <BR>&gt; &gt;&gt; &gt; &gt; really sucks that they haven't yet. <BR>&gt; &gt;&gt; &gt; &gt; <BR>&gt; &gt;&gt; &gt; &gt; anyway, good luck and if you want to include <BR>&gt; &gt;&gt; &gt; &gt; anything I wrote in the <BR>&gt; &gt;&gt; &gt; &gt; archive feel free. <BR>&gt; &gt;&gt; &gt; &gt; <BR>&gt; &gt;&gt; &gt; &gt; Teddy <BR>&gt; &gt;&gt; &gt; &gt; <BR>&gt; &gt;&gt; &gt; &gt; On Jul 20, 2007, at 4:11 PM, chris@nubzilla.com <BR>&gt; &gt;&gt; &gt; &gt; wrote: <BR>&gt; &gt;&gt; &gt; &gt; <BR>&gt; &gt;&gt; &gt; &gt; &gt; Hi all, <BR>&gt; &gt;&gt; &gt; &gt; &gt; <BR>&gt; &gt;&gt; &gt; &gt; &gt; I have been reading the archives on this and have <BR>&gt; &gt;&gt; &gt; &gt; found some <BR>&gt; &gt;&gt; &gt; &gt; &gt; comfort in <BR>&gt; &gt;&gt; &gt; &gt; &gt; 
not being alone having rc-50 sync issues. I have <BR>&gt; &gt;&gt; &gt; &gt; talked to some <BR>&gt; &gt;&gt; &gt; &gt; &gt; higher <BR>&gt; &gt;&gt; &gt; &gt; &gt; ups over at Boss / Roland US, and I believe they <BR>&gt; &gt;&gt; &gt; &gt; are interested in <BR>&gt; &gt;&gt; &gt; &gt; &gt; having <BR>&gt; &gt;&gt; &gt; &gt; &gt; some help communicating the importance of a fix to <BR>&gt; &gt;&gt; &gt; &gt; Japan. Roland/ <BR>&gt; &gt;&gt; &gt; &gt; &gt; Boss US <BR>&gt; &gt;&gt; &gt; &gt; &amp; gt; has been feeling the heat on this, and now R/B <BR>&gt; &gt;&gt; &gt; &gt; Japan needs to feel <BR>&gt; &gt;&gt; &gt; &gt; &gt; it too <BR>&gt; &gt;&gt; &gt; &gt; &gt; so a fix will be made; sooner rather than later! <BR>&gt; &gt;&gt; &gt; &gt; (Bob Wood is the <BR>&gt; &gt;&gt; &gt; &gt; &gt; head of <BR>&gt; &gt;&gt; &gt; &gt; &gt; Customer Relations.) I spoke with him on the <BR>&gt; &gt;&gt; &gt; &gt; phone recently and <BR>&gt; &gt;&gt; &gt; &gt; &gt; suggested <BR>&gt; &gt;&gt; &
gt; &gt; &gt; that they (Roland/Boss) interact with this list <BR>&gt; &gt;&gt; &gt; &gt; directly, as there are <BR>&gt; &gt;&gt; &gt; &gt; &gt; much to be gained here and a lot of experience and <BR>&gt; &gt;&gt; &gt; &gt; knowledge to be <BR>&gt; &gt;&gt; &gt; &gt; &gt; gained <BR>&gt; &gt;&gt; &gt; &gt; &gt; as well. <BR>&gt; &gt;&gt; &gt; &gt; &gt; <BR>&gt; &gt;&gt; &gt; &gt; &gt; I purchased 2 rc-50s some time ago intending to <BR>&gt; &gt;&gt; &gt; &gt; sync them and <BR>&gt; &gt;&gt; &gt; &gt; &gt; ableton and <BR>&gt; &gt;&gt; &gt; &gt; &gt; other stuff as well. After hearing "yes, we <BR>&gt; &gt;&gt; &gt; &gt; know..." from tech <BR>&gt; &gt;&gt; &gt; &gt; &gt; support, I <BR>&gt; &gt;&gt; &gt; &gt; &gt; decided to take it to the top of the chain. (the <BR>&gt; &gt;&gt; &gt; &gt; tree shakes <BR>&gt; &gt;&gt; &gt; &amp; gt; &gt; easier from <BR>&gt; &gt;&gt; &gt; &gt; &gt; the top) I expect to be in communication with <BR>&gt; &gt;&gt; &gt; &gt; them again soon <BR>&gt; 
&gt;&gt; &gt; &gt; &gt; about how <BR>&gt; &gt;&gt; &gt; &gt; &gt; we can get closer to a solution. <BR>&gt; &gt;&gt; &gt; &gt; &gt; <BR>&gt; &gt;&gt; &gt; &gt; &gt; I offered to write a letter detailing my RC-50 <BR>&gt; &gt;&gt; &gt; &gt; predicament for Bob <BR>&gt; &gt;&gt; &gt; &gt; &gt; to pass <BR>&gt; &gt;&gt; &gt; &gt; &gt; along overseas, and he thought that would be <BR>&gt; &gt;&gt; &gt; &gt; helpful. If any of <BR>&gt; &gt;&gt; &gt; &gt; &gt; you would <BR>&gt; &gt;&gt; &gt; &gt; &gt; like to add your own comments or stories, I'll <BR>&gt; &gt;&gt; &gt; &gt; pass them along as <BR>&gt; &gt;&gt; &gt; &gt; &gt; well. <BR>&gt; &gt;&gt; &gt; &gt; &gt; The idea is to demonstrate the need for a fix; to <BR>&gt; &gt;&gt; &gt; &gt; show how <BR>&gt; &gt;&gt; &gt; &gt; &gt; important midi <BR>&gt; &gt;&gt; &gt; &gt; &gt; sync and slaving really is. (for me is it THE <BR>&gt; &gt;&gt; &gt; &gt; reason I chose the <BR>&gt; &gt;&gt; &gt; &gt; &gt; RC-50) <BR>&gt; &gt;&gt; &gt; &gt
; &gt; <BR>&gt; &gt;&gt; &gt; &gt; &gt; If, on the off chance Bob doesn't come through, I <BR>&gt; &gt;&gt; &gt; &gt; will contact <BR>&gt; &gt;&gt; &gt; &gt; &gt; Roland/Boss <BR>&gt; &gt;&gt; &gt; ; &gt; &gt; Japan directly myself. It might cost me in long <BR>&gt; &gt;&gt; &gt; &gt; distance, but <BR>&gt; &gt;&gt; &gt; &gt; &gt; someone <BR>&gt; &gt;&gt; &gt; &gt; &gt; has to hold them accountable to deliver what they <BR>&gt; &gt;&gt; &gt; &gt; promised. <BR>&gt; &gt;&gt; &gt; &gt; &gt; <BR>&gt; &gt;&gt; &gt; &gt; &gt; Sorry to blather on so long about this. I just <BR>&gt; &gt;&gt; &gt; &gt; hope that together <BR>&gt; &gt;&gt; &gt; &gt; &gt; we can <BR>&gt; &gt;&gt; &gt; &gt; &gt; motivate them to fix this. <BR>&gt; &gt;&gt; &gt; &gt; &gt; <BR>&gt; &gt;&gt; &gt; &gt; &gt; Thanks for your camaraderie. <BR>&gt; &gt;&gt; &gt; &gt; &gt; <BR>&gt; &gt;&gt; &gt; &gt; &gt; Chris Hughes <BR>&gt; &gt;&gt; &gt; &gt; &gt; Sheila Kirsten Hughes Band <BR>&gt; &gt;&gt; &gt; &gt; &gt; Nubzil
la Records <BR>&gt; &gt;&gt; &gt; &gt; &gt; Tampa, FL <BR>&gt; &gt;&gt; &gt; &gt; <BR>&gt; &gt;&gt; &gt; &gt; <BR>&gt; &gt;&gt; &gt; <BR>&gt; &gt;&gt; &gt; <BR>&gt; &gt;&gt; &gt; www.myspace.com/luisangulocom <BR>&gt; &gt;&gt; &gt; <BR>&gt; &gt;&gt; &gt; <BR>&gt; &gt;&gt; &gt; <BR>&gt; &gt;&gt; &gt; <BR>&gt; &gt;&gt; ______________________________________________________________________ <BR>&gt; &gt;&gt; __________ <BR>&gt; &gt;&gt; &gt; ____ <BR>&gt; &gt;&gt; &gt; Park yourself in front of a world of choices in alternative <BR>&gt; &gt;&gt; vehicles. Visit the <BR>&gt; &gt;&gt; &gt; Yahoo! Auto Green Center. <BR>&gt; &gt;&gt; &gt; http://autos.yahoo.c om/green_center/ <BR>&gt; &gt;&gt; &gt; <BR>&gt; &gt; <BR>&gt; &gt; <BR>&gt; <BR>&gt; </BLOCKQUOTE></body></html>

--NextPart_Webmail_9m3u9jl4l_21274_1185227335_0--

From Loopers-Delight-request@loopers-delight.com  Mon Jul 23 21:49:48 2007
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Date: Mon, 23 Jul 2007 14:49:46 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: gypsy caravan film
To: Loopers-Delight@loopers-delight.com
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there is also a beautiful film  about the documetation
of this called  "gypsy caravan" highly recomended
see previews of it here:
http://www.youtube.com/watch?v=aqvLcmG8RU0
cheers
Luis
 
--- Tim Nelson <psychle62@yahoo.com> wrote:

> I wish I could remember the author, but several
> years
> ago I read a very interesting book on linguistics
> that
> cited a study in which parallels were drawn between
> the spread of Indo-European languages and the
> repective musical styles which evolved as the
> cultures
> diverged. In the study, listeners from populations
> descended from speakers of proto Indo-European
> languages were played incomplete musical phrases
> from
> supposedly alien cultures and asked to complete the
> cadences. The specific example that sticks in my
> head
> was that people from Ireland could almost invariably
> complete North Indian phrasing and vice-versa.
> 
> -t-
> 
> --- Mark Sottilaro <sine@zerocrossing.net> wrote:
> 
> > This is way OT, but what's up with that?  Sure,
> > music made by  
> > Europeans may speak to some part of my Euro-mutt
> > brain, (and music  
> > like Per's sure does) but what does it mean when
> > this Euro-mutt hears  
> > Indian classical music for the first time and
> falls
> > instantly in  
> > love?
> 
> http://www.myspace.com/nimbletunes
> http://cdbaby.com/all/timnelson
> 
> 
>        
>
____________________________________________________________________________________
> Sick sense of humor? Visit Yahoo! TV's 
> Comedy with an Edge to see what's on, when. 
> http://tv.yahoo.com/collections/222
> 
> 


www.myspace.com/luisangulocom


       
____________________________________________________________________________________
Be a better Globetrotter. Get better travel answers from someone who knows. Yahoo! Answers - Check it out.
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From Loopers-Delight-request@loopers-delight.com  Mon Jul 23 21:58:05 2007
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Date: Mon, 23 Jul 2007 14:58:03 -0700
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: RC-50 Sync Issues...
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Do you mean to say that you've had good results syncing a DD55 TO an
RC50 or vice versa?

TH

On 7/23/07, midifriedchicken@comcast.net <midifriedchicken@comcast.net> wrote:
>
>
>
> The RC50 works well as the master. I've had good results syncing to a Yamaha DD55 as well as a few assorted delays.
> -------------- Original message --------------

From Loopers-Delight-request@loopers-delight.com  Mon Jul 23 22:19:45 2007
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Date: Mon, 23 Jul 2007 15:19:42 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: Re: gypsy caravan film
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Howdy,

 i have a korean language book tht states the closest
language to it is Finn. I wonder how the 2 traditional
muziks is?
Rig


--- "L.A. Angulo" <labaloops@yahoo.com> wrote:

> there is also a beautiful film  about the
> documetation
> of this called  "gypsy caravan" highly recomended
> see previews of it here:
> http://www.youtube.com/watch?v=aqvLcmG8RU0
> cheers
> Luis
>  
> --- Tim Nelson <psychle62@yahoo.com> wrote:
> 
> > I wish I could remember the author, but several
> > years
> > ago I read a very interesting book on linguistics
> > that
> > cited a study in which parallels were drawn
> between
> > the spread of Indo-European languages and the
> > repective musical styles which evolved as the
> > cultures
> > diverged. In the study, listeners from populations
> > descended from speakers of proto Indo-European
> > languages were played incomplete musical phrases
> > from
> > supposedly alien cultures and asked to complete
> the
> > cadences. The specific example that sticks in my
> > head
> > was that people from Ireland could almost
> invariably
> > complete North Indian phrasing and vice-versa.
> > 
> > -t-
> > 
> > --- Mark Sottilaro <sine@zerocrossing.net> wrote:
> > 
> > > This is way OT, but what's up with that?  Sure,
> > > music made by  
> > > Europeans may speak to some part of my Euro-mutt
> > > brain, (and music  
> > > like Per's sure does) but what does it mean when
> > > this Euro-mutt hears  
> > > Indian classical music for the first time and
> > falls
> > > instantly in  
> > > love?
> > 
> > http://www.myspace.com/nimbletunes
> > http://cdbaby.com/all/timnelson
> > 
> > 
> >        
> >
>
____________________________________________________________________________________
> > Sick sense of humor? Visit Yahoo! TV's 
> > Comedy with an Edge to see what's on, when. 
> > http://tv.yahoo.com/collections/222
> > 
> > 
> 
> 
> www.myspace.com/luisangulocom
> 
> 
>        
>
____________________________________________________________________________________
> Be a better Globetrotter. Get better travel answers
> from someone who knows. Yahoo! Answers - Check it
> out.
>
http://answers.yahoo.com/dir/?link=list&sid=396545469
> 
> 



      ____________________________________________________________________________________
Fussy? Opinionated? Impossible to please? Perfect.  Join Yahoo!'s user panel and lay it on us. http://surveylink.yahoo.com/gmrs/yahoo_panel_invite.asp?a=7 

From Loopers-Delight-request@loopers-delight.com  Tue Jul 24 01:47:56 2007
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From: Jeff Shirkey <jcshirke@midway.uchicago.edu>
Subject: RC-50 Question
Date: Mon, 23 Jul 2007 20:49:40 -0500
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I've just watched a couple of the video demos of the RC-50 on Boss's  
web site. In multi mode, Paul Hanson loads a drum loop as one phrase,  
and then he has a guitar loop on another phrase (both of these are  
called up within the same preset, I believe). My question is where  
are these loops coming from? Are they something he has pre-recorded  
on his computer, for example, and he has imported them as wav (??)  
files into the RC-50?

Let's say I want to have a bass part as one phrase, a drum loop as  
another phrase, and a rhythm guitar part as another phrase, and I  
simply want to play over all of the above. Can I compose the bass and  
drum parts using a  VI and then import them into the RC-50? Likewise,  
if I wasn't composing/recording the rhythm guitar part on the fly,  
from where (and how) would I import it?

I guess what I'm asking is where these canned backing tracks are  
coming from, and how are they imported/stored in the RC-50?

Thanks,

Jeff

From Loopers-Delight-request@loopers-delight.com  Tue Jul 24 05:05:46 2007
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Date: Tue, 24 Jul 2007 01:05:39 -0400
From: "Jim Goodin" <jimgoodinmusic@gmail.com>
To: loopers-Delight@loopers-delight.com
Subject: NY/New England Gigspam: Chinapainting NY and New England mini-tour begins Friday, July 27th
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Hey folks, for NY and southern New England area loopers please consider
this extra special invitation to come to the first
*Chinapainting*<http://www.myspace.com/chinapaintingmusic>show this
coming
*Friday July 27th in Brooklyn*.  If you are in CT we'll be in Hamden in a
few days (see sch'd that follows).  This coming Sunday at 10AM you can hear
a live radio interview/performance with us over the web at WVKR.org or in
Poughkeepsie on 91.3.  We're back in NY for the final show of this mini-tour
on August 15th (see sch'd below).

*Chinapainting <http://www.chinapaintingmusic.com/>*, the virtual acoustic
guitar improvisational looping duo of Daryl Shawn and Jim Goodin makes
history and goes live with a 4 show NY-area mini-tour beginning this Friday.
Show dates are as follows...

*Friday, July 27th, 8:30pm*, Center for Improvised
Music<http://www.schoolforimprov.org/>
295 Douglass (btwn 3rd & 4th ave in Brooklyn near Union R-train stop)
$8 at the door

*Sunday, July 29th, 10am*, Hear Chinapainting in a live radio performance
over Vassar College radio WVKR-FM <http://www.wvkr.com/>
Poughkeepsie NY area listen 91.3 or elsewhere
via web stream www.wvkr.org

*Tuesday, August 7th, 9pm*, The Space <http://www.thespace.tk/>
295 Treadwell
Hamden, CT $5 at the door.

*Wednesday, August 15th, 10pm*, Zebulon Cafe
Conce<http://www.zebuloncafeconcert.com/>
rt
258 Wythe
Brooklyn (WIlliamsburg).  No cover.
Special guests visual artist Paul
Bianca<http://www.chinapaintingmusic.com/production/paul/paulworking.jpg>and
opening sitarist Roger
Lipson <http://www.rogerlipson.com/>

*Additionally my partner in Chinapainting **Daryl
Shawn*<http://www.darylshawn.com/>is doing some area solo shows of his
singer-songwriter/solo guitar side in
NY, VT and PA.

*Thursday, July 26
*Vox Pop <http://www.voxpopnet.net/>
1022 Cortelyou Road, Brooklyn, NY
718.940.2084
8 p.m. (vocal set)
FREE

*Tuesday, July 31
*Tip Top Cafe <http://www.tiptopcafevt.com/>
85 N Main Street, Suite 100, White River Junction, VT
802.295.3312
6-8 p.m. (instrumental and vocal set)
FREE

*Wednesday, August 1
*Weathervane Music Hall <http://www.theweathervanemusichall.com/>
19 Elliot Street, Brattleboro, VT
802.258.6529
10 p.m. (vocal set)
FREE

*Friday, August 10
*The Coffee Company <http://www.coffeecocafe.com/>
1639 Lititz Pike, Lancaster, PA (in Lancaster Shopping Center)
717.299.7118
7 p.m. (two sets, instrumental and vocal)
FREE

Please remember the first Chinapainting
<http://www.myspace.com/chinapaintingmusic>show this Friday, July 27th,
8:30pm in Brooklyn at the Center for Improvised Music.  We look forward to
seeing you.  Please feel free to forward this on to a friend(s).

Best

Jim


-- 
The Acoustic World Guitar of Jim Goodin  - http://www.jimgoodinmusic.com
MySpace (solo) - http://www.myspace.com/jimgoodinmusic
Chinapainting -
http://www.chinapaintingmusic.com
Chinapainting on My Space -
http://www.myspace.com/chinapaintingmusic.com
The Jim Goodin label and home for 7 other creative souls -
http://www.woodandwiremusic.com
Jim Goodin uses GHS Strings - http://www.ghsstrings.com and Seagull Guitars
- http://www.seagullguitars.com, Jim Goodin is published by Mel Bay
Publications, Inc. - http://www.melbay.com

Associates and friends on the web -
Daryl Shawn -
http://www.swanwelder.com
Adam Werner - http://www.adamwerner.com
John Stowell - http://www.johnstowell.com
Matt Richards - http://www.mattrichardsmusic.net
Michael Manring - http://www.manthing.com
Will Ackerman - http://www.williamackerman.com
New Land Music - http://www.newlandmusic.com

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<div>Hey folks, for NY&nbsp;and southern New England area loopers please consider this&nbsp;extra special invitation to come to the first <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.myspace.com/chinapaintingmusic" target="_blank">
<strong>Chinapainting</strong></a> show this coming <strong>Friday July 27th&nbsp;in Brooklyn</strong>.&nbsp; If you are in CT we&#39;ll be in Hamden in a few days (see sch&#39;d that follows).&nbsp; This coming Sunday at 10AM you can hear a live radio interview/performance with us over the web at 
WVKR.org or in Poughkeepsie on 91.3.&nbsp; We&#39;re back in NY for&nbsp;the final show of this mini-tour on August 15th (see&nbsp;sch&#39;d below).&nbsp;</div>
<div>&nbsp;</div>
<div><strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.chinapaintingmusic.com/" target="_blank">Chinapainting</a></strong>, the virtual acoustic guitar improvisational looping duo of Daryl Shawn and Jim Goodin makes history and goes live with a 4 show NY-area&nbsp;mini-tour beginning this Friday. Show dates are as follows... 
</div>
<div>&nbsp;</div>
<div><strong>Friday, July 27th, 8:30pm</strong>, <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.schoolforimprov.org/" target="_blank">Center for Improvised Music</a></div>
<div>295 Douglass (btwn 3rd &amp; 4th ave in Brooklyn near&nbsp;Union R-train stop)</div>
<div>$8 at the door</div>
<div>&nbsp;</div>
<div><strong>Sunday, July 29th, 10am</strong>, Hear Chinapainting in a live radio performance </div>
<div>over Vassar College radio <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.wvkr.com/" target="_blank">WVKR-FM</a></div>
<div>Poughkeepsie&nbsp;NY area listen 91.3 or elsewhere</div>
<div>via&nbsp;web stream <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.wvkr.org/" target="_blank">www.wvkr.org</a></div>
<div>&nbsp;</div>
<div><strong>Tuesday, August 7th, 9pm</strong>, <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.thespace.tk/" target="_blank">The Space</a></div>
<div>295 Treadwell</div>
<div>Hamden, CT $5 at the door.<span></span> </div>
<div>&nbsp;</div>
<div><strong>Wednesday, August 15th, 10pm</strong>, <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.zebuloncafeconcert.com/" target="_blank">Zebulon Cafe Conce</a>rt</div>
<div>258 Wythe</div>
<div>Brooklyn (WIlliamsburg).&nbsp; No cover.</div>
<div>Special guests visual artist <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.chinapaintingmusic.com/production/paul/paulworking.jpg" target="_blank">Paul Bianca</a> and opening sitarist <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.rogerlipson.com/" target="_blank">
Roger Lipson</a></div>
<div>&nbsp;</div>
<div><em>Additionally my partner in Chinapainting </em><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.darylshawn.com/" target="_blank"><em>Daryl Shawn</em></a> is doing some area solo shows of his singer-songwriter/solo guitar&nbsp;side in NY, VT and PA.&nbsp; 
</div>
<div>&nbsp;</div>
<div><strong>Thursday, July 26<br></strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.voxpopnet.net/" target="_blank">Vox Pop</a><br>1022 Cortelyou Road, Brooklyn, NY<br>718.940.2084<br>8 
p.m. (vocal set)<br>FREE </div>
<div>&nbsp;</div>
<div><strong>Tuesday, July 31<br></strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.tiptopcafevt.com/" target="_blank">Tip Top Cafe</a><br>85 N Main Street, Suite 100, White River Junction, VT 
<br>802.295.3312<br>6-8 p.m. (instrumental and vocal set)<br>FREE </div>
<div>&nbsp;</div>
<div><strong>Wednesday, August 1<br></strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.theweathervanemusichall.com/" target="_blank">Weathervane Music Hall</a><br>19 Elliot Street, Brattleboro, VT 
<br>802.258.6529<br>10 p.m. (vocal set) <br>FREE </div>
<div>&nbsp;</div>
<div><strong>Friday, August 10<br></strong><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.coffeecocafe.com/" target="_blank">The Coffee Company</a><br>1639 Lititz Pike, Lancaster, PA (in Lancaster Shopping Center)
<span></span> <br>717.299.7118<br>7 p.m. (two sets, instrumental and vocal) <br>FREE </div>
<div>&nbsp;</div>
<div>Please remember the first <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.myspace.com/chinapaintingmusic" target="_blank">Chinapainting </a>show this Friday, July 27th, 8:30pm in Brooklyn at the Center for Improvised Music.&nbsp; We look forward to seeing you.&nbsp; Please feel free to forward this on to a friend(s). 
</div>
<div>&nbsp;</div>
<div>Best</div>
<div>&nbsp;</div>
<div>Jim</div><br clear="all"><br>-- <br>The Acoustic World Guitar of Jim Goodin&nbsp;&nbsp;- <a href="http://www.jimgoodinmusic.com">http://www.jimgoodinmusic.com</a><br>MySpace (solo) - <a href="http://www.myspace.com/jimgoodinmusic">
http://www.myspace.com/jimgoodinmusic</a><br>Chinapainting -<br><a href="http://www.chinapaintingmusic.com">http://www.chinapaintingmusic.com</a><br>Chinapainting on My Space -<br><a href="http://www.myspace.com/chinapaintingmusic.com">
http://www.myspace.com/chinapaintingmusic.com</a><br>The Jim Goodin label and home for 7 other creative souls - <a href="http://www.woodandwiremusic.com">http://www.woodandwiremusic.com</a> <br>Jim Goodin uses GHS Strings - 
<a href="http://www.ghsstrings.com">http://www.ghsstrings.com</a> and Seagull Guitars - <a href="http://www.seagullguitars.com">http://www.seagullguitars.com</a>, Jim Goodin is published by Mel Bay Publications, Inc. - <a href="http://www.melbay.com">
http://www.melbay.com</a><br><br>Associates and friends on the web -<br>Daryl Shawn -<br><a href="http://www.swanwelder.com">http://www.swanwelder.com</a><br>Adam Werner - <a href="http://www.adamwerner.com">http://www.adamwerner.com
</a><br>John Stowell - <a href="http://www.johnstowell.com">http://www.johnstowell.com</a><br>Matt Richards - <a href="http://www.mattrichardsmusic.net">http://www.mattrichardsmusic.net</a><br>Michael Manring - <a href="http://www.manthing.com">
http://www.manthing.com</a><br>Will Ackerman - <a href="http://www.williamackerman.com">http://www.williamackerman.com</a><br>New Land Music - <a href="http://www.newlandmusic.com">http://www.newlandmusic.com</a> 

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From Loopers-Delight-request@loopers-delight.com  Tue Jul 24 11:33:42 2007
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From: "RICK WALKER" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: LOVING NON NATIVE MUSICAL TRADITIONS:     was 'gypsy caravan film'
Date: Tue, 24 Jul 2007 04:33:36 -0700
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Mark Sottilaro <sine@zerocrossing.net> wrote:

"This is way OT, but what's up with that?  Sure,
 music made by  Europeans may speak to some part of my Euro-mutt
 brain............... (sic).......... but what does it mean when
 this Euro-mutt hears  Indian classical music for the first time and
 falls instantly in  love?"


Wow,  I've alwasy wondered about this thought, too,  Mark.
I was essentially a white kid who grew up in a lilly white
upper middle class suburb in San Jose, California.

When no one in my junior high school was listening to anything
besides the Beatles and Beach Boys,   I was completely in
love with Smokey Robinson and James Brown.   Why is that?

When I went to a college dance as a single, horny college student
to try and meet girls,   I was suddenly completely besotten with
this band from Ghana, Hedzoleh Soundz who played a college dance
using only 6/8 time signatures.

My whole life changed that evening and all I knew was that I had to know
everything I could possibly know about this amazing exotic music that
was completely foreign to me.

The next 25 years of my professional life were determined within
four minutes of hearing the song,  "Languta" by Hedzoleh 
Soundz............literally!

I can't say that I necessarily believe in past lives but I can say that 
something
very, very deep inside of me was touched when I heard that music (or the
music of Babatunde Olatunji,   Ali Farke Toure,  Debhashish Battycharya,
 Hiryasu Takashi, Bob Brozman or Martin Simpson).

Whatever it was,  it was some kind of magic,  I can assure you.

The same kind of magic that occured when I started hanging out with live 
looping
artists some 8 years ago.

It's great to realize that magic exists and can touch someone if they are 
receptive to it.

thanks for your thought provoking question, Mark.

let's hear it for being receptive to that kind of magic, musically!

yours,  Rick 

From Loopers-Delight-request@loopers-delight.com  Tue Jul 24 11:56:59 2007
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Date: Tue, 24 Jul 2007 04:56:56 -0700
From: "Michael Billow" <mbillow@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS: was 'gypsy caravan film'
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My opinion: My opinion, it has nothing to do with past lives or anything so
mysterious. You liked it because its great stuff, that unfortunately, your
"lilywhite"
environment didn't expose you to very much. When you become exposed to
other cultures, other styles and modes of music, it is naturally bound
to be exciting.


On 7/24/07, RICK WALKER <looppool@cruzio.com> wrote:
>
> Mark Sottilaro <sine@zerocrossing.net> wrote:
>
> "This is way OT, but what's up with that?  Sure,
> music made by  Europeans may speak to some part of my Euro-mutt
> brain............... (sic).......... but what does it mean when
> this Euro-mutt hears  Indian classical music for the first time and
> falls instantly in  love?"
>
>
> Wow,  I've alwasy wondered about this thought, too,  Mark.
> I was essentially a white kid who grew up in a lilly white
> upper middle class suburb in San Jose, California.
>
> When no one in my junior high school was listening to anything
> besides the Beatles and Beach Boys,   I was completely in
> love with Smokey Robinson and James Brown.   Why is that?
>
> When I went to a college dance as a single, horny college student
> to try and meet girls,   I was suddenly completely besotten with
> this band from Ghana, Hedzoleh Soundz who played a college dance
> using only 6/8 time signatures.
>
> My whole life changed that evening and all I knew was that I had to know
> everything I could possibly know about this amazing exotic music that
> was completely foreign to me.
>
> The next 25 years of my professional life were determined within
> four minutes of hearing the song,  "Languta" by Hedzoleh
> Soundz............literally!
>
> I can't say that I necessarily believe in past lives but I can say that
> something
> very, very deep inside of me was touched when I heard that music (or the
> music of Babatunde Olatunji,   Ali Farke Toure,  Debhashish Battycharya,
> Hiryasu Takashi, Bob Brozman or Martin Simpson).
>
> Whatever it was,  it was some kind of magic,  I can assure you.
>
> The same kind of magic that occured when I started hanging out with live
> looping
> artists some 8 years ago.
>
> It's great to realize that magic exists and can touch someone if they are
> receptive to it.
>
> thanks for your thought provoking question, Mark.
>
> let's hear it for being receptive to that kind of magic, musically!
>
> yours,  Rick
>
>

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<div>My opinion: My opinion, it has nothing to do with past lives or anything so </div>
<div>mysterious. You liked it because its great stuff, that unfortunately, your &quot;lilywhite&quot;</div>
<div>environment didn&#39;t expose you to very much. When you become exposed to</div>
<div>other cultures, other styles and modes of music, it is naturally bound</div>
<div>to be exciting.<br><br>&nbsp;</div>
<div><span class="gmail_quote">On 7/24/07, <b class="gmail_sendername">RICK WALKER</b> &lt;<a href="mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt; wrote:</span>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">Mark Sottilaro &lt;<a href="mailto:sine@zerocrossing.net">sine@zerocrossing.net</a>&gt; wrote:<br><br>&quot;This is way OT, but what&#39;s up with that?&nbsp;&nbsp;Sure,
<br>music made by&nbsp;&nbsp;Europeans may speak to some part of my Euro-mutt<br>brain............... (sic).......... but what does it mean when<br>this Euro-mutt hears&nbsp;&nbsp;Indian classical music for the first time and<br>falls instantly in&nbsp;&nbsp;love?&quot;
<br><br><br>Wow,&nbsp;&nbsp;I&#39;ve alwasy wondered about this thought, too,&nbsp;&nbsp;Mark.<br>I was essentially a white kid who grew up in a lilly white<br>upper middle class suburb in San Jose, California.<br><br>When no one in my junior high school was listening to anything
<br>besides the Beatles and Beach Boys,&nbsp;&nbsp; I was completely in<br>love with Smokey Robinson and James Brown.&nbsp;&nbsp; Why is that?<br><br>When I went to a college dance as a single, horny college student<br>to try and meet girls,&nbsp;&nbsp; I was suddenly completely besotten with
<br>this band from Ghana, Hedzoleh Soundz who played a college dance<br>using only 6/8 time signatures.<br><br>My whole life changed that evening and all I knew was that I had to know<br>everything I could possibly know about this amazing exotic music that
<br>was completely foreign to me.<br><br>The next 25 years of my professional life were determined within<br>four minutes of hearing the song,&nbsp;&nbsp;&quot;Languta&quot; by Hedzoleh<br>Soundz............literally!<br><br>I can&#39;t say that I necessarily believe in past lives but I can say that
<br>something<br>very, very deep inside of me was touched when I heard that music (or the<br>music of Babatunde Olatunji,&nbsp;&nbsp; Ali Farke Toure,&nbsp;&nbsp;Debhashish Battycharya,<br>Hiryasu Takashi, Bob Brozman or Martin Simpson).<br>
<br>Whatever it was,&nbsp;&nbsp;it was some kind of magic,&nbsp;&nbsp;I can assure you.<br><br>The same kind of magic that occured when I started hanging out with live<br>looping<br>artists some 8 years ago.<br><br>It&#39;s great to realize that magic exists and can touch someone if they are
<br>receptive to it.<br><br>thanks for your thought provoking question, Mark.<br><br>let&#39;s hear it for being receptive to that kind of magic, musically!<br><br>yours,&nbsp;&nbsp;Rick<br><br></blockquote></div><br>

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Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS: was 'gypsy caravan film'
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My opinion: My opinion, it has nothing to do with past lives or anything=
 so mysterious. You liked it because its great stuff, that unfortunately=
, your "lilywhite"environment didn't expose you to very much. When you b=
ecome exposed toother cultures, other styles and modes of music, it is n=
aturally boundto be exciting I don't know either but I bet it is just li=
ke food, it's all good if you try it! weg


_____________________________________________________________________
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<html><DIV>My opinion: My opinion, it has nothing to do with past lives =
or anything so </DIV>
<DIV>mysterious. You liked it because its great stuff, that unfortunatel=
y, your "lilywhite"</DIV>
<DIV>environment didn't expose you to very much. When you become exposed=
 to</DIV>
<DIV>other cultures, other styles and modes of music, it is naturally bo=
und</DIV>
<DIV>to be exciting</DIV>
<DIV>&nbsp;</DIV>
<DIV>I don't know either but I bet it is just like food, it's all good i=
f you try it!</DIV>
<DIV>&nbsp;</DIV>
<DIV>weg</DIV></html>
<font face=3D"Times-New-Roman" size=3D"2"><br><br>
________________________________________________________________________=
___________<br>
<a href=3D"http://track.netzero.net/s/lc?u=3Dhttp://ads.addynamix.com/cl=
ick/2-2130420-238">Save hundreds of dollars a year with NetZero Internet=
 access.<br>
Plans start as low as $9.95 a month. Visit www.netzero.com today!</a><b>=
</font>


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From Loopers-Delight-request@loopers-delight.com  Tue Jul 24 14:08:48 2007
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Subject: RE: Video question (there will be a looping soundtrack though)
Date: Tue, 24 Jul 2007 15:08:42 +0100
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kevin-
it really depends on how much movement you want to retain control over.
seems to me that the best way to turn a bunch of stills into a dvd movie
but still have a bit of movement in there, is to use one of the many
dvd-authoring packages that has a slideshow option which includes the
"ken burns" effects option. I have used this with sony's dvd architect,
apple's i-dvd & various others, all with different options. this will
get you away from treating the stills as moving images, with the
horrendous compression artefacts that you describe.
the sony option, whilst more expensive, is the more flexible in terms of
fine-tuning the duration & transition of each still, & how it interacts
with the soundtrack.

hth-

duncan.

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Subject: Re: RC-50 Sync Issues...
Date: Tue, 24 Jul 2007 14:27:55 +0000
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Yes, Syncing the DD55 to the RC50. 
-------------- Original message -------------- 
From: "Travis Hartnett" <travishartnett@gmail.com> 

> Do you mean to say that you've had good results syncing a DD55 TO an 
> RC50 or vice versa? 
> 
> TH 
> 
> On 7/23/07, midifriedchicken@comcast.net wrote: 
> > 
> > 
> > 
> > The RC50 works well as the master. I've had good results syncing to a Yamaha 
> DD55 as well as a few assorted delays. 
> > -------------- Original message -------------- 
> 
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<html><body>
<DIV>&nbsp;</DIV>
<DIV>Yes, Syncing the DD55 to the RC50. </DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">-------------- Original message -------------- <BR>From: "Travis Hartnett" &lt;travishartnett@gmail.com&gt; <BR><BR>&gt; Do you mean to say that you've had good results syncing a DD55 TO an <BR>&gt; RC50 or vice versa? <BR>&gt; <BR>&gt; TH <BR>&gt; <BR>&gt; On 7/23/07, midifriedchicken@comcast.net <MIDIFRIEDCHICKEN@COMCAST.NET>wrote: <BR>&gt; &gt; <BR>&gt; &gt; <BR>&gt; &gt; <BR>&gt; &gt; The RC50 works well as the master. I've had good results syncing to a Yamaha <BR>&gt; DD55 as well as a few assorted delays. <BR>&gt; &gt; -------------- Original message -------------- <BR>&gt; </BLOCKQUOTE></body></html>

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Subject: Re: RC-50 Question
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Yes. They are wavs that are imported via USB. You can overdub over these without saving the overdub.
-------------- Original message -------------- 
From: Jeff Shirkey <jcshirke@midway.uchicago.edu> 

> 
> I've just watched a couple of the video demos of the RC-50 on Boss's 
> web site. In multi mode, Paul Hanson loads a drum loop as one phrase, 
> and then he has a guitar loop on another phrase (both of these are 
> called up within the same preset, I believe). My question is where 
> are these loops coming from? Are they something he has pre-recorded 
> on his computer, for example, and he has imported them as wav (??) 
> files into the RC-50? 
> 
> Let's say I want to have a bass part as one phrase, a drum loop as 
> another phrase, and a rhythm guitar part as another phrase, and I 
> simply want to play over all of the above. Can I compose the bass and 
> drum parts using a VI and then import them into the RC-50? Likewise, 
> if I wasn't composing/recording the rhythm guitar part on the fly, 
> from where (and how) would I import it? 
> 
> I guess what I'm asking is where these canned backing tracks are 
> coming from, and how are they imported/stored in the RC-50? 
> 
> Thanks, 
> 
> Jeff 
> 
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<html><body>
<DIV>&nbsp;</DIV>
<DIV>Yes. They are wavs that are imported via USB. You can overdub over these without saving the overdub.</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">-------------- Original message -------------- <BR>From: Jeff Shirkey &lt;jcshirke@midway.uchicago.edu&gt; <BR><BR>&gt; <BR>&gt; I've just watched a couple of the video demos of the RC-50 on Boss's <BR>&gt; web site. In multi mode, Paul Hanson loads a drum loop as one phrase, <BR>&gt; and then he has a guitar loop on another phrase (both of these are <BR>&gt; called up within the same preset, I believe). My question is where <BR>&gt; are these loops coming from? Are they something he has pre-recorded <BR>&gt; on his computer, for example, and he has imported them as wav (??) <BR>&gt; files into the RC-50? <BR>&gt; <BR>&gt; Let's say I want to have a bass part as one phrase, a drum loop as <BR>&gt; another phrase, and a rhythm guitar part as another phrase, and I <BR>&gt; simply want to play over all of the above. Can I compose the bass and <BR>&gt; drum parts using a VI and then import them into
 the RC-50? Likewise, <BR>&gt; if I wasn't composing/recording the rhythm guitar part on the fly, <BR>&gt; from where (and how) would I import it? <BR>&gt; <BR>&gt; I guess what I'm asking is where these canned backing tracks are <BR>&gt; coming from, and how are they imported/stored in the RC-50? <BR>&gt; <BR>&gt; Thanks, <BR>&gt; <BR>&gt; Jeff <BR>&gt; </BLOCKQUOTE></body></html>

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Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS:     was 'gypsy caravan film'
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i wonder how much being exposed to the music of the 60s while incubating=
 inside our mothers influenced us to gravitate toward musical preference=
...?  =

 =


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<html><P>i wonder how much being exposed to the music of the 60s while i=
ncubating inside our mothers influenced us to gravitate toward musical p=
reference...?&nbsp; </P>
<P>&nbsp;</P></html>

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Date: Tue, 24 Jul 2007 10:56:19 -0500
From: "Kelly Coyle" <skcoyle@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS: was 'gypsy caravan film'
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I was post-incubation in the sixties, I'm sorry to say. And my family
listened to Herb Alpert, Booker T, Sergio Mendes, and Pete Fountain.

On the other hand, it's all there I guess, in a kind of
remove-the-fiber-from-the-whole-grains sort of way: Latin, jazz, funk, and
traditional jazz. And it's insights like that that lead folks into therapy.






On 7/24/07, stillllscary@netzero.net <stillllscary@netzero.net> wrote:
>
> i wonder how much being exposed to the music of the 60s while incubating
> inside our mothers influenced us to gravitate toward musical preference...?
>
>
>
>

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I was post-incubation in the sixties, I&#39;m sorry to say. And my family listened to Herb Alpert, Booker T, Sergio Mendes, and Pete Fountain.<br><br>On the other hand, it&#39;s all there I guess, in a kind of remove-the-fiber-from-the-whole-grains sort of way: Latin, jazz, funk, and traditional jazz. And it&#39;s insights like that that lead folks into therapy.
<br><br><br><br><br><br><br><div><span class="gmail_quote">On 7/24/07, <b class="gmail_sendername"><a href="mailto:stillllscary@netzero.net">stillllscary@netzero.net</a></b> &lt;<a href="mailto:stillllscary@netzero.net">stillllscary@netzero.net
</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><p>i wonder how much being exposed to the music of the 60s while incubating inside our mothers influenced us to gravitate toward musical preference...?&nbsp; 
</p>
<p>&nbsp;</p>
</blockquote></div><br>

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From: "Krispen Hartung" <khartung@cableone.net>
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Subject: Exposed to the music of the 60s while incubating inside mothers / musical preference
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Well, my father, who went to Woodstock and many other wild and crazy =
concerts during the 60's, listened to some interesting music while I was =
in the womb and continued to after I was born...which I'm sure influence =
my outlook on music preference - though being a borderline hard =
determinist I believe most of our personalities and preferences are =
fixed at conception. =20

Just a sample of what my dad listened to during my early years:

The Crazy World of Arturo Brown - anyone remember him shouting at the =
intro of the song..."I am the god of all hell fire"...and "fire, we're =
gonna take to you hell"..."your gonna burn,  you're gonna burn...". I =
bought the CD a few months ago to jog my memory.

- German war marches and war speeches from Hitler (on vinyl)...probably =
a collector album now, with giant swastika banners on the front cover =
with Hitler at the podium and thousands of soldiers in the audience  =
(and no, I'm not an anti-Semite).

- Black Sabbath's self titled album released in 1970 (not 60's but my =
dad never let go of the 60's until the late 70s)..."What is this that =
stands before me..."

- Hawkwind's "Space Ritual Live" - again an early 70's album but in line =
with what he listened to in the 60's...."Flying is trying is =
dying"...great psychedelic stuff. Who knows what he played while I was =
in the womb in 1967.

And of course, a lot...A LOT of Bob Dylan.

....many more than this, and in the meantime, my mother was trying to =
counter-balance all of this with 60's folk music, playing and singing it =
on the guitar.=20

Kris

  ----- Original Message -----=20
  From: stillllscary@netzero.net=20
  To: Loopers-Delight@loopers-delight.com=20
  Cc: stillllscary@netzero.net=20
  Sent: Tuesday, July 24, 2007 9:47 AM
  Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS: was 'gypsy caravan =
film'


  i wonder how much being exposed to the music of the 60s while =
incubating inside our mothers influenced us to gravitate toward musical =
preference...? =20



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<META http-equiv=3DContent-Type content=3D"text/html; =
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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Well, my father, who went to Woodstock =
and many=20
other wild and crazy concerts during the 60's, listened to some =
interesting=20
music while I was in the womb and continued to after I was born...which =
I'm=20
sure&nbsp;influence my outlook on music preference - though being a =
borderline=20
hard determinist I believe most of our personalities and preferences are =
fixed=20
at conception.&nbsp; </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Just a sample of what my dad listened =
to during my=20
early years:</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>The Crazy World of Arturo Brown - =
anyone remember=20
him shouting at the intro of the song..."I am the god of all hell =
fire"...and=20
"fire, we're gonna take to you hell"..."your gonna burn,&nbsp; you're =
gonna=20
burn...". I bought the CD a few months ago to jog my =
memory.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>-&nbsp;German war marches and&nbsp;war =
speeches=20
from Hitler (on vinyl)...probably a collector album now, with giant =
swastika=20
banners on the front cover with Hitler at the podium and thousands of =
soldiers=20
in the audience&nbsp; (and no, I'm not an anti-Semite).</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>- Black Sabbath's self =
titled&nbsp;album released=20
in 1970 (not 60's but my dad never let go of the 60's until the late=20
70s)..."What is this that stands before me..."</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>- Hawkwind's "Space Ritual Live" - =
again an early=20
70's album but in line with what he listened to in the 60's...."Flying =
is trying=20
is dying"...great psychedelic stuff. Who knows what he played while I =
was in the=20
womb in 1967.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>And of course, a lot...A LOT of Bob=20
Dylan.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>....many more than this, and in the =
meantime, my=20
mother was trying to counter-balance all of this with 60's folk music, =
playing=20
and singing it on the guitar.&nbsp;</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dstillllscary@netzero.net=20
  href=3D"mailto:stillllscary@netzero.net">stillllscary@netzero.net</A> =
</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Cc:</B> <A =
title=3Dstillllscary@netzero.net=20
  href=3D"mailto:stillllscary@netzero.net">stillllscary@netzero.net</A> =
</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Tuesday, July 24, 2007 =
9:47=20
AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: LOVING NON NATIVE =
MUSICAL=20
  TRADITIONS: was 'gypsy caravan film'</DIV>
  <DIV><BR></DIV>
  <P>i wonder how much being exposed to the music of the 60s while =
incubating=20
  inside our mothers influenced us to gravitate toward musical=20
  preference...?&nbsp; </P>
  <P><FONT face=3DArial =
size=3D2></FONT>&nbsp;</P></BLOCKQUOTE></BODY></HTML>

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Date: Tue, 24 Jul 2007 11:35:05 -0500
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Subject: Re: Exposed to the music of the 60s while incubating inside mothers / musical preference
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USE YOUR METAL LIMBS.

IT IS WHAT THEY ARE FOR.



On 7/24/07, Krispen Hartung <khartung@cableone.net> wrote:
>
>  Well, my father, who went to Woodstock and many other wild and crazy
> concerts during the 60's, listened to some interesting music while I was in
> the womb and continued to after I was born...which I'm sure influence my
> outlook on music preference - though being a borderline hard determinist I
> believe most of our personalities and preferences are fixed at conception.
>
> Just a sample of what my dad listened to during my early years:
>
> The Crazy World of Arturo Brown - anyone remember him shouting at the
> intro of the song..."I am the god of all hell fire"...and "fire, we're gonna
> take to you hell"..."your gonna burn,  you're gonna burn...". I bought the
> CD a few months ago to jog my memory.
>
> - German war marches and war speeches from Hitler (on vinyl)...probably a
> collector album now, with giant swastika banners on the front cover with
> Hitler at the podium and thousands of soldiers in the audience  (and no, I'm
> not an anti-Semite).
>
> - Black Sabbath's self titled album released in 1970 (not 60's but my dad
> never let go of the 60's until the late 70s)..."What is this that stands
> before me..."
>
> - Hawkwind's "Space Ritual Live" - again an early 70's album but in line
> with what he listened to in the 60's...."Flying is trying is dying"...great
> psychedelic stuff. Who knows what he played while I was in the womb in 1967.
>
> And of course, a lot...A LOT of Bob Dylan.
>
> ....many more than this, and in the meantime, my mother was trying to
> counter-balance all of this with 60's folk music, playing and singing it on
> the guitar.
>
> Kris
>
>
> ----- Original Message -----
> *From:* stillllscary@netzero.net
> *To:* Loopers-Delight@loopers-delight.com
> *Cc:* stillllscary@netzero.net
> *Sent:* Tuesday, July 24, 2007 9:47 AM
> *Subject:* Re: LOVING NON NATIVE MUSICAL TRADITIONS: was 'gypsy caravan
> film'
>
> i wonder how much being exposed to the music of the 60s while incubating
> inside our mothers influenced us to gravitate toward musical preference...?
>
>
>
>
>

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USE YOUR METAL LIMBS.<br><br>IT IS WHAT THEY ARE FOR.<br><br><br><br><div><span class="gmail_quote">On 7/24/07, <b class="gmail_sendername">Krispen Hartung</b> &lt;<a href="mailto:khartung@cableone.net">khartung@cableone.net
</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">





<div bgcolor="#ffffff">
<div><font face="Arial" size="2">Well, my father, who went to Woodstock and many 
other wild and crazy concerts during the 60&#39;s, listened to some interesting 
music while I was in the womb and continued to after I was born...which I&#39;m 
sure&nbsp;influence my outlook on music preference - though being a borderline 
hard determinist I believe most of our personalities and preferences are fixed 
at conception.&nbsp; </font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<div><font face="Arial" size="2">Just a sample of what my dad listened to during my 
early years:</font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<div><font face="Arial" size="2">The Crazy World of Arturo Brown - anyone remember 
him shouting at the intro of the song...&quot;I am the god of all hell fire&quot;...and 
&quot;fire, we&#39;re gonna take to you hell&quot;...&quot;your gonna burn,&nbsp; you&#39;re gonna 
burn...&quot;. I bought the CD a few months ago to jog my memory.</font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<div><font face="Arial" size="2">-&nbsp;German war marches and&nbsp;war speeches 
from Hitler (on vinyl)...probably a collector album now, with giant swastika 
banners on the front cover with Hitler at the podium and thousands of soldiers 
in the audience&nbsp; (and no, I&#39;m not an anti-Semite).</font></div>
<div>&nbsp;</div>
<div><font face="Arial" size="2">- Black Sabbath&#39;s self titled&nbsp;album released 
in 1970 (not 60&#39;s but my dad never let go of the 60&#39;s until the late 
70s)...&quot;What is this that stands before me...&quot;</font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<div><font face="Arial" size="2">- Hawkwind&#39;s &quot;Space Ritual Live&quot; - again an early 
70&#39;s album but in line with what he listened to in the 60&#39;s....&quot;Flying is trying 
is dying&quot;...great psychedelic stuff. Who knows what he played while I was in the 
womb in 1967.</font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<div><font face="Arial" size="2">And of course, a lot...A LOT of Bob 
Dylan.</font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<div><font face="Arial" size="2">....many more than this, and in the meantime, my 
mother was trying to counter-balance all of this with 60&#39;s folk music, playing 
and singing it on the guitar.&nbsp;</font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<div><font face="Arial" size="2">Kris</font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<blockquote dir="ltr" style="border-left: 2px solid rgb(0, 0, 0); padding-right: 0px; padding-left: 5px; margin-left: 5px; margin-right: 0px;">
  <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;">----- Original Message ----- </div>
  <div style="background: rgb(228, 228, 228) none repeat scroll 0% 50%; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial; font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;">
<b>From:</b> 
  <a title="stillllscary@netzero.net" href="mailto:stillllscary@netzero.net" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">stillllscary@netzero.net</a> </div>
  <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;"><b>To:</b> <a title="Loopers-Delight@loopers-delight.com" href="mailto:Loopers-Delight@loopers-delight.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">
Loopers-Delight@loopers-delight.com</a> 
  </div>
  <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;"><b>Cc:</b> <a title="stillllscary@netzero.net" href="mailto:stillllscary@netzero.net" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">
stillllscary@netzero.net</a> </div>
  <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;"><b>Sent:</b> Tuesday, July 24, 2007 9:47 
AM</div>
  <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;"><b>Subject:</b> Re: LOVING NON NATIVE MUSICAL 
  TRADITIONS: was &#39;gypsy caravan film&#39;</div>
  <div><br></div>
  <p>i wonder how much being exposed to the music of the 60s while incubating 
  inside our mothers influenced us to gravitate toward musical 
  preference...?&nbsp; </p>
  <p><font face="Arial" size="2"></font>&nbsp;</p></blockquote></div>
</blockquote></div><br>

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Date: Tue, 24 Jul 2007 09:37:36 -0700
From: "miles ward" <miles932@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Exposed to the music of the 60s while incubating inside mothers / musical preference
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Closest I can get was in the womb at a Led Zeppelin concert, aparently
kicked right along with Bonham's kick, and that guy had a fast foot!
:)
-Miles

On 7/24/07, Krispen Hartung <khartung@cableone.net> wrote:
>
> Well, my father, who went to Woodstock and many other wild and crazy
> concerts during the 60's, listened to some interesting music while I was in
> the womb and continued to after I was born...which I'm sure influence my
> outlook on music preference - though being a borderline hard determinist I
> believe most of our personalities and preferences are fixed at conception.
>
> Just a sample of what my dad listened to during my early years:
>
> The Crazy World of Arturo Brown - anyone remember him shouting at the intro
> of the song..."I am the god of all hell fire"...and "fire, we're gonna take
> to you hell"..."your gonna burn,  you're gonna burn...". I bought the CD a
> few months ago to jog my memory.
>
> - German war marches and war speeches from Hitler (on vinyl)...probably a
> collector album now, with giant swastika banners on the front cover with
> Hitler at the podium and thousands of soldiers in the audience  (and no, I'm
> not an anti-Semite).
>
> - Black Sabbath's self titled album released in 1970 (not 60's but my dad
> never let go of the 60's until the late 70s)..."What is this that stands
> before me..."
>
> - Hawkwind's "Space Ritual Live" - again an early 70's album but in line
> with what he listened to in the 60's...."Flying is trying is dying"...great
> psychedelic stuff. Who knows what he played while I was in the womb in 1967.
>
> And of course, a lot...A LOT of Bob Dylan.
>
> ....many more than this, and in the meantime, my mother was trying to
> counter-balance all of this with 60's folk music, playing and singing it on
> the guitar.
>
> Kris
>
> ----- Original Message -----
> From: stillllscary@netzero.net
> To: Loopers-Delight@loopers-delight.com
> Cc: stillllscary@netzero.net
> Sent: Tuesday, July 24, 2007 9:47 AM
> Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS: was 'gypsy caravan film'
>
>
>
> i wonder how much being exposed to the music of the 60s while incubating
> inside our mothers influenced us to gravitate toward musical preference...?
>
>


-- 
---Miles Ward

From Loopers-Delight-request@loopers-delight.com  Tue Jul 24 16:58:51 2007
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Me too,   but in early childhood, I recall being fascinated with my =
dad's'
early recordings of Ledbelly (Alabama blues singer),  the original =
french
recording of Musique Concrete,  and the Folies Berg=E8re ( from my Mom's
collection).     =20
=20
In jr. high,  I just couldn't relate to pop music of the day , including =
the
likes of "Yellow polka dot bikini" and pre-Elvis crooners, but I did =
like
the humor of songs like  "Purple people eater".  The first albums that I
ever purchased were when I was a kid were the "Soviet Army Chorus" and
"Turandot", rather than the folk music which I also liked.=20
=20
Years of therapy have not fully sorted out the impact of this  ;-)
-Qua

  _____ =20

From: Kelly Coyle [mailto:skcoyle@gmail.com]=20
Sent: Tuesday, July 24, 2007 8:56 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS: was 'gypsy caravan =
film'


I was post-incubation in the sixties, I'm sorry to say. And my family
listened to Herb Alpert, Booker T, Sergio Mendes, and Pete Fountain.

On the other hand, it's all there I guess, in a kind of
remove-the-fiber-from-the-whole-grains sort of way: Latin, jazz, funk, =
and
traditional jazz. And it's insights like that that lead folks into =
therapy.=20




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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.6000.16481" name=3DGENERATOR></HEAD>
<BODY>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial size=3D2><SPAN=20
class=3D631363816-24072007>Me too,&nbsp;&nbsp; but in early childhood, I =
recall=20
being fascinated with my dad's'&nbsp;early recordings of Ledbelly =
(Alabama blues=20
singer),&nbsp; the original french recording of Musique =
Concrete,&nbsp;&nbsp;and=20
the Folies Berg=E8re ( from my Mom's =
collection).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=20
</SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial size=3D2><SPAN=20
class=3D631363816-24072007></SPAN></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial size=3D2><SPAN=20
class=3D631363816-24072007>In jr. high,&nbsp; I just couldn't relate to =
pop music=20
of the day , including the likes of "Yellow polka dot bikini"&nbsp;and =
pre-Elvis=20
crooners, but I did like the humor of songs like&nbsp; "Purple people=20
eater".&nbsp; The first albums that I ever purchased were&nbsp;when I =
was a kid=20
were the&nbsp;"Soviet Army Chorus" and "Turandot",&nbsp;rather than the =
folk=20
music which I also liked.&nbsp;</SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial size=3D2><SPAN=20
class=3D631363816-24072007></SPAN></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial size=3D2><SPAN=20
class=3D631363816-24072007>Years of therapy have not fully sorted out =
the impact=20
of this&nbsp; ;-)</SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial size=3D2><SPAN=20
class=3D631363816-24072007>-Qua</SPAN></FONT></DIV><BR>
<DIV class=3DOutlookMessageHeader lang=3Den-us dir=3Dltr align=3Dleft>
<HR tabIndex=3D-1>
<FONT face=3DTahoma size=3D2><B>From:</B> Kelly Coyle =
[mailto:skcoyle@gmail.com]=20
<BR><B>Sent:</B> Tuesday, July 24, 2007 8:56 AM<BR><B>To:</B>=20
Loopers-Delight@loopers-delight.com<BR><B>Subject:</B> Re: LOVING NON =
NATIVE=20
MUSICAL TRADITIONS: was 'gypsy caravan film'<BR></FONT><BR></DIV>
<DIV></DIV>I was post-incubation in the sixties, I'm sorry to say. And =
my family=20
listened to Herb Alpert, Booker T, Sergio Mendes, and Pete =
Fountain.<BR><BR>On=20
the other hand, it's all there I guess, in a kind of=20
remove-the-fiber-from-the-whole-grains sort of way: Latin, jazz, funk, =
and=20
traditional jazz. And it's insights like that that lead folks into=20
therapy.&nbsp;<BR><BR><BR></BODY></HTML>

------=_NextPart_000_00C5_01C7CDD9.378AA960--

From Loopers-Delight-request@loopers-delight.com  Tue Jul 24 17:02:48 2007
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To: Loopers-Delight@loopers-delight.com (Loopers Delight)
Subject: Electronic Music Film
Date: Tue, 24 Jul 2007 17:02:47 +0000
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This is great. I'm pretty sure I saw this in High School, but I'm not really sure because I usually got really high before music class. 

http://www.youtube.com/watch?v=9w5mLHv0nNY

http://www.youtube.com/watch?v=TaYuj38I3Xg 

http://www.youtube.com/watch?v=xEnge9e90_A
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<html><body>
<DIV>This is great. I'm pretty sure I saw this in High School, but I'm not really sure because I usually got really high before music class. </DIV>
<DIV>&nbsp;</DIV>
<DIV><A href="http://www.youtube.com/watch?v=9w5mLHv0nNY">http://www.youtube.com/watch?v=9w5mLHv0nNY</A></DIV>
<DIV>&nbsp;</DIV>
<DIV><A href="http://www.youtube.com/watch?v=TaYuj38I3Xg" target=_blank>http://www.youtube.com/watch?v=TaYuj38I3Xg</A> </DIV>
<DIV>&nbsp;</DIV>
<DIV><A href="http://www.youtube.com/watch?v=xEnge9e90_A" target=_blank>http://www.youtube.com/watch?v=xEnge9e90_A</A></DIV></body></html>

--NextPart_Webmail_9m3u9jl4l_23693_1185296567_0--

From Loopers-Delight-request@loopers-delight.com  Tue Jul 24 18:34:24 2007
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Subject: LOVING NON NATIVE MUSICAL TRADITIONS
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stillscary@netzero.net  wrote:
"i wonder how much being exposed to the music of the 60s while incubating 
inside our mothers influenced us to gravitate toward musical preference...? 
"

Or,  how much the LSD, pot and/or other psychotropic drugs your mom may or 
may not have ingested, for that matter.

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

I, on the other hand,  was a twinkle in my mother's eye in 1952 so I was one 
of the ones getting her the acid probably......... ;-) 

From Loopers-Delight-request@loopers-delight.com  Tue Jul 24 19:26:55 2007
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Date: Tue, 24 Jul 2007 15:26:49 -0400
From: "Tony K" <bigtonyk@gmail.com>
To: Loopers-Delight@loopers-delight.com
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I've wondered sometimes where our musical interest comes from.  I
spent a lot of time with my grandparents while I was growing up and
they listened exclusively to classical music.  Mom liked folky stuff -
Pete Seager, Dylan, Woody Guthrie, etc.  Dad liked Elvis and some 60's
stuff like Janis.  We had Beatles, Jefferson Airplane, The Band,
Elvis, Miles Davis...  Mom was 15 when I was inutero in '63, and so I
think there was a bit of early 60's teenie-bopper music going on too.
Anyway, while I like all that stuff, I was seriously hooked on hard
rock and prog rock in the mid to late 70's.  I listened to Kansas,
Yes, Rush, King Crimson, Zeppelin, Moody Blues.  Nothing my parents
really listened to.  Now that I have a 15 year old daughter, it's
funny how she likes some of the stuff I do, and HATES some of it.  I
just can't get her into the Swedish Death Metal scene.  Kids these
days.  sheesh.  Funny thing is, she LOVES Elvis and big band stuff,
and also likes some new pop.  Her best comment on pop music was "you
know, if you take out the words, the music is pretty boring."  I'm
constantly amazed at the songs she sings along to, or asks me if I
have or will buy for her.  I think my Who's Next cd disappeared into
the black hole that is her room.  But then, a few weeks ago I HAD to
buy her the Saturday Night Fever soundtrack at a yard sale.  One thing
I vowed never to do when I had kids was to criticize the music they
liked.  And I guess fortunately, I like most of the stuff she does
anyway, so it's no biggie.  If I could just get her into King Crimson,
Porcupine Tree, and Opeth, I could listen to them in the car when she
was along!   hehehe

Tony

On 7/24/07, RICK WALKER <looppool@cruzio.com> wrote:
> stillscary@netzero.net  wrote:
> "i wonder how much being exposed to the music of the 60s while incubating
> inside our mothers influenced us to gravitate toward musical preference...?
> "
>
> Or,  how much the LSD, pot and/or other psychotropic drugs your mom may or
> may not have ingested, for that matter.
>
> **********************
>
> I, on the other hand,  was a twinkle in my mother's eye in 1952 so I was one
> of the ones getting her the acid probably......... ;-)
>
>


-- 
-==-=-=-
Tony

From mr_nikiema149@hotmail.com  Tue Jul 24 19:34:26 2007
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 =20







FROM THE DESK OF : MR MARK NIKIEMA . AUDITING AND ACCOUNTING SECTION, AFRIC=
AN DEVELOPMENT BANK ( A.D.B ) OUAGADOUGOU BURKINA-FASO,WEST AFRICA.=20
 ATTENTION PLEASE,
=20
I, MR MARK NIKIEMA. AUDITING AND ACCOUNTING SECTION, AFRICAN DEVELOPMENT BA=
NK ( A.D.B ) OUAGADOUGOU BURKINA-FASO,WEST AFRICA. I GOT YOUR CONTACT FROM =
A YAHOO TOURIST SEARCH.
When i was searching for a foreign partner i assured of your capability and=
 reliability to champion this businees opportunity, when i prayed to God or=
 Allah about you.

In my department we discovered an abandoned sum of $15 million U.S.A dollar=
s ( fifteen million U.S.A dollars).In an account that belongs to one of our=
 foreign customer who died along with his entire family on friday december =
26,2003  in  plane crash.
=20
Since we got information about his death, we have been expecting his next o=
f kin to come over and claim his money because we cannot release it unless =
somebody applies for it as next of kin or relation to the deceased as indic=
ated in our banking guidelines, but unfortunately we learnt that all his su=
pposed next of kin or relation died alongside with him at the plane crash l=
eaving nobody behind for the claim.
=20
It is therefore upon this discovery that I and one official in my departmen=
t ,now decided to make this business proposal to you and release the money =
to you as the next of kin or relation to the deceased for safety and subseq=
uent disbursement since nobody is coming for it and we dont want this money=
 to go into the bank treasury as unclaimed bill.
=20
The Banking law and guideline here stipulates that if such money remained u=
nclamed after five years, the money will be transfered into the Bank treasu=
ry as unclaimed fund. The request of foreigner as next of kin in this busin=
ess is occasioned by the fact that the customer was a foreigner, and a Burk=
inabe cannot stand as next of kin to a foreigner.
=20
We agreed that 30 % of this money will be for you as foreign partner,
 in respect to the provision of a foreign account, 10 % will be set aside f=
or expenses incured during the business and 60 % would be for me and my wom=
an colleague.
=20
There after I and my colleague will visit your country for disbursement acc=
ording to the percentages indicated.
=20
Therefore to enable the immediate transfer of this fund to you as arranged,=
you must apply first to the bank as relations or next of kin of the decease=
d indicating your bank name, your bank account number, your private telepho=
ne number and fax number for easy and effective communication and location =
where the money will be remitted.
=20
Upon receipt of your reply, I will send to you by fax or email the text of =
the application I will not fail to bring to your notice that this transacti=
on is hitch free and that you should not entertain any atorm of fear as all=
 required arrangements have been made for the transfer.
=20
Reply me with this e mail address=3D niki_mark@yahoo.fr immediately.=20
PLANE CRASH WEB SITE .
http://www.cnn.com/2003/WORLD/africa/12/26/benin.crash/index.html=20
POST SCRITUM: You have to keep everything secret as to enable the transfer =
to move very smoothly into the account that you will provide to the bank.As=
 you finished reading this letter call me. Yours faithfully,=20

MR MARK NIKIEMA.=20
_________________________________________________________________
With Windows Live Hotmail, you can personalize your inbox with your favorit=
e color.
www.windowslive-hotmail.com/learnmore/personalize.html?locale=3Den-us&ocid=
=3DTXT_TAGLM_HMWL_reten_addcolor_0607=

--_702af6cd-a911-4886-88d1-fd0fbca5cac6_
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<html>
<head>
<style>
P
{
margin:0px;
padding:0px
}
body
{
FONT-SIZE: 10pt;
FONT-FAMILY:Tahoma
}
</style>
</head>
<body>
<DIV>&nbsp;=20
<TABLE cellSpacing=3D0 cellPadding=3D3 width=3D"100%" bgColor=3Dwhite borde=
r=3D0>
<TBODY>
<TR vAlign=3Dtop>
<TD width=3D"100%"><FONT color=3Dblack size=3D2>
<TABLE cellSpacing=3D0 cellPadding=3D3 width=3D"100%" bgColor=3Dwhite borde=
r=3D0>
<TBODY>
<TR vAlign=3Dtop>
<TD width=3D"100%"><FONT color=3Dblack size=3D2>FROM THE DESK OF : MR MARK =
NIKIEMA . <BR>AUDITING AND ACCOUNTING SECTION, <BR>AFRICAN DEVELOPMENT BANK=
 ( A.D.B ) <BR>OUAGADOUGOU BURKINA-FASO,WEST AFRICA. <BR><BR>
<P class=3DRTE>&nbsp;ATTENTION PLEASE,</P>
<P class=3DRTE>&nbsp;</P>
<DIV class=3DRTE>I, MR MARK NIKIEMA. AUDITING AND ACCOUNTING SECTION, AFRIC=
AN DEVELOPMENT BANK ( A.D.B ) OUAGADOUGOU BURKINA-FASO,WEST AFRICA. I GOT Y=
OUR CONTACT FROM A YAHOO TOURIST SEARCH.<BR><BR>
<DIV class=3DRTE>When i was searching for a foreign partner i assured of yo=
ur capability and reliability to champion this businees opportunity, when i=
 prayed to God or Allah about you.<BR>
<DIV class=3DRTE><BR>
<DIV class=3DRTE>In my department we discovered an abandoned sum of $15 mil=
lion U.S.A dollars ( fifteen million U.S.A dollars).In an account that belo=
ngs to one of our foreign customer who died along with his entire family on=
 friday december 26,2003&nbsp; in&nbsp; plane crash.</DIV>
<DIV class=3DRTE>&nbsp;</DIV>
<P class=3DRTE>Since we got information about his death, we have been expec=
ting his next of kin to come over and claim his money because we cannot rel=
ease it unless somebody applies for it as next of kin or relation to the de=
ceased as indicated in our banking guidelines, but unfortunately we learnt =
that all his supposed next of kin or relation died alongside with him at th=
e plane crash leaving nobody behind for the claim.</P>
<P class=3DRTE>&nbsp;</P>
<P class=3DRTE>It is therefore upon this discovery that I and one official =
in my department ,now decided to make this business proposal to you and rel=
ease the money to you as the next of kin or relation to the deceased for sa=
fety and subsequent disbursement since nobody is coming for it and we dont =
want this money to go into the bank treasury as unclaimed bill.</P>
<P class=3DRTE>&nbsp;</P>
<P class=3DRTE>The Banking law and guideline here stipulates that if such m=
oney remained unclamed after five years, the money will be transfered into =
the Bank treasury as unclaimed fund. The request of foreigner as next of ki=
n in this business is occasioned by the fact that the customer was a foreig=
ner, and a Burkinabe cannot stand as next of kin to a foreigner.</P>
<P class=3DRTE>&nbsp;</P>
<P class=3DRTE>We agreed that 30 % of this money will be for you as foreign=
 partner,</P>
<P class=3DRTE>&nbsp;in respect to the provision of a foreign account, 10 %=
 will be set aside for expenses incured during the business and 60 % would =
be for me and my woman colleague.</P>
<P class=3DRTE>&nbsp;</P>
<P class=3DRTE>There after I and my colleague will visit your country for d=
isbursement according to the percentages indicated.</P>
<P class=3DRTE>&nbsp;</P>
<P class=3DRTE>Therefore to enable the immediate transfer of this fund to y=
ou as arranged,you must apply first to the bank as relations or next of kin=
 of the deceased indicating your bank name, your bank account number, your =
private telephone number and fax number for easy and effective communicatio=
n and location where the money will be remitted.</P>
<P class=3DRTE>&nbsp;</P>
<P class=3DRTE>Upon receipt of your reply, I will send to you by fax or ema=
il the text of the application I will not fail to bring to your notice that=
 this transaction is hitch free and that you should not entertain any atorm=
 of fear as all required arrangements have been made for the transfer.</P>
<P class=3DRTE>&nbsp;</P>
<P class=3DRTE>Reply me with this e mail address=3D <A href=3D"mailto:niki_=
mark@yahoo.fr"><U><FONT color=3D#0000ff>niki_mark@yahoo.fr</FONT></U></A> i=
mmediately. </P>
<DIV class=3DRTE>PLANE CRASH WEB SITE .<BR>
<DIV class=3DRTE><BR><A href=3D"http://www.cnn.com/2003/WORLD/africa/12/26/=
benin.crash/index.html"><U><FONT color=3D#0000ff>http://www.cnn.com/2003/WO=
RLD/africa/12/26/benin.crash/index.html</FONT></U></A> <BR>
<DIV class=3DRTE><BR>POST SCRITUM: You have to keep everything secret as to=
 enable the transfer to move very smoothly into the account that you will p=
rovide to the bank.As you finished reading this letter call me. <BR><BR>You=
rs faithfully, <BR>
<DIV class=3DRTE><BR>
<DIV class=3DRTE>MR MARK NIKIEMA. <BR><BR><BR><BR><BR></FONT></DIV></DIV></=
DIV></DIV></DIV></DIV></DIV></DIV></TD></TR></TBODY></TABLE><BR><BR></FONT>=
</TD></TR></TBODY></TABLE><BR></DIV><br /><hr />Make every IM count. Downlo=
ad Windows Live Messenger and join the i'm Initiative now. It's free.=A0=A0=
 <a href=3D'http://im.live.com/messenger/im/home/?source=3DTAGWL_June07' ta=
rget=3D'_new'>Make it count!</a></body>
</html>=

--_702af6cd-a911-4886-88d1-fd0fbca5cac6_--

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From: Mark Sottilaro <sine@zerocrossing.net>
Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS: was 'gypsy caravan film'
Date: Tue, 24 Jul 2007 12:44:56 -0700
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I don't think I'm buying that theory, as it doesn't explain so many  
people who shun forms of expression that they're unfamiliar with.  It  
also doesn't explain why I love Indian Classical music and dislike  
Chinese classical music.


On Jul 24, 2007, at 4:56 AM, Michael Billow wrote:

> My opinion: My opinion, it has nothing to do with past lives or  
> anything so
> mysterious. You liked it because its great stuff, that  
> unfortunately, your "lilywhite"
> environment didn't expose you to very much. When you become exposed to
> other cultures, other styles and modes of music, it is naturally bound
> to be exciting.
>
>
> On 7/24/07, RICK WALKER <looppool@cruzio.com> wrote:
> Mark Sottilaro <sine@zerocrossing.net> wrote:
>
> "This is way OT, but what's up with that?  Sure,
> music made by  Europeans may speak to some part of my Euro-mutt
> brain............... (sic).......... but what does it mean when
> this Euro-mutt hears  Indian classical music for the first time and
> falls instantly in  love?"
>
>
> Wow,  I've alwasy wondered about this thought, too,  Mark.
> I was essentially a white kid who grew up in a lilly white
> upper middle class suburb in San Jose, California.
>
> When no one in my junior high school was listening to anything
> besides the Beatles and Beach Boys,   I was completely in
> love with Smokey Robinson and James Brown.   Why is that?
>
> When I went to a college dance as a single, horny college student
> to try and meet girls,   I was suddenly completely besotten with
> this band from Ghana, Hedzoleh Soundz who played a college dance
> using only 6/8 time signatures.
>
> My whole life changed that evening and all I knew was that I had to  
> know
> everything I could possibly know about this amazing exotic music that
> was completely foreign to me.
>
> The next 25 years of my professional life were determined within
> four minutes of hearing the song,  "Languta" by Hedzoleh
> Soundz............literally!
>
> I can't say that I necessarily believe in past lives but I can say  
> that
> something
> very, very deep inside of me was touched when I heard that music  
> (or the
> music of Babatunde Olatunji,   Ali Farke Toure,  Debhashish  
> Battycharya,
> Hiryasu Takashi, Bob Brozman or Martin Simpson).
>
> Whatever it was,  it was some kind of magic,  I can assure you.
>
> The same kind of magic that occured when I started hanging out with  
> live
> looping
> artists some 8 years ago.
>
> It's great to realize that magic exists and can touch someone if  
> they are
> receptive to it.
>
> thanks for your thought provoking question, Mark.
>
> let's hear it for being receptive to that kind of magic, musically!
>
> yours,  Rick
>
>


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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">I don't think I'm buying that =
theory, as it doesn't explain so many people who shun forms of =
expression that they're=A0unfamiliar with.=A0 It also doesn't explain =
why I love Indian Classical music and dislike Chinese classical =
music.<DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR><DIV><DIV>On Jul 24, =
2007, at 4:56 AM, Michael Billow wrote:</DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite"><DIV>My =
opinion: My opinion, it has nothing to do with past lives or anything so =
</DIV> <DIV>mysterious. You liked it because its great stuff, that =
unfortunately, your "lilywhite"</DIV> <DIV>environment didn't expose you =
to very much. When you become exposed to</DIV> <DIV>other cultures, =
other styles and modes of music, it is naturally bound</DIV> <DIV>to be =
exciting.<BR><BR>=A0</DIV> <DIV><SPAN class=3D"gmail_quote">On 7/24/07, =
<B class=3D"gmail_sendername">RICK WALKER</B> &lt;<A =
href=3D"mailto:looppool@cruzio.com">looppool@cruzio.com</A>&gt; =
wrote:</SPAN> <BLOCKQUOTE class=3D"gmail_quote" style=3D"PADDING-LEFT: =
1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">Mark =
Sottilaro &lt;<A =
href=3D"mailto:sine@zerocrossing.net">sine@zerocrossing.net</A>&gt; =
wrote:<BR><BR>"This is way OT, but what's up with that?=A0=A0Sure, =
<BR>music made by=A0=A0Europeans may speak to some part of my =
Euro-mutt<BR>brain............... (sic).......... but what does it mean =
when<BR>this Euro-mutt hears=A0=A0Indian classical music for the first =
time and<BR>falls instantly in=A0=A0love?" <BR><BR><BR>Wow,=A0=A0I've =
alwasy wondered about this thought, too,=A0=A0Mark.<BR>I was essentially =
a white kid who grew up in a lilly white<BR>upper middle class suburb in =
San Jose, California.<BR><BR>When no one in my junior high school was =
listening to anything <BR>besides the Beatles and Beach Boys,=A0=A0 I =
was completely in<BR>love with Smokey Robinson and James Brown.=A0=A0 =
Why is that?<BR><BR>When I went to a college dance as a single, horny =
college student<BR>to try and meet girls,=A0=A0 I was suddenly =
completely besotten with <BR>this band from Ghana, Hedzoleh Soundz who =
played a college dance<BR>using only 6/8 time signatures.<BR><BR>My =
whole life changed that evening and all I knew was that I had to =
know<BR>everything I could possibly know about this amazing exotic music =
that <BR>was completely foreign to me.<BR><BR>The next 25 years of my =
professional life were determined within<BR>four minutes of hearing the =
song,=A0=A0"Languta" by =
Hedzoleh<BR>Soundz............literally!<BR><BR>I can't say that I =
necessarily believe in past lives but I can say that =
<BR>something<BR>very, very deep inside of me was touched when I heard =
that music (or the<BR>music of Babatunde Olatunji,=A0=A0 Ali Farke =
Toure,=A0=A0Debhashish Battycharya,<BR>Hiryasu Takashi, Bob Brozman or =
Martin Simpson).<BR> <BR>Whatever it was,=A0=A0it was some kind of =
magic,=A0=A0I can assure you.<BR><BR>The same kind of magic that occured =
when I started hanging out with live<BR>looping<BR>artists some 8 years =
ago.<BR><BR>It's great to realize that magic exists and can touch =
someone if they are <BR>receptive to it.<BR><BR>thanks for your thought =
provoking question, Mark.<BR><BR>let's hear it for being receptive to =
that kind of magic, =
musically!<BR><BR>yours,=A0=A0Rick<BR><BR></BLOCKQUOTE></DIV><BR></BLOCKQU=
OTE></DIV><BR></DIV></BODY></HTML>=

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS: was 'gypsy caravan film'
Date: Tue, 24 Jul 2007 22:08:54 +0200
To: Loopers-Delight@loopers-delight.com
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We all have to guess regarding this, but my guess goes goes with  
Mark's. I think every human have a unique predisposition for how we  
will react and act on things we bump into on our odyssey through this  
world. This is not "education", "talent" or "intelligence" - rather  
"drive". And I think this part of us is what makes us like or dislike  
certain kinds of music. You can see this manifesting in praxis if you  
look at people; those with a lot of "drive" (simply those who are  
doing a lot of things in whatever areas) tend to have strong likes  
and dislikes in music and people with less "drive" tend to dance or  
whistle along to whatever they might happen to hear.

per


On 24 jul 2007, at 21.44, Mark Sottilaro wrote:

> I don't think I'm buying that theory, as it doesn't explain so many  
> people who shun forms of expression that they're unfamiliar with.   
> It also doesn't explain why I love Indian Classical music and  
> dislike Chinese classical music.
>
>
> On Jul 24, 2007, at 4:56 AM, Michael Billow wrote:
>
>> My opinion: My opinion, it has nothing to do with past lives or  
>> anything so
>> mysterious. You liked it because its great stuff, that  
>> unfortunately, your "lilywhite"
>> environment didn't expose you to very much. When you become  
>> exposed to
>> other cultures, other styles and modes of music, it is naturally  
>> bound
>> to be exciting.





From Loopers-Delight-request@loopers-delight.com  Tue Jul 24 20:28:33 2007
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Date: Tue, 24 Jul 2007 16:28:21 EDT
Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS: was 'gypsy caravan film'
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In a message dated 7/24/07 4:09:31 PM, perboysen@gmail.com writes:


> You can see this manifesting in praxis if you=A0
> look at people; those with a lot of "drive" (simply those who are=A0
> doing a lot of things in whatever areas) tend to have strong likes=A0
> and dislikes in music
>=20

per.....do you see yourself in this way?.....strong likes and=20
dislikes.....michael



www.ct-collective.com
http://mysite.verizon.net/vzepmeci/
http://www.myspace.com/klobuchar11



**************************************
 Get a sneak peek of the all-new AOL at=20
http://discover.aol.com/memed/aolcom30tour

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2"><BR>
In a message dated 7/24/07 4:09:31 PM, perboysen@gmail.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE CITE STYLE=3D"BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px;=20=
MARGIN-RIGHT: 0px; PADDING-LEFT: 5px" TYPE=3D"CITE"></FONT><FONT COLOR=3D"#0=
00000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"2">You can see this mani=
festing in praxis if you=A0<BR>
look at people; those with a lot of "drive" (simply those who are=A0<BR>
doing a lot of things in whatever areas) tend to have strong likes=A0<BR>
and dislikes in music<BR>
</BLOCKQUOTE></FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSE=
RIF" SIZE=3D"2"><BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2">per.....do you see yourself in this way?.....strong likes and dislikes...=
..michael<BR>
<BR>
<BR>
<BR>
www.ct-collective.com<BR>
http://mysite.verizon.net/vzepmeci/<BR>
http://www.myspace.com/klobuchar11<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************************************<BR> Get a sneak=
 peek of the all-new AOL at http://discover.aol.com/memed/aolcom30tour</HTML=
>

--part1_d44.e72c2ee.33d7bae5_boundary--

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS: was 'gypsy caravan film'
Date: Tue, 24 Jul 2007 23:05:24 +0200
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On 24 jul 2007, at 22.28, Nemoguitt@aol.com wrote:

> per.....do you see yourself in this way?.....strong likes and  
> dislikes.....michae


Well, wouldn't it be a rather biased method to learn about the world  
by studying yourself? ;-))

I think though that my own experiences so far go well with my theory  
that you are born with a certain "blue-print for reacting to the  
world and acting in the world" and that this blue-print also directs  
what kind of music you tend to like. The subjective individual  
quality of listening to music is very similar to "acting in the  
world", but with the difference that it happens on an inner stage. I  
think about this like the social anthropologist theory of how we  
"think" in relation to "the internalized other" (hope I got the  
terminology right there). Even when you are alone you look upon  
yourself in relation to "the others". That's how we have to  
experience music as well, since it is communicative.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Tue Jul 24 22:28:41 2007
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Date: Tue, 24 Jul 2007 15:28:39 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS (the psycholgy in music)
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I would be really interested on this.I do think that
educating yourself with different types of music will
increase your appreciation but will not neccesarily
become a preference.
on the subject of being exposed to sound while in the
womb,i saw once a documentary about how rhythm plays
an essential part of life in the african culture
everything they do has some sort of rhythm,pregnant
mothers dancing and druming on their bellies, they
also showed how workers would syncronize together to a
certain rhythm while digging a whole in a construction
scene,and how kids as young as 3 yrs old do little
games clapping to claves and alternating polyrhythms
with each others hands.But then again there are people
that inherit rhythm and people that dont,regardless of
culture....perhaps unrhythmic people can eventually
learn it but will probably never feel it the way
others do.My girl who teaches kindergarden has
recently attended an interesting seminar about the
importance of early motoric development in children
and the lack of it in certain countries.
The other aspect that still interest me is why we are
attracted to certain types of music.The identification
part of it,just like color preference of clothes,but
does all of this really reveal a part of us or our
past?
Some people think if you listen to somber music and
dress all black every day or if you listen what people
tend to label as "depressive music" or like certain
"grausam" art there must be some sort of problem with
you, or predict that it will eventually have a
negative effect in you.But i am still not convinced
with this.When i talk to people  and say i like Pink
floyd or Camaron de la Isla and love dalí they say "oh
too depressive for me".But for me it doesnt feel that
way,it just feels deep and sends me shivers,i once had
a girlfirend that would become really stressed and
irritated everytime i played a king Crimson album!
the different perception and its preference behind is
what still intrigues me...
Luis



--- "stillllscary@netzero.net"
<stillllscary@netzero.net> wrote:

> i wonder how much being exposed to the music of the
> 60s while incubating inside our mothers influenced
> us to gravitate toward musical preference...?  
>  
> 


www.myspace.com/luisangulocom


       
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From Loopers-Delight-request@loopers-delight.com  Tue Jul 24 22:34:10 2007
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Date: Tue, 24 Jul 2007 15:34:08 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: loving non native music traditions
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Howdy,

 While my niece was in-vitro, her mother and my
brother played a LOT of folk music(still do). when she
was born, every time someone played an ancoustic
guitar she would automatically turn to it no matter
what other distraction was occuring. I figure it had
to be from the sound of the back of her mother's
guitar traveling through her abdomen into the womb. Of
course, after she started learning to talk, that was
the end of it.
rig


       
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Date: Tue, 24 Jul 2007 15:41:07 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: 60s music influence
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Howdy,

 German war songs and Hitler speeches on vinyl??? I'VE
GOT 2 OF EM!!! What a coincidence, especially
considering that they were left at my house by an ex
drummer freind who moved to Reno (this was in 86).
Rig


       
____________________________________________________________________________________
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From Loopers-Delight-request@loopers-delight.com  Tue Jul 24 23:35:22 2007
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Date: Tue, 24 Jul 2007 23:34:17 GMT
To: Loopers-Delight@loopers-delight.com
Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS
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----__JWM__J5cbc.3d02S.21e7M
Content-Transfer-Encoding: quoted-printable
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quoting Rick,
(or, how much the lsd, pot and/or other psychotropic drugs your mom may =
or may not have ingested, for that matter.)
lol...ive more than made up for moms lack of psychotropic experimentatio=
n...
looping while experimenting is highly recommended... especially in large=
 groups of demented musicians... =

yours,    screamy canary von fissionary...

----__JWM__J5cbc.3d02S.21e7M
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<html><P>quoting Rick,</P>
<P>(or, how much the lsd, pot and/or other psychotropic drugs your mom m=
ay or may not have ingested, for that matter.)</P>
<P>lol...ive more than made up for moms lack of psychotropic experimenta=
tion...</P>
<P>looping while experimenting is highly recommended... especially in la=
rge groups of demented musicians... </P>
<P>yours,&nbsp;&nbsp;&nbsp; screamy canary von fissionary...</P></html>

----__JWM__J5cbc.3d02S.21e7M--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 00:33:20 2007
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Subject: Re: 60s music influence
Date: Tue, 24 Jul 2007 18:33:17 -0600
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This is what he used to play: 
http://vinylmysteries.blogspot.com/2006/07/hitlers-inferno-vol-2-marches-songs.html

Kris


----- Original Message ----- 


> Howdy,
>
> German war songs and Hitler speeches on vinyl??? I'VE
> GOT 2 OF EM!!! What a coincidence, especially
> considering that they were left at my house by an ex
> drummer freind who moved to Reno (this was in 86).
> Rig
>
>
>
> ____________________________________________________________________________________
> Sick sense of humor? Visit Yahoo! TV's
> Comedy with an Edge to see what's on, when.
> http://tv.yahoo.com/collections/222
> 

From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 01:05:00 2007
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From: Ted R.Killian <tedkillian@charter.net>
Subject: Re: LOVING NON NATIVE (T) THE USA AT LEAST) MUSICAL TRADITIONS
Date: Tue, 24 Jul 2007 18:04:53 -0700
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After a bland childhood in suburban California I had the good fortune
to live in Mexico City for a while in the early '70s. I also got out to 
the
countryside quite a bit and experienced and came to really appreciate
the regional Mexican folk music I heard.

I came back to the USA and it was as though the pop music scene had
left me behind or something. It didn't hold as much interest for me any
more. I then went to college and saw lots of foreign films in the couple
of film studies classes I took at UC.

Through film I was exposed to lots of weird European, African and Asian
music that I'd never heard of before. My ears were opened and exposed to
everything from Pygmy music to the Viennese tone-row serialists.

Couple that with a love for early sci-fi music, and bizarre personal 
guitar
habbits a you have the makings of a real musical mess. I've not been
"normal" ever since. In fact I don't even know where "normal" is anymore
. . . but it's been fun.

Cheers,

Ted

From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 02:19:25 2007
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Date: Tue, 24 Jul 2007 22:19:15 -0400 (EDT)
From: burnett@pobox.com
X-X-Sender: badger@giggles.cavesofice.org
To: Loopers-Delight@loopers-delight.com
Subject: Ouroboros and Pacific Before Tiger, 2 Aug, Raleigh NC
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I'll be playing a house concert next week here in Raleigh NC. Information 
below.

Thanks for reading,
Steve Burnett    Subscape Annex    http://www.subscapeannex.com/

##########################################

Ouroboros, the instrumental improvisational live looped and processed tuba duo 
of David Morris and Steve Burnett performs an early show in Raleigh on Thursday 
the 2nd of August.

You can find samples of our work on the Ouroboros website at

http://www.subscapeannex.com/ouroboros/

Also the same evening, Andrew Weathers performs as his ambient minimalist 
experimental solo act Pacific Before Tiger.

http://www.myspace.com/pacificbeforetiger

Date / Time: 2 August 2007, doors 7:30-8, show begins 8:30pm

Venue URL: http://www.badgerhaus.com/

Fee: Free. Tip jar, donations welcome but optional.

Write me at burnett@pobox.com for directions.

From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 08:37:56 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: loving non native music traditions
Date: Wed, 25 Jul 2007 10:37:49 +0200
To: Loopers-Delight@loopers-delight.com
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On 25 jul 2007, at 00.34, bill bigrig wrote:

> Howdy,
>
>  While my niece was in-vitro, her mother and my
> brother played a LOT of folk music(still do). when she
> was born, every time someone played an ancoustic
> guitar she would automatically turn to it no matter
> what other distraction was occuring. I figure it had
> to be from the sound of the back of her mother's
> guitar traveling through her abdomen into the womb. Of
> course, after she started learning to talk, that was
> the end of it.
> rig


Related in reverse:
When my oldest son was pre natal hibernating he used to protest every  
time I played saxophone by kicking his mother from the inside. I had  
to practice elsewhere or stay back home to play if she (they) were  
going out. As a grownup he neither likes nor dislikes music very  
much. He and his younger brother hurry to close their doors as soon  
as I start playing music in my room (we three share a three room  
flat). Although they sometimes make some remark as "fascinating how  
you can make those noises fit together into music...", but that's it.  
They have at least as much "talent" for music as I have but music  
just don't seem to talk to them on a personal level. They just don't  
"need" music to know they exist as I did, and still do. People are  
different.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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From: Per Boysen <perboysen@gmail.com>
Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS (the psycholgy in music)
Date: Wed, 25 Jul 2007 11:08:00 +0200
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On 25 jul 2007, at 00.28, L.A. Angulo wrote:

> Some people think if you listen to somber music and
> dress all black every day or if you listen what people
> tend to label as "depressive music" or like certain
> "grausam" art there must be some sort of problem with
> you, or predict that it will eventually have a
> negative effect in you.But i am still not convinced
> with this.

Just filling in here: there are plenty of examples that a person can =20
be is a true asshole as a fellow human, but still be serene as an =20
angle in the music he or she creates. Or vice versa.

> When i talk to people  and say i like Pink
> floyd or Camaron de la Isla and love dal=ED they say "oh
> too depressive for me".But for me it doesnt feel that
> way,it just feels deep and sends me shivers,i once had
> a girlfirend that would become really stressed and
> irritated everytime i played a king Crimson album!
> the different perception and its preference behind is
> what still intrigues me...


I think that's because when a person listens to music it activates =20
the same inner (psychological and emotional) mechanisms that  also go =20=

with "taking action". So if your girlfriends personality (at that =20
time) urged here to do things in a different way that the music =20
implied for her, it explains her feelings of stress. Since the =20
clashing happens at such a deep level i ones mind it's not even sure =20
the person understands what's going on; typically only senses the =20
threatening feeling, as if asked to do something one don't want to do.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 11:13:02 2007
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Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS:     was incubative influences sort of.
Date: Wed, 25 Jul 2007 12:12:52 +0100
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Well, young fellers, I was born two days after Christmas, 1956.  =
Accordingly, my parents were 1950s parents, with all the rush to =
Normality etc.  While my dad as it turned out wanted to be a jazz =
trumpeter - and admitted to me that one time the great Raymond Scott's =
band stayed the night at their fraternity house (Univ. of Missouri, =
Columbia) - by the time I was born my mom had honed down such =
potentially subversive tastes, and they were populating their new-format =
Hi-Fidelity LP collection with... wait for it... Montovani, Ray Conniff, =
Perry Como (later done up splendidly by Eugene Levy on SCTV, lying on a =
sofa in a turtleneck sweater, crooning quietly, almost... asleep... =
zzzzz)...

Luckily 50s/early 60s rock and roll must have scared them out of that =
blandness phase, and I noticed a shift in what they listened to: more =
film soundtrack albums, and, for as yet unknown reasons, several disks =
of Liszt.  This must have been part of my long enthusiasm for the =
soundtrack music I call "situational" - or perhaps while gestating =
inside my mother I grew so bored with Mr's Conniff etc. that I started =
making it up as I went along, or maybe being a breach birth after 36 =
hours of labor was revenge for all that soft stuff.

Anyway!  My love for soundtrack music albums was cemented by two Stanley =
Kubrick films, "2001", and "A Clockwork Orange".  My favorite bits on =
the latter were the more abstract non-classical pieces done by =
then-Walter (now-Wendy) Carlos.  I absorbed the Ligeti material on =
"2001" like it was manna with honey on top.  When Beethoven's 1970 =
anniversary came along, Time Life was offering up the complete =
Beethoven, all pristine Deutsche Grammophon, Karajan, and I persuaded =
los parentos to chuck up for it.  Hazzah!  Heaven temporarily attained.  =
My parents still have that boxed collection and most likely won't give =
it to me until it's in a will or something.  I was the only one who ever =
played the disks, so they're in mint condition.

In a kind of balance, I spent the mid-to-late 60s with a transistor =
radio under my pillow every night (even at summer camp in Vermont, where =
Cousin Brucie on WABC wasn't hard to get), and so my nocturnal appetites =
were fed a combination of Motown, Brit Invasion stuff (including four =
chaps), and pop psychedelia like "Pictures of Matchstick Men and You" or =
"Red Rubber Ball".  My mother's campaign for Normality of some kind or =
another continued into the 70s, until she was satisfied that my tastes =
were more classical than otherwise.  Or something else happened that I =
still don't know about.  From one extreme it was on a Saturday after =
rising late, that I was verbally pinned to the wall while trying to eat =
my corn flakes, and she read through the lyrics to the Who's "Tommy", =
taking particular offense at songs like "Cousin Kevin" and "Eyesight to =
the Blind".  Oh brother!  Seems that was the result of the infamous =
Saturday radio address by Nixon where he told parents to "listen to the =
lyrics of the songs your children are listening to" or something like =
that.  (Did anyone else get nailed by their parents after that speech?  =
Somehow I don't think I was the only kid in the US who had to suffer =
that weekend).  I've figured that it was the infamous "Bigger than =
Jesus" misquote incident that pissed her off about the Beatles... =
Subversive fellow that I was, I persuaded her that it was the =
shimmering, beautiful George Martin material on side 2 of "Yellow =
Submarine" that I was *really* after.  Edge closer to the mid-70s, and =
by then she enjoyed both "Dark Side of the Moon" (especially "Eclipse") =
and "Animals" (though I had to cough really loud to obscure the line in =
"Pigs" about Mary Whitehouse, natch).

There's no accounting for taste is there?  I find the one element that =
sparks my interest is CONTRAST, whether it's visual or musical.  I find =
myself at times preferring a nearly-DADA approach to things, not =
recognized until going through old recordings the past six months or so. =
 Something about music being sometimes like an ignored child jumping up =
and down just to get you to listen to them, as opposed to a child who =
somehow causes one to think, "Hey, wait a minute" on a subject not even =
brought up by the child-in-question.  I think Cap'n Beefheart put it in =
"Bongo Fury", "Music from the other side of the fence".  Hell, I don't =
know.  I just like doing it.  Still.

Stephen Goodman
*
* Cartoons about DVDs and Stuff
* http://www.earthlight.net/HiddenTrack
* The Loop Of The Week since 1996!
* http://www.earthlight.net/Studios


------=_NextPart_000_0078_01C7CEB5.20080F30
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<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>Well, young fellers, I was born two days after =
Christmas,=20
1956.&nbsp; Accordingly, my parents were 1950s parents, with all the =
rush to=20
Normality etc.&nbsp; While my dad as it turned out wanted to be a jazz =
trumpeter=20
- and admitted to me that one time the great Raymond Scott's band stayed =
the=20
night at their fraternity house (Univ. of Missouri, Columbia) - by the =
time I=20
was born my mom had honed down such potentially subversive tastes, and =
they were=20
populating their new-format Hi-Fidelity LP collection with... wait for =
it...=20
Montovani, Ray Conniff, Perry Como (later done up splendidly by Eugene =
Levy on=20
SCTV, lying on a sofa in a turtleneck sweater, crooning quietly, =
almost...=20
asleep... zzzzz)...</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Luckily 50s/early 60s rock and roll must have scared =
them out=20
of that blandness phase, and I noticed a shift in what they listened to: =
more=20
film soundtrack albums, and, for as yet unknown reasons, several disks =
of=20
Liszt.&nbsp; This must have been part of my long enthusiasm for the =
soundtrack=20
music I call "situational" - or perhaps while gestating inside my mother =
I grew=20
so bored with Mr's Conniff etc. that I started making it up as I went =
along, or=20
maybe being a breach birth after 36 hours of labor was revenge for all =
that soft=20
stuff.</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Anyway!&nbsp; My love for soundtrack music albums =
was cemented=20
by two Stanley Kubrick films, "2001", and "A Clockwork Orange".&nbsp; My =

favorite bits on the latter were the more abstract non-classical pieces =
done by=20
then-Walter (now-Wendy) Carlos.&nbsp; I absorbed the Ligeti material on =
"2001"=20
like it was manna with honey on top.&nbsp; When Beethoven's 1970 =
anniversary=20
came along, Time Life was offering up the complete Beethoven, all =
pristine=20
Deutsche Grammophon, Karajan, and I persuaded los parentos to chuck up =
for=20
it.&nbsp; Hazzah!&nbsp; Heaven temporarily attained.&nbsp; My parents =
still have=20
that boxed collection and most likely won't give it to me until it's in =
a will=20
or something.&nbsp; I was the only one who ever played the disks, so =
they're in=20
mint condition.</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>In a kind of balance, I spent the mid-to-late 60s =
with a=20
transistor radio under my pillow every night (even at summer camp in =
Vermont,=20
where Cousin Brucie on WABC wasn't hard to get), and so my nocturnal =
appetites=20
were fed a combination of Motown, Brit Invasion stuff (including four =
chaps),=20
and pop psychedelia like "Pictures of Matchstick Men and You" or "Red =
Rubber=20
Ball".&nbsp; My mother's campaign for Normality of some kind or another=20
continued into the 70s, until she was satisfied that my tastes were more =

classical than otherwise.&nbsp; Or something else happened that I still =
don't=20
know about.&nbsp; From one extreme it was on a Saturday after rising =
late, that=20
I was verbally pinned to the wall while trying to eat my corn flakes, =
and she=20
read through the lyrics to the Who's "Tommy", taking particular offense =
at songs=20
like "Cousin Kevin" and "Eyesight to the Blind".&nbsp; Oh brother!&nbsp; =
Seems=20
that was the result of the infamous Saturday radio address by Nixon =
where he=20
told parents to "listen to the lyrics of the songs your children are =
listening=20
to" or something like that.&nbsp; (Did anyone else get nailed by their =
parents=20
after that speech?&nbsp; Somehow I don't think I was the only kid in the =
US who=20
had to suffer that weekend).&nbsp; I've figured that it was the infamous =
"Bigger=20
than Jesus" misquote incident that pissed her off about the Beatles...=20
Subversive fellow that I was, I persuaded her that it was the =
shimmering,=20
beautiful George Martin material on side 2 of "Yellow Submarine" that I =
was=20
*really* after.&nbsp; Edge closer to the mid-70s, and by then she =
enjoyed both=20
"Dark Side of the Moon" (especially "Eclipse") and "Animals" (though I =
had to=20
cough really loud to obscure the line in "Pigs" about Mary Whitehouse,=20
natch).</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>There's no accounting for taste is there?&nbsp; I =
find the one=20
element that sparks my interest is CONTRAST, whether it's visual or=20
musical.&nbsp; I find myself at times preferring a nearly-DADA approach =
to=20
things, not recognized until going through old recordings the past six =
months or=20
so.&nbsp; Something about music being sometimes like an ignored child =
jumping up=20
and down just to get you to listen to them, as opposed to a child who =
somehow=20
causes one to think, "Hey, wait a minute" on a subject not even brought =
up by=20
the child-in-question.&nbsp; I think Cap'n Beefheart put it in "Bongo =
Fury",=20
"Music from the other side of the fence".&nbsp; Hell, I don't =
know.&nbsp; I just=20
like doing it.&nbsp; Still.</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Stephen Goodman<BR>*<BR>* Cartoons about DVDs and =
Stuff<BR>*=20
<A=20
href=3D"http://www.earthlight.net/HiddenTrack">http://www.earthlight.net/=
HiddenTrack</A><BR>*=20
The Loop Of The Week since 1996!<BR>* <A=20
href=3D"http://www.earthlight.net/Studios">http://www.earthlight.net/Stud=
ios</A></FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV></BODY></HTML>

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I know I'm a bit late on this,but just a few RC-50 comments:

1. not enough loops?
Too many loops - especially with a hardware-only solution - are damn hard to control. You can really do A LOT with three stereo loops. An UNDO function to undo multiple layers (overdubs) would have been nice, though.

If you are pretty crazy and you work mono only, you could do this:
Get yourself an A/B switch. Now you have actually 6 channels. You cannot control them independently (each pair has same length). However, you can modify one of the 6 layers without messing up the others. You can use PAN to control the volume of each "channel".

2. Noise?
I find the RC-50 VERY transparent. Check all your cables, connections along the whole chain. I once used cheaper cables and it really ruined the sound.

3. Modelling
Can be turned off easily.


best regards
Buzap

-- 
Psssst! Schon vom neuen GMX MultiMessenger gehört?
Der kanns mit allen: http://www.gmx.net/de/go/multimessenger

From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 12:42:36 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS:     was incubative influences sort of.
Date: Wed, 25 Jul 2007 14:42:31 +0200
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On 25 jul 2007, at 13.12, Stephen Goodman wrote:

> Well, young fellers, I was born two days after Christmas, 1956.   
> Accordingly, my parents were 1950s parents, with all the rush to  
> Normality etc.  While my dad as it turned out wanted to be a jazz  
> trumpeter - and admitted to me that one time the great Raymond  
> Scott's band stayed the night at their fraternity house (Univ. of  
> Missouri, Columbia) - by the time I was born my mom had honed down  
> such potentially subversive tastes, and they were populating their  
> new-format Hi-Fidelity LP collection with... wait for it...  
> Montovani, Ray Conniff, Perry Como (later done up splendidly by  
> Eugene Levy on SCTV, lying on a sofa in a turtleneck sweater,  
> crooning quietly, almost... asleep... zzzzz)...

Nice description :-)  Seems your music life had a "soft start".

> There's no accounting for taste is there?  I find the one element  
> that sparks my interest is CONTRAST, whether it's visual or musical.

Interesting. So you mean you have always used music to define yourself?

I was born in -55 and started out in a musical vacuum. No radio or  
music ever played at home. When I was five we had a maiden for a  
while (both my parents were away working during daytime) that used  
played the radio all day. I never thought twice about the music she  
squeezed out of that radio, it was just noise to me, until one day  
something strongly caught my interest; it was Miriam Makeba singing  
Pata Pata. When recalling that memory today I can see what this five  
year kid reacted so strongly to: it was the african beat and the  
simple and well defined melody alternating between singing on the  
beat and doing non-rhythmic slurs over the the beat (simple trick for  
creating tension and tickling the listening ear). Took some decades  
to find out about that, but never the less I just loved it at five,  
the first time I heard it. Another "voice from out of the blue" came  
when I was fifteen and happened to hear something on a transistor  
when in a small sailing boat at sea. I didn't know what instrument,  
which musician or the musical style it was and someone changed the  
station before I could find out. Took me another decade to find out  
that what I had been hearing on that windy day was Ben Webster. So  
I'm pretty sure, that at least for me, musical taste was there in the  
mind long before I even started experiencing the world. I've never  
had a chance to chose my taste in music.

Even scales, chords etc seems to be imprinted in us "as default"  
without the need to "learn it". My experience was more like  
recapturing something that is familiar and giving appropriate names  
for everything I already knew by my own inner "pictures" (I tend to  
"see" sound and intervals. That hasn't changed since five years age),  
typically like "ah, so this blue rectangular block is the Tonic and  
that reddish thing that is tilted is called the Dominant"... But  
knowing the names never changed the original (subjective) three  
dimensional colored shapes of music/sound, the are just rock solid.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 14:34:03 2007
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At 3:19 PM -0700 7/23/07, bill bigrig wrote:
>
> i have a korean language book tht states the closest
> language to it is Finn. I wonder how the 2 traditional
> muziks is?

Korean, Finnish, Estonian, and Hungarian all are considered to belong to the
same linguistic family.  Also quite possibly a part of that family is Japanese
(many linguists agree on this to some extent, but generally many Japanese
linguists tend to resist the theory, since it would somewhat support the
supposition that the Japanese migrated over from Korea rather than some other
part of Asia).

It would be interesting to see if there are any obvious musical contrasts
between all those different cultures, but you've got to take into account that
there was a whole lot of ground to be covered by the cultures of the Magyar
linguistic group between Magyarorszag (Hungary) and Korea, and a lot of time to
cover it.  A lot can change as a culture moves out in different directions like
that over such a span of time.

	--m.


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From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 15:52:15 2007
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Subject: Re: OT: gypsy caravan film
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In a message dated 7/25/07 10:34:19 AM, mech@m3ch.net writes:


> Korean, Finnish, Estonian, and Hungarian all are considered to belong to 
> the
> same linguistic family.
> 

this is truly interesting.....as a child my family, father, mother, 
grandmother etc. spoke slovinian, my father even though he was born in the u.s. did not 
speak english untill he went to school.....needless to say they were big on 
slovinian culture and so as a child, one of my first musical experiences was to 
sing in a slovinian choir called PERSHARIN (sp?).....with the passing of my 
grandmother i seldom if ever heard slovinian spoken anymore untill a few years 
ago with the internet i was able to listen to a slovinian radio station.....i 
was totally knocked out by the sound and cadance of the language a touch of 
german and italian and what surprised me the most was there was more than a hint 
of the sing song flow of an eastern (the korean perhaps) infulence to the 
language.....so this was not just my imagination i now find out.....i better get 
back to my korean roots.....:).....good stuff!.....thnaks.....michael



www.ct-collective.com
http://mysite.verizon.net/vzepmeci/
http://www.myspace.com/klobuchar11



**************************************
 Get a sneak peek of the all-new AOL at 
http://discover.aol.com/memed/aolcom30tour

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2"><BR>
In a message dated 7/25/07 10:34:19 AM, mech@m3ch.net writes:<BR>
<BR>
<BR>
<BLOCKQUOTE CITE STYLE=3D"BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px;=20=
MARGIN-RIGHT: 0px; PADDING-LEFT: 5px" TYPE=3D"CITE"></FONT><FONT COLOR=3D"#0=
00000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"2">Korean, Finnish, Esto=
nian, and Hungarian all are considered to belong to the<BR>
same linguistic family.<BR>
</BLOCKQUOTE></FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSE=
RIF" SIZE=3D"2"><BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2">this is truly interesting.....as a child my family, father, mother, grand=
mother etc. spoke slovinian, my father even though he was born in the u.s. d=
id not speak english untill he went to school.....needless to say they were=20=
big on slovinian culture and so as a child, one of my first musical experien=
ces was to sing in a slovinian choir called PERSHARIN (sp?).....with the pas=
sing of my grandmother i seldom if ever heard slovinian spoken anymore until=
l a few years ago with the internet i was able to listen to a slovinian radi=
o station.....i was totally knocked out by the sound and cadance of the lang=
uage a touch of german and italian and what surprised me the most was there=20=
was more than a hint of the sing song flow of an eastern (the korean perhaps=
) infulence to the language.....so this was not just my imagination i now fi=
nd out.....i better get back to my korean roots.....:).....good stuff!.....t=
hnaks.....michael<BR>
<BR>
<BR>
<BR>
www.ct-collective.com<BR>
http://mysite.verizon.net/vzepmeci/<BR>
http://www.myspace.com/klobuchar11<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************************************<BR> Get a sneak=
 peek of the all-new AOL at http://discover.aol.com/memed/aolcom30tour</HTML=
>

--part1_ce0.15e057a5.33d8cba9_boundary--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 16:00:27 2007
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Subject: RE: Exposed to the music of the 60s while incubating inside mothers / musical preference
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"think only of yourself!"
=20
I've seen hawkwind recently, with arthur brown joining them on vocals.
you're never too old.
=20
d.

________________________________

From: Doug Cox [mailto:uncledig@gmail.com]=20
Sent: Tuesday, July 24, 2007 5:35 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Exposed to the music of the 60s while incubating inside
mothers / musical preference


USE YOUR METAL LIMBS.

IT IS WHAT THEY ARE FOR.




On 7/24/07, Krispen Hartung <khartung@cableone.net > wrote:=20

	Well, my father, who went to Woodstock and many other wild and
crazy concerts during the 60's, listened to some interesting music while
I was in the womb and continued to after I was born...which I'm sure
influence my outlook on music preference - though being a borderline
hard determinist I believe most of our personalities and preferences are
fixed at conception. =20
	=20
	Just a sample of what my dad listened to during my early years:
	=20
	The Crazy World of Arturo Brown - anyone remember him shouting
at the intro of the song..."I am the god of all hell fire"...and "fire,
we're gonna take to you hell"..."your gonna burn,  you're gonna
burn...". I bought the CD a few months ago to jog my memory.
	=20
	- German war marches and war speeches from Hitler (on
vinyl)...probably a collector album now, with giant swastika banners on
the front cover with Hitler at the podium and thousands of soldiers in
the audience  (and no, I'm not an anti-Semite).
	=20
	- Black Sabbath's self titled album released in 1970 (not 60's
but my dad never let go of the 60's until the late 70s)..."What is this
that stands before me..."
	=20
	- Hawkwind's "Space Ritual Live" - again an early 70's album but
in line with what he listened to in the 60's...."Flying is trying is
dying"...great psychedelic stuff. Who knows what he played while I was
in the womb in 1967.
	=20
	And of course, a lot...A LOT of Bob Dylan.
	=20
	....many more than this, and in the meantime, my mother was
trying to counter-balance all of this with 60's folk music, playing and
singing it on the guitar.=20
	=20
	Kris
	=20

		----- Original Message -----=20
		From: stillllscary@netzero.net=20
		To: Loopers-Delight@loopers-delight.com=20
		Cc: stillllscary@netzero.net=20
		Sent: Tuesday, July 24, 2007 9:47 AM
		Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS: was
'gypsy caravan film'


		i wonder how much being exposed to the music of the 60s
while incubating inside our mothers influenced us to gravitate toward
musical preference...? =20

		=20



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<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Dus-ascii">
<META content=3D"MSHTML 6.00.2900.3132" name=3DGENERATOR></HEAD>
<BODY>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN class=3D113215915-25072007>"think only of=20
yourself!"</SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN =
class=3D113215915-25072007></SPAN></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN class=3D113215915-25072007>I've seen hawkwind =
recently, with=20
arthur brown joining them on vocals. you're never too =
old.</SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN =
class=3D113215915-25072007></SPAN></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff><SPAN =
class=3D113215915-25072007>d.</SPAN></FONT></DIV><BR>
<DIV class=3DOutlookMessageHeader lang=3Den-us dir=3Dltr align=3Dleft>
<HR tabIndex=3D-1>
<FONT face=3DTahoma size=3D2><B>From:</B> Doug Cox =
[mailto:uncledig@gmail.com]=20
<BR><B>Sent:</B> Tuesday, July 24, 2007 5:35 PM<BR><B>To:</B>=20
Loopers-Delight@loopers-delight.com<BR><B>Subject:</B> Re: Exposed to =
the music=20
of the 60s while incubating inside mothers / musical=20
preference<BR></FONT><BR></DIV>
<DIV></DIV>USE YOUR METAL LIMBS.<BR><BR>IT IS WHAT THEY ARE =
FOR.<BR><BR><BR><BR>
<DIV><SPAN class=3Dgmail_quote>On 7/24/07, <B =
class=3Dgmail_sendername>Krispen=20
Hartung</B> &lt;<A =
href=3D"mailto:khartung@cableone.net">khartung@cableone.net=20
</A>&gt; wrote:</SPAN>
<BLOCKQUOTE class=3Dgmail_quote=20
style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">
  <DIV bgcolor=3D"#ffffff">
  <DIV><FONT face=3DArial size=3D2>Well, my father, who went to =
Woodstock and many=20
  other wild and crazy concerts during the 60's, listened to some =
interesting=20
  music while I was in the womb and continued to after I was =
born...which I'm=20
  sure&nbsp;influence my outlook on music preference - though being a =
borderline=20
  hard determinist I believe most of our personalities and preferences =
are fixed=20
  at conception.&nbsp; </FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>Just a sample of what my dad listened =
to during=20
  my early years:</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>The Crazy World of Arturo Brown - =
anyone remember=20
  him shouting at the intro of the song..."I am the god of all hell =
fire"...and=20
  "fire, we're gonna take to you hell"..."your gonna burn,&nbsp; you're =
gonna=20
  burn...". I bought the CD a few months ago to jog my =
memory.</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>-&nbsp;German war marches =
and&nbsp;war speeches=20
  from Hitler (on vinyl)...probably a collector album now, with giant =
swastika=20
  banners on the front cover with Hitler at the podium and thousands of =
soldiers=20
  in the audience&nbsp; (and no, I'm not an anti-Semite).</FONT></DIV>
  <DIV>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>- Black Sabbath's self =
titled&nbsp;album released=20
  in 1970 (not 60's but my dad never let go of the 60's until the late=20
  70s)..."What is this that stands before me..."</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>- Hawkwind's "Space Ritual Live" - =
again an early=20
  70's album but in line with what he listened to in the 60's...."Flying =
is=20
  trying is dying"...great psychedelic stuff. Who knows what he played =
while I=20
  was in the womb in 1967.</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>And of course, a lot...A LOT of Bob=20
  Dylan.</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>....many more than this, and in the =
meantime, my=20
  mother was trying to counter-balance all of this with 60's folk music, =
playing=20
  and singing it on the guitar.&nbsp;</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <BLOCKQUOTE dir=3Dltr=20
  style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: rgb(0,0,0) 2px solid; MARGIN-RIGHT: 0px">
    <DIV=20
    style=3D"FONT: 10pt arial; font-size-adjust: none; font-stretch: =
normal">-----=20
    Original Message ----- </DIV>
    <DIV=20
    style=3D"BACKGROUND: rgb(228,228,228) 0% 50%; FONT: 10pt arial; =
font-size-adjust: none; font-stretch: normal; moz-background-clip: =
-moz-initial; moz-background-origin: -moz-initial; =
moz-background-inline-policy: -moz-initial"><B>From:</B>=20
    <A title=3Dstillllscary@netzero.net=20
    onclick=3D"return top.js.OpenExtLink(window,event,this)"=20
    href=3D"mailto:stillllscary@netzero.net"=20
    target=3D_blank>stillllscary@netzero.net</A> </DIV>
    <DIV=20
    style=3D"FONT: 10pt arial; font-size-adjust: none; font-stretch: =
normal"><B>To:</B>=20
    <A title=3DLoopers-Delight@loopers-delight.com=20
    onclick=3D"return top.js.OpenExtLink(window,event,this)"=20
    href=3D"mailto:Loopers-Delight@loopers-delight.com"=20
    target=3D_blank>Loopers-Delight@loopers-delight.com</A> </DIV>
    <DIV=20
    style=3D"FONT: 10pt arial; font-size-adjust: none; font-stretch: =
normal"><B>Cc:</B>=20
    <A title=3Dstillllscary@netzero.net=20
    onclick=3D"return top.js.OpenExtLink(window,event,this)"=20
    href=3D"mailto:stillllscary@netzero.net"=20
    target=3D_blank>stillllscary@netzero.net</A> </DIV>
    <DIV=20
    style=3D"FONT: 10pt arial; font-size-adjust: none; font-stretch: =
normal"><B>Sent:</B>=20
    Tuesday, July 24, 2007 9:47 AM</DIV>
    <DIV=20
    style=3D"FONT: 10pt arial; font-size-adjust: none; font-stretch: =
normal"><B>Subject:</B>=20
    Re: LOVING NON NATIVE MUSICAL TRADITIONS: was 'gypsy caravan =
film'</DIV>
    <DIV><BR></DIV>
    <P>i wonder how much being exposed to the music of the 60s while =
incubating=20
    inside our mothers influenced us to gravitate toward musical=20
    preference...?&nbsp; </P>
    <P><FONT face=3DArial=20
size=3D2></FONT>&nbsp;</P></BLOCKQUOTE></DIV></BLOCKQUOTE></DIV><BR></BOD=
Y></HTML>

------_=_NextPart_001_01C7CED4.E8E64F89--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 16:19:02 2007
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On Wed, 25 Jul 2007, Goddard, Duncan wrote:

> I've seen hawkwind recently, with arthur brown joining them on vocals.
> you're never too old.

I never have, but I'm looking forward to my first live exposure when Nik 
Turner's band Space Ritual plays the ProgDay festival this Labor Day 
weekend in North Carolina.

http://www.progday.com/Bands-NikTurnerSpaceRitual.html

( Yes, I already have tickets :).  )

Steve Burnett  Subscape Annex  http://www.subscapeannex.com/

From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 17:14:38 2007
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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: Exposed to the music of the 60s while incubating inside mothers / Arthur Brown
Date: Wed, 25 Jul 2007 10:14:26 -0700
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On Jul 25, 2007, at 9:00 AM, Goddard, Duncan wrote:

> "think only of yourself!"
>
> I've seen hawkwind recently, with arthur brown joining them on  
> vocals. you're never too old.

OK,  I need to chime in here for a brief moment on the subject of  
Arthur Brown.

Arthur Brown is GREAT!

I have had the good fortune of meeting him twice when he lived for  
many years in Austin,TX,
(on Fripp's suggestion that Arthur move there way back then),and was  
very fortunate to have
seen the *only* USA tour of 'The Crazy World of Arthur Brown' in  
Houston,TX when I was a kid.
It was an all-ages event, and something I will NEVER FORGET!

I have been steadily and consistently keeping up with his career and  
activities ever since then,
and have also seen him  2 more times playing some small clubs in  
Texas, back in the late 80's when I lived in that state.

He has put out a LOT of releases throughout his LONG career, that  
many people are unaware of, and I have 'em ALL!
He has also collaborated with others such as Klaus Schulze, Jimmy  
Carl Black (ex-Mothers of Invention), Alan Parsons and others.
He is also STILL active today and performs fairly frequently, but  
mostly in the UK.

A very RARE human being!

OK. I will cease with my deification, now. :-)

-Rev. Fever


--Apple-Mail-3-918036711
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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; "><BR><DIV><DIV>On Jul 25, 2007, =
at 9:00 AM, Goddard, Duncan wrote:</DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite">  <DIV =
dir=3D"ltr" align=3D"left"><FONT face=3D"AmericanTypewriter Medium" =
color=3D"#0000ff"><SPAN class=3D"113215915-25072007">"think only of =
yourself!"</SPAN></FONT></DIV> <DIV dir=3D"ltr" align=3D"left"><FONT =
face=3D"AmericanTypewriter Medium" color=3D"#0000ff"><SPAN =
class=3D"113215915-25072007"></SPAN></FONT>=A0</DIV> <DIV dir=3D"ltr" =
align=3D"left"><FONT face=3D"AmericanTypewriter Medium" =
color=3D"#0000ff"><SPAN class=3D"113215915-25072007">I've seen hawkwind =
recently, with arthur brown joining them on vocals. you're never too =
old.</SPAN></FONT></DIV> </BLOCKQUOTE><BR></DIV><DIV>OK,=A0 I need to =
chime in here for a brief moment on the subject of Arthur =
Brown.</DIV><DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>Arthur =
Brown is GREAT!</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>I have had the good fortune =
of meeting him twice when he lived for many years=A0in =
Austin,TX,=A0</DIV><DIV>(on Fripp's suggestion that Arthur move there =
way back then),and was very fortunate to have=A0</DIV><DIV>seen the =
*only* USA tour of 'The Crazy World of Arthur Brown'=A0in Houston,TX =
when I was a kid.=A0</DIV><DIV>It was an all-ages event, and something I =
will NEVER FORGET!</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>I have been steadily and =
consistently keeping up with his career and activities ever since =
then,</DIV><DIV>and have also seen him=A0 2 more times playing some =
small clubs in Texas, back in the late 80's when I lived in that =
state.</DIV><DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>He has =
put out a LOT of releases throughout his LONG career, that many people =
are unaware of, and I have 'em ALL!</DIV><DIV>He has also collaborated =
with others such as Klaus Schulze, Jimmy Carl Black (ex-Mothers of =
Invention), Alan Parsons and others.</DIV><DIV>He is also STILL active =
today and performs fairly frequently, but mostly in the =
UK.=A0</DIV><DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>A very =
RARE human being!</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>OK. I will cease with my =
deification, now. :-)</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>-Rev. =
Fever</DIV><BR></BODY></HTML>=

--Apple-Mail-3-918036711--

From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 18:04:36 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: OT Tip: Generative music based on gravity equations
Date: Wed, 25 Jul 2007 20:04:24 +0200
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Kepler's Orrery
Generative music based on gravity equations.
http://www.art.net/%7Esimran/GenerativeMusic/kepler.html
The application runs directly in a web browser (assuming your Java is  
up to date)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 19:51:26 2007
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
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Subject: loop-based installations
Date: Wed, 25 Jul 2007 21:49:53 +0200
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For those of you interested: a first recording from the installation (still
without resonance/feedback control, and without statistical effects
control), combined with video footage controlled during the run of the
installation, all with childish effects...have fun ;)

http://video.google.de/videoplay?docid=5093790250396609475

	Rainer


From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 20:05:14 2007
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>From reading many of the recent posts on  Loving Non-Native ... ,  and
Exposed to the music of the 60's.... 
it occured to me we are  looping our childhood/womb imprinting throughout
our lives,  and applying various effects and treatments to the loops along
the way.   occasionally, we breakout into unchartered territory and start
looping those new experiences
 
-Qua

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<DIV><SPAN class=3D537165219-25072007><FONT face=3DArial color=3D#0000ff =
size=3D2>From=20
reading many of the recent posts on&nbsp; Loving Non-Native ... ,&nbsp; =
and=20
Exposed to the music of the 60's.... </FONT></SPAN></DIV>
<DIV><SPAN class=3D537165219-25072007><FONT face=3DArial color=3D#0000ff =
size=3D2>it=20
occured to me&nbsp;we are&nbsp; looping our childhood/womb imprinting =
throughout=20
our lives, &nbsp;and applying various effects and treatments to the =
loops along=20
the way.&nbsp;&nbsp; occasionally, we breakout into unchartered =
territory and=20
start looping those new experiences</FONT></SPAN></DIV>
<DIV><SPAN class=3D537165219-25072007><FONT face=3DArial color=3D#0000ff =

size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D537165219-25072007><FONT face=3DArial color=3D#0000ff =

size=3D2>-Qua</FONT></SPAN></DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 20:11:41 2007
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Cool!     Btw,  what did you use to warp the video ?

-Qua 

-----Original Message-----
From: Rainer Thelonius Balthasar Straschill [mailto:rs@moinlabs.de] 
Sent: Wednesday, July 25, 2007 12:50 PM
To: Loopers-Delight@loopers-delight.com
Subject: loop-based installations

For those of you interested: a first recording from the installation (still
without resonance/feedback control, and without statistical effects
control), combined with video footage controlled during the run of the
installation, all with childish effects...have fun ;)

http://video.google.de/videoplay?docid=5093790250396609475

	Rainer



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What? Huh? Look, most of us just want to Sync a fucking RC50 to something and make funny noises. Your getting way to cerebrel. Lets bring it down a few notches. K?




 -------------- Original message ----------------------
From: "Qua Veda" <qua@oregon.com>
> >From reading many of the recent posts on  Loving Non-Native ... ,  and
> Exposed to the music of the 60's.... 
> it occured to me we are  looping our childhood/womb imprinting throughout
> our lives,  and applying various effects and treatments to the loops along
> the way.   occasionally, we breakout into unchartered territory and start
> looping those new experiences
>  
> -Qua



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From:    "Qua Veda" <qua@oregon.com>
To:    <Loopers-Delight@loopers-delight.com>
Subject:    Looping ourselves
Date:    Wed, 25 Jul 2007 20:05:15 +0000
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<DIV><SPAN class=3D537165219-25072007><FONT face=3DArial color=3D#0000ff =
size=3D2>From=20
reading many of the recent posts on&nbsp; Loving Non-Native ... ,&nbsp; =
and=20
Exposed to the music of the 60's.... </FONT></SPAN></DIV>
<DIV><SPAN class=3D537165219-25072007><FONT face=3DArial color=3D#0000ff =
size=3D2>it=20
occured to me&nbsp;we are&nbsp; looping our childhood/womb imprinting =
throughout=20
our lives, &nbsp;and applying various effects and treatments to the =
loops along=20
the way.&nbsp;&nbsp; occasionally, we breakout into unchartered =
territory and=20
start looping those new experiences</FONT></SPAN></DIV>
<DIV><SPAN class=3D537165219-25072007><FONT face=3DArial color=3D#0000ff =

size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D537165219-25072007><FONT face=3DArial color=3D#0000ff =

size=3D2>-Qua</FONT></SPAN></DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 21:03:16 2007
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No way man!  Don't you know you're trying to aurally represent your DNA
patterns? ;)

-----Original Message-----
From: midifriedchicken@comcast.net [mailto:midifriedchicken@comcast.net] =

Sent: Wednesday, July 25, 2007 1:13 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Looping ourselves

What? Huh? Look, most of us just want to Sync a fucking RC50 to =
something
and make funny noises. Your getting way to cerebrel. Lets bring it down =
a
few notches. K?




 -------------- Original message ----------------------
From: "Qua Veda" <qua@oregon.com>
> >From reading many of the recent posts on  Loving Non-Native ... ,  =
and
> Exposed to the music of the 60's....=20
> it occured to me we are  looping our childhood/womb imprinting =
throughout
> our lives,  and applying various effects and treatments to the loops =
along
> the way.   occasionally, we breakout into unchartered territory and =
start
> looping those new experiences
> =20
> -Qua




From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 21:13:19 2007
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Yeah but its a Boss product. Its SUPPOSED to do that, but as always, comes up a little short. 


 -------------- Original message ----------------------
From: "Mark Sottilaro" <sine@zerocrossing.net>
> No way man!  Don't you know you're trying to aurally represent your DNA
> patterns? ;)
> 
> -----Original Message-----
> From: midifriedchicken@comcast.net [mailto:midifriedchicken@comcast.net] 
> Sent: Wednesday, July 25, 2007 1:13 PM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: Looping ourselves
> 
> What? Huh? Look, most of us just want to Sync a fucking RC50 to something
> and make funny noises. Your getting way to cerebrel. Lets bring it down a
> few notches. K?
> 
> 
> 
> 
>  -------------- Original message ----------------------
> From: "Qua Veda" <qua@oregon.com>
> > >From reading many of the recent posts on  Loving Non-Native ... ,  and
> > Exposed to the music of the 60's.... 
> > it occured to me we are  looping our childhood/womb imprinting throughout
> > our lives,  and applying various effects and treatments to the loops along
> > the way.   occasionally, we breakout into unchartered territory and start
> > looping those new experiences
> >  
> > -Qua
> 
> 
> 
> 

From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 21:15:50 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Looping ourselves
Date: Wed, 25 Jul 2007 23:15:45 +0200
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> From: "Qua Veda" <qua@oregon.com>
>>> From reading many of the recent posts on  Loving Non- 
>>> Native ... ,  and
>> Exposed to the music of the 60's....
>> it occured to me we are  looping our childhood/womb imprinting  
>> throughout
>> our lives,  and applying various effects and treatments to the  
>> loops along
>> the way.   occasionally, we breakout into unchartered territory  
>> and start
>> looping those new experiences


He, he... what you're describing is the view of karma yoga!  Nothing  
new under the sun... ;-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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From: Richard Sales <richard@glasswing.com>
Subject: Re: Looping ourselves
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--Apple-Mail-2-933067776
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Zounds!  I learned how to route loopers email into a folder on my Mac 
("Rules") and have been out of the loop - and on the road - for a 
while!  Just checked and... non native music?  Music of the 60's in the 
womb?

I think I experienced some music of the 60's while in the womb.

It was glorious.

The music world here is going gangbusters.  Lots of really good news.  
I might be able to afford a Looperlative yet!

Keep up the good,

richard sales
glassWing farm and studio
vancouver island, b.c.
800.545.6846
250.752.4816
www.glassWing.com
www.richardsales.com
www.hayleysales.com
www.blueberryfieldsfarm.com
On 25-Jul-07, at 1:13 PM, midifriedchicken@comcast.net wrote:

> What? Huh? Look, most of us just want to Sync a fucking RC50 to 
> something and make funny noises. Your getting way to cerebrel. Lets 
> bring it down a few notches. K?

--Apple-Mail-2-933067776
Content-Transfer-Encoding: 7bit
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Zounds!  I learned how to route loopers email into a folder on my Mac
("Rules") and have been out of the loop - and on the road - for a
while!  Just checked and... non native music?  Music of the 60's in
the womb?  


I think I experienced some music of the 60's while in the womb. 


It was glorious.  


The music world here is going gangbusters.  Lots of really good news. 
I might be able to afford a Looperlative yet!


Keep up the good,


<fontfamily><param>Gadget</param>richard sales

<color><param>7373,7F7F,C5C5</param>glassWing farm and studio</color>

vancouver island, b.c.

800.545.6846

250.752.4816<color><param>C3C3,9696,1C1C</param>

www.glassWing.com

www.richardsales.com

www.hayleysales.com

www.blueberryfieldsfarm.com</color></fontfamily>

On 25-Jul-07, at 1:13 PM, midifriedchicken@comcast.net wrote:


<excerpt>What? Huh? Look, most of us just want to Sync a fucking RC50
to something and make funny noises. Your getting way to cerebrel. Lets
bring it down a few notches. K?

</excerpt>
--Apple-Mail-2-933067776--

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: loop-based installations
Date: Wed, 25 Jul 2007 23:31:42 +0200
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On 25 jul 2007, at 21.49, Rainer Thelonius Balthasar Straschill wrote:

> For those of you interested: a first recording from the  
> installation (still
> without resonance/feedback control, and without statistical effects
> control), combined with video footage controlled during the run of the
> installation, all with childish effects...have fun ;)
>
> http://video.google.de/videoplay?docid=5093790250396609475
>
> 	Rainer


I have only seen half an hour but I just have to post in that I  
really like this! Holy-shit-you-crazy-son-of a-bitch-this-is- 
awesome!!! The opening sequence was amazing. What an inferno! Great  
video filtering as well. Lot's of stuff... mirror pix in windows,  
bicycle man in red shirt making a loop on the pavement and going  
backwards (at 17 minutes) and then coming back a second time,  
disappears and appears WALKING. Big mysteries... something wicked's  
going on, hear it cooking out of the magnetic fields,  spatenbier  
flooding other side of street. It must be truly surrealistic to walk  
around in that surround audio field in there. You're home will never  
be the same after this ;-)

p




From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 21:41:21 2007
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Date: Wed, 25 Jul 2007 14:41:19 -0700 (PDT)
From: Dan <danielalbertini72@yahoo.com>
Subject: Re: Looping ourselves
To: Loopers-Delight@loopers-delight.com
In-Reply-To: <073f090f577c8592b184af77cf699080@glasswing.com>
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I have a Boomerang II and an original that needs some tlc.  I rebuilt some of the pedals in the
original but have had no problems since until recently.  A real bad hummmmm has developed.  The
boom II needs some more serious work though I need a schematic for them both.  Please stay in
touch, I have some festivals I will be playing at coming up and a wedding I will be doing some
live looping of original Celtic like and Galithian like music is what is planned.  I am also
supposed to be getting with Johny Barbata after he is done with his new book signing tour in
California.  Are you and Haley on Myspace yet?  Hook up, peaceful blessings of health, prosperity
and joy to you and yours Grandpappy twice!!!  Love in Christ, Daniel T. Albertini
--- Richard Sales <richard@glasswing.com> wrote:

> Zounds!  I learned how to route loopers email into a folder on my Mac 
> ("Rules") and have been out of the loop - and on the road - for a 
> while!  Just checked and... non native music?  Music of the 60's in the 
> womb?
> 
> I think I experienced some music of the 60's while in the womb.
> 
> It was glorious.
> 
> The music world here is going gangbusters.  Lots of really good news.  
> I might be able to afford a Looperlative yet!
> 
> Keep up the good,
> 
> richard sales
> glassWing farm and studio
> vancouver island, b.c.
> 800.545.6846
> 250.752.4816
> www.glassWing.com
> www.richardsales.com
> www.hayleysales.com
> www.blueberryfieldsfarm.com
> On 25-Jul-07, at 1:13 PM, midifriedchicken@comcast.net wrote:
> 
> > What? Huh? Look, most of us just want to Sync a fucking RC50 to 
> > something and make funny noises. Your getting way to cerebrel. Lets 
> > bring it down a few notches. K?
> 



       
____________________________________________________________________________________
Moody friends. Drama queens. Your life? Nope! - their life, your story. Play Sims Stories at Yahoo! Games.
http://sims.yahoo.com/  

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From: "William Walker" <billwalker@baymoon.com>
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Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS (the psycholgy in music)
Date: Wed, 25 Jul 2007 14:44:55 -0700
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L.A. Angulo wrote:

 "I once had a 

> Girlfriend that would become really stressed and irritated every time I 

> played a king Crimson album!" 

 

This is a good reason for her now being your Ex-girlfriend :-)

Bill

 


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style=3D'font-size:10.0pt;font-family:"Courier New"'>L.A. Angulo =
wrote:<o:p></o:p></span></font></p>

<p class=3DMsoNormal style=3D'text-autospace:none'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>&nbsp;&#8220;</span></font><=
font size=3D2
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style=3D'font-size:10.0pt;font-family:"Courier New"'>I
once had a <o:p></o:p></span></font></p>

<p class=3DMsoNormal style=3D'text-autospace:none'><font size=3D2 =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;font-family:"Courier New"'>&gt; Girlfriend =
that would
become really stressed and irritated every time I =
<o:p></o:p></span></font></p>

<p class=3DMsoNormal style=3D'text-autospace:none'><font size=3D2 =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;font-family:"Courier New"'>&gt; played a king =
Crimson
album!&#8221; <o:p></o:p></span></font></p>

<p class=3DMsoNormal style=3D'text-autospace:none'><font size=3D2 =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;font-family:"Courier =
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face=3D"Courier New"><span
style=3D'font-size:10.0pt;font-family:"Courier New"'>This is a good =
reason for
her now being your Ex-girlfriend </span></font><font size=3D2 =
face=3DWingdings><span
style=3D'font-size:10.0pt;font-family:Wingdings'>J</span></font><font =
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New"'><o:p></o:p></span></font></p>

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face=3D"Courier New"><span
style=3D'font-size:10.0pt;font-family:"Courier =
New"'>Bill<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
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From Loopers-Delight-request@loopers-delight.com  Wed Jul 25 21:58:47 2007
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From: "samba -" <sambacomet@hotmail.com>
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Subject: native music
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  I was born in 55,my father was a jazz and R&B fan,he talked about seeing 
Coleman Hawkins,James Moody ( he liked to sing Moody's Mood for Love 
),Lionel Hampton Count Basie at Roseland in NY as a teenager. ,I remember 
him having Ray Charles ,and Sarah Vaughn records when I was small. He 
listened to the radio all the time. My parents listened and danced to 
Jobim,and other Bossa Nova stuff in the early 60s.When my father was in his 
late 60s he went to see Prince live.But he'd  tried to keep me from playing 
music.My grandfather played Ukulele and Piano ,and I heard alot of the 20s 
and 30s pop songs  like Sunny Side of the Street,It's a Sin to Tell a Lie,Me 
and My Shadow, Five Foot Twofrom him. I grew up in D.C. and heard alot of 
black music,on the Radio,James Brown Ray Charles,Bobby Blue Bland, Motown 
etc.I remember hearing early Reggae, My Boy Lollie Pop,by Millie 
Small,Desmond Dekker Isrealites,Stir it Up by the Wailers,Miriam Makeba, 
Calypso Mighty Sparrow,as early as '65
  My other grandfather was a folklorist through whom I heard alot of what's 
now sometimes called Americana roots,and also music from other cultures, 
when he lived in India,gave me a Ravi Shankar record, the same week I got 
Meet the Beatles ,the first record I ever bought. My mother was horrified I 
was getting into rock and roll,said they were just a fad and would be 
forgotten in a year. 10 years lateer she had most of their records. When I 
was 8 I saw Olatunji live at the World's Fair in NY, while there I also saw 
the Merry Prankster psychedelic Bus. In the 90s I perforemd on African Drums 
w/ the Pranksters several times.
  The Beatles got me interested in playing music,and their psychedelic stuff 
( I was the only one I knew who liked Revolution #9) along w/ Hendrix,who I 
saw at age 12, got me into weirdness.I've yet to recover.

_________________________________________________________________
http://newlivehotmail.com

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 00:13:56 2007
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Date: Wed, 25 Jul 2007 17:13:53 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: loving non-native music, etc.
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Howdy,

 Was into all the doctor's office stuff as a kid.
Lenny Dee, Wes Montgomery, burt Kaemfert, etc. Then
discovered the SYNTHESIZER in 71. Immediately went to
ELP, Beaver/Krause,etc. Then was turned on to a
"giant" sax line by one of my fellow school band
trombonists. Turned out to be sax and guitar on King
Crimson's "Portrait of a City(including 52 at
Treadmill. That started the Mellotron infatuation.
Then, in 75 at my girlfriends house I saw an album
with an eyeball in the center and balls flying away
from it. Now I had heard Rundgren's pop stuff on the
radio and ALWAYS enjoyed it, but "Utopia" was
arevelation. As soon as it was done, I  played "Todd".
 I was never the same. Something about it grabbed me
on a visceral level and not just the HUGE sound of the
live band with TONs of synths. Years later I
discovered that during that period he could not play 3
note chords. To him something was missing and he
always had to play 4 notes. I personally did not feel
gratified in my playing unless I was morking in major
and minor 7ths and 9ths. Now i know why that period of
Rundgren took over my life. The sound inside me that
also HAD to have that 4th note. I'm still looping with
Ibanez DM-1100s by the way, and 1 Roland RE-201. Going
to dig the 16 track out and cut a few loops for it,
start recording and see what hppens. I will be
restricted to one loop lengnth  but putting sync
tracks in at different note durations will make for
interesting triggers for the 5 sequencers I have for
my modular, Roland SHs, and EML 500. Put guitar and
other sundry devices over the top, sub loop the big
loop with the DMs and RE and I can erase, record,
punch in/out, change trigger tracks, wherever I want.
BWA-HA-HA-HA-HAAAAA!!!!! (might be fun)
Rig


       
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From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 00:24:30 2007
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Date: Wed, 25 Jul 2007 17:24:28 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: Re: 60s music influence
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Howdy,

 YEP! That's one of em. Got it right here. Interesting
stuff.
Rig

--- Krispen Hartung <khartung@cableone.net> wrote:

> This is what he used to play: 
>
http://vinylmysteries.blogspot.com/2006/07/hitlers-inferno-vol-2-marches-songs.html
> 
> Kris
> 
> 
> ----- Original Message ----- 
> 
> 
> > Howdy,
> >
> > German war songs and Hitler speeches on vinyl???
> I'VE
> > GOT 2 OF EM!!! What a coincidence, especially
> > considering that they were left at my house by an
> ex
> > drummer freind who moved to Reno (this was in 86).
> > Rig
> >
> >
> >
> >
>
____________________________________________________________________________________
> > Sick sense of humor? Visit Yahoo! TV's
> > Comedy with an Edge to see what's on, when.
> > http://tv.yahoo.com/collections/222
> > 
> 
> 



       
____________________________________________________________________________________
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From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 00:55:04 2007
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Date: Wed, 25 Jul 2007 19:40:48 -0500
From: Mech <mech@m3ch.net>
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Subject: Re: OT: Languages (was: gypsy caravan film)
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At 11:52 AM -0400 7/25/07, Nemoguitt@aol.com wrote:
> In a message dated 7/25/07 10:34:19 AM, mech@m3ch.net writes:<
>>
>> Korean, Finnish, Estonian, and Hungarian all are considered to
>> belong to the same linguistic family.
>
> .....with the passing of my grandmother i seldom if ever heard
> slovinian spoken anymore untill a few years ago with the internet i
> was able to listen to a slovinian radio station.....i was totally
> knocked out by the sound and cadance of the language a touch of
> german and italian and what surprised me the most was there was
> more than a hint of the sing song flow of an eastern (the korean
> perhaps) infulence to the language.....

Ah, Slovenian?  I love the sound of that language as well -- although it's a
Slavic language rather than being descended from the Magyars, IIRC, and thus
would be part of the Romance Language family (same as Russian, French, Italian,
Spanish, etc.).  I can remember driving across Austria and catching some
Slovenian Hip-Hop/Rap on the radio.  Even though I couldn't understand the
words, their cadence made the spoken passages turn and flow wonderfully in a
manner that American Hip-Hop rarely does any more.  I agree.  There's a lilt to
it that's just beautiful.

	--m.


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Date: Wed, 25 Jul 2007 19:41:39 -0500
From: Mech <mech@m3ch.net>
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Subject: Re: OT: Languages (was: gypsy caravan film)
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At 11:52 AM -0400 7/25/07, Nemoguitt@aol.com wrote:
> In a message dated 7/25/07 10:34:19 AM, mech@m3ch.net writes:<
>>
>> Korean, Finnish, Estonian, and Hungarian all are considered to
>> belong to the same linguistic family.
>
> .....with the passing of my grandmother i seldom if ever heard
> slovinian spoken anymore untill a few years ago with the internet i
> was able to listen to a slovinian radio station.....i was totally
> knocked out by the sound and cadance of the language a touch of
> german and italian and what surprised me the most was there was
> more than a hint of the sing song flow of an eastern (the korean
> perhaps) infulence to the language.....

Ah, Slovenian?  I love the sound of that language as well -- although it's a
Slavic language rather than being descended from the Magyars, IIRC, and thus
would be part of the Romance Language family (same as Russian, French, Italian,
Spanish, etc.).  I can remember driving across Austria and catching some
Slovenian Hip-Hop/Rap on the radio.  Even though I couldn't understand the
words, their cadence made the spoken passages turn and flow wonderfully in a
manner that American Hip-Hop rarely does any more.  I agree.  There's a lilt to
it that's just beautiful.

	--m.


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From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 03:52:23 2007
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Date: Wed, 25 Jul 2007 20:52:20 -0700 (PDT)
From: Adam Hart <loop.troop@yahoo.com>
Subject: Controlling an Echoplex via PC or Mac
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Hello Looping Community,=0A=0AMy name is Adam.  I use an Echoplex synced to=
 a Boss Dr 880 drum machine.  It works like a charm.  Unfortunately the Bos=
s Dr 880 lacks sufficient memory to store more than a setlist worth of rhyt=
hm patterns, so I bought a Mac thinking surely there would be a way I could=
 do the following:=0A=0A1. Program and store *all* my rhythm and bass lines=
 (w/o having to delete patters to create more)=0A=0A2. MIDI sync the clocks=
 with the Echoplex=0A=0A3. Send start, stop, next loop, overdub, and multip=
ly commands at the appropriate sections=0A=0AThat is, I thought I could use=
 my computer as a sequencer.  =0A=0AMy questions:=0A=0A?  Is there a softwa=
re that can piggyback on top of a rhythm/bass package that will send my Ech=
oplex proper messages at the right times?=0A=0A?  Would I be better off syn=
cing my computer and Echoplex to a sequencer?  If so what type of sequencer=
 would you reccommend?=0A=0AI have been researching this intently, and sear=
ching the Looper's Delight archives.  I feel like I have discovered some so=
ftware that can send sysex commands buuut... I can't figure out how to impl=
ement it... I'm needing drum/bass software and I don't want to blow cash on=
 something that will not allow me to piggy back a software to send midi com=
mand.=0A=0ACya!=0AAdam=0A=0A=0A=0A=0A       =0A____________________________=
________________________________________________________=0AChoose the right=
 car based on your needs.  Check out Yahoo! Autos new Car Finder tool.=0Aht=
tp://autos.yahoo.com/carfinder/
--0-1675115443-1185421940=:50296
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<html><head><style type=3D"text/css"><!-- DIV {margin:0px;} --></style></he=
ad><body><div style=3D"font-family:times new roman, new york, times, serif;=
font-size:12pt"><div>Hello Looping Community,<br><br>My name is Adam.&nbsp;=
 I use an Echoplex synced to a Boss Dr 880 drum machine.&nbsp; It works lik=
e a charm.&nbsp; Unfortunately the Boss Dr 880 lacks sufficient memory to s=
tore more than a setlist worth of rhythm patterns, so I bought a Mac thinki=
ng surely there would be a way I could do the following:<br><br>1. Program =
and store *all* my rhythm and bass lines (w/o having to delete patters to c=
reate more)<br><br>2. MIDI sync the clocks with the Echoplex<br><br>3. Send=
 start, stop, next loop, overdub, and multiply commands at the appropriate =
sections<br><br>That is, I thought I could use my computer as a sequencer.&=
nbsp; <br><br>My questions:<br><br>?&nbsp; Is there a software that can pig=
gyback on top of a rhythm/bass package that will send my Echoplex proper
 messages at the right times?<br><br>?&nbsp; Would I be better off syncing =
my computer and Echoplex to a sequencer?&nbsp; If so what type of sequencer=
 would you reccommend?<br><br>I have been researching this intently, and se=
arching the Looper's Delight archives.&nbsp; I feel like I have discovered =
some software that can send sysex commands buuut... I can't figure out how =
to implement it... I'm needing drum/bass software and I don't want to blow =
cash on something that will not allow me to piggy back a software to send m=
idi command.<br><br>Cya!<br>Adam<br></div></div><br>=0A      <hr size=3D1><=
a href=3D"http://us.rd.yahoo.com/evt=3D48226/*http://new.toolbar.yahoo.com/=
toolbar/features/norton/index.php">Get the free Yahoo! toolbar</a> and rest=
 assured with the added security of spyware protection.=0A </body></html>
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To: loopers-delight@loopers-delight.com
Subject: what gear to aquire?
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what would be the most powerfull loop set up for a 10,000 spending limit=
?...what units work best together?forgett the rc50(maybe just one for ki=
cks)...would it be best to use a powerfull machine like a looperlative/ =
edp in isolation...or...with a smorgasborg of other less powerfull loope=
rs?should i buy one or two of everything on the market and figure it out=
 for myself(most likely)...ease of set up is a high priority as im lazy =
and repulsed by clutter...
maybe i could get some ideals if some of you folks posted your dream loo=
p set ups..
my wet behind the ears dream set up would probaly look like this=3D
instruments----effects----dual edps---looperlative---laptop & mobius----=
amps
or
instruments----mixer(edps/looperlative in effect loop)---amps
or
guitar/violin----looperlative----amp****bass/cello----looperlative----am=
p****keyboard----looperlative----amp****percussion table(toys& wierd noi=
semakers)----looperlative----amp  ...........everything running in sync =
but each instrument to its own amp
thanks,  Danny nice the antichrist...

----__JWM__J296b.569fS.5382M
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Content-Type: text/html

<html><P>what would be the most powerfull loop set up for a 10,000 spend=
ing limit?...what units work best together?forgett the rc50(maybe just o=
ne for kicks)...would it be best to use a powerfull machine like&nbsp;a =
looperlative/ edp&nbsp;in isolation...or...with a smorgasborg of other l=
ess powerfull loopers?should i buy one or two of everything on the marke=
t and figure it out for myself(most likely)...ease of set up is a high p=
riority as im lazy and repulsed by clutter...</P>
<P>maybe i could get some ideals if some of you folks posted your dream =
loop set ups..</P>
<P>my wet behind the ears dream set up would probaly look like this=3D</=
P>
<P>instruments----effects----dual edps---looperlative---laptop &amp; mob=
ius----amps</P>
<P>or</P>
<P>instruments----mixer(edps/looperlative in effect loop)---amps</P>
<P>or</P>
<P>guitar/violin----looperlative----amp****bass/cello----looperlative---=
-amp****keyboard----looperlative----amp****percussion table(toys&amp; wi=
erd noisemakers)----looperlative----amp&nbsp;&nbsp;...........everything=
 running in sync but each instrument to its own amp</P>
<P>thanks,&nbsp; Danny nice the antichrist...</P></html>

----__JWM__J296b.569fS.5382M--

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 04:24:52 2007
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Subject: Re: what gear to aquire?
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Good grief...$10K? Cripes. That's overkill, eh?  Get a top of the line =
macbook pro (spend at least $3000 and max it out with options memory, =
fastest duo core processors, etc), a Fireface 800 audio interface, =
MAX/MSP, Reaktor, and all the additional VST effects you need that you =
can't muster to create or find for MAX and Reaktor.  I can't think of =
anything else one would need for a steller looping system. You can =
replace $10K of hardware with $5k of software and notebook, and not be =
stuck with bunch hardware effects that you are bored of in 5 years. You =
just keep evolving with Max and Reaktor. The only restriction is time =
and creativity.  And with MAX, you can host Mobius for free, or create =
your own max looper, borrowing from some of us max loopers.  Heck, you =
could use max to host Reaktor and Mobius and nothing else and do the =
work of at least $5K of hardware.

Kris

  ----- Original Message -----=20
  From: stillllscary@netzero.net=20
  To: loopers-delight@loopers-delight.com=20
  Sent: Wednesday, July 25, 2007 9:54 PM
  Subject: what gear to aquire?


  what would be the most powerfull loop set up for a 10,000 spending =
limit?...what units work best together?forgett the rc50(maybe just one =
for kicks)...would it be best to use a powerfull machine like a =
looperlative/ edp in isolation...or...with a smorgasborg of other less =
powerfull loopers?should i buy one or two of everything on the market =
and figure it out for myself(most likely)...ease of set up is a high =
priority as im lazy and repulsed by clutter...

  maybe i could get some ideals if some of you folks posted your dream =
loop set ups..

  my wet behind the ears dream set up would probaly look like this=3D

  instruments----effects----dual edps---looperlative---laptop & =
mobius----amps

  or

  instruments----mixer(edps/looperlative in effect loop)---amps

  or

  =
guitar/violin----looperlative----amp****bass/cello----looperlative----amp=
****keyboard----looperlative----amp****percussion table(toys& wierd =
noisemakers)----looperlative----amp  ...........everything running in =
sync but each instrument to its own amp

  thanks,  Danny nice the antichrist...

------=_NextPart_000_02EC_01C7CF0A.9B1B51F0
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	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2900.3132" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Good grief...$10K? Cripes. That's =
overkill,=20
eh?&nbsp;&nbsp;Get a top of the line macbook pro (spend at least $3000 =
and max=20
it out with options memory, fastest duo core processors, etc), a =
Fireface 800=20
audio interface, MAX/MSP, Reaktor, and all the additional VST effects =
you need=20
that you can't muster to create or find for MAX and Reaktor.&nbsp; I =
can't think=20
of anything else one would need for a steller looping system. You can =
replace=20
$10K of hardware with $5k of software and notebook, and not be stuck=20
with&nbsp;bunch hardware effects that you are bored of in 5 years. You =
just keep=20
evolving with Max and Reaktor. The only restriction is time and=20
creativity.&nbsp; And with MAX, you can host Mobius for free, or create =
your own=20
max looper, borrowing from some of us max loopers.&nbsp; Heck, you could =
use max=20
to host Reaktor and Mobius&nbsp;and nothing else&nbsp;and do the work of =
at=20
least $5K of hardware.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dstillllscary@netzero.net=20
  href=3D"mailto:stillllscary@netzero.net">stillllscary@netzero.net</A> =
</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3Dloopers-delight@loopers-delight.com=20
  =
href=3D"mailto:loopers-delight@loopers-delight.com">loopers-delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Wednesday, July 25, 2007 =
9:54=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> what gear to =
aquire?</DIV>
  <DIV><BR></DIV>
  <P>what would be the most powerfull loop set up for a 10,000 spending=20
  limit?...what units work best together?forgett the rc50(maybe just one =
for=20
  kicks)...would it be best to use a powerfull machine like&nbsp;a =
looperlative/=20
  edp&nbsp;in isolation...or...with a smorgasborg of other less =
powerfull=20
  loopers?should i buy one or two of everything on the market and figure =
it out=20
  for myself(most likely)...ease of set up is a high priority as im lazy =
and=20
  repulsed by clutter...</P>
  <P>maybe i could get some ideals if some of you folks posted your =
dream loop=20
  set ups..</P>
  <P>my wet behind the ears dream set up would probaly look like =
this=3D</P>
  <P>instruments----effects----dual edps---looperlative---laptop &amp;=20
  mobius----amps</P>
  <P>or</P>
  <P>instruments----mixer(edps/looperlative in effect loop)---amps</P>
  <P>or</P>
  =
<P>guitar/violin----looperlative----amp****bass/cello----looperlative----=
amp****keyboard----looperlative----amp****percussion=20
  table(toys&amp; wierd=20
  noisemakers)----looperlative----amp&nbsp;&nbsp;...........everything =
running=20
  in sync but each instrument to its own amp</P>
  <P>thanks,&nbsp; Danny nice the =
antichrist...</P></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_02EC_01C7CF0A.9B1B51F0--

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 04:30:48 2007
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
To: <Loopers-Delight@loopers-delight.com>
Subject: AW: loop-based installations
Date: Wed, 25 Jul 2007 22:30:00 +0200
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Thanks, Qua. I was lucky recently to buy a few licences of "old, =
outdated
software" from a guy who moved to Mac, and among it was Vegas 4.0 and =
its
included plugins, which I just used without any knowledge as how to use
video effects ;)

Btw, for those interested: I used three speaker channels in this first
installation, which can be heard hard left, center and hard right.

	Rainer

> -----Urspr=FCngliche Nachricht-----
> Von: Qua Veda [mailto:qua@oregon.com]=20
> Gesendet: Mittwoch, 25. Juli 2007 22:12
> An: Loopers-Delight@loopers-delight.com
> Betreff: RE: loop-based installations
>=20
> Cool!     Btw,  what did you use to warp the video ?
>=20
> -Qua=20

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 04:31:21 2007
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Spent Tuesday evening working with my new Piranha guitarbow that I ordered 
with the rest of the order flood on this list. Recorded this short 
spacemusic-ish piece using the Piranha with the Eagle 6-string fretless 
bass, processed through a Moog MF-105B bass MuRF and a Electro-Harmonix 
Polyphonic Octave Generator. Still getting comfortable with the behavior 
of the Piranha, there's a couple of volume spikes on this recording where 
the bow dug in a bit more than I anticipated. Starting to like it as a 
useful tool once in a while.

http://www.subscapeannex.com/other/cassini.mp3

( archived on http://www.subscapeannex.com/sounds.html )

( Piranha:  http://www.piranhaguitarbow.com/ )

best,
Steve Burnett   Subscape Annex   http://www.subscapeannex.com/

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 05:34:12 2007
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From: Mark Sottilaro <sine@zerocrossing.net>
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Subject: Re: what gear to aquire?
Date: Wed, 25 Jul 2007 22:34:05 -0700
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What Kris said is sound advise. Hell, it's so good I took it myself! I  
didn't have the cash to spend that you do, but I might look into the  
focusrite liquidmix as an audio interface.  Also, it's not as flexible  
as max, but I find Live to be really good host to mobius

Mark

Sent from my iPhone

On Jul 25, 2007, at 9:24 PM, "Krispen Hartung" <khartung@cableone.net>  
wrote:

> Good grief...$10K? Cripes. That's overkill, eh?  Get a top of the  
> line macbook pro (spend at least $3000 and max it out with options  
> memory, fastest duo core processors, etc), a Fireface 800 audio  
> interface, MAX/MSP, Reaktor, and all the additional VST effects you  
> need that you can't muster to create or find for MAX and Reaktor.  I  
> can't think of anything else one would need for a steller looping  
> system. You can replace $10K of hardware with $5k of software and  
> notebook, and not be stuck with bunch hardware effects that you are  
> bored of in 5 years. You just keep evolving with Max and Reaktor.  
> The only restriction is time and creativity.  And with MAX, you can  
> host Mobius for free, or create your own max looper, borrowing from  
> some of us max loopers.  Heck, you could use max to host Reaktor and  
> Mobius and nothing else and do the work of at least $5K of hardware.
>
> Kris
>
> ----- Original Message -----
> From: stillllscary@netzero.net
> To: loopers-delight@loopers-delight.com
> Sent: Wednesday, July 25, 2007 9:54 PM
> Subject: what gear to aquire?
>
> what would be the most powerfull loop set up for a 10,000 spending  
> limit?...what units work best together?forgett the rc50(maybe just  
> one for kicks)...would it be best to use a powerfull machine like a  
> looperlative/ edp in isolation...or...with a smorgasborg of other  
> less powerfull loopers?should i buy one or two of everything on the  
> market and figure it out for myself(most likely)...ease of set up is  
> a high priority as im lazy and repulsed by clutter...
>
> maybe i could get some ideals if some of you folks posted your dream  
> loop set ups..
>
> my wet behind the ears dream set up would probaly look like this=
>
> instruments----effects----dual edps---looperlative---laptop &  
> mobius----amps
>
> or
>
> instruments----mixer(edps/looperlative in effect loop)---amps
>
> or
>
> guitar/violin----looperlative----amp****bass/cello---- 
> looperlative----amp****keyboard----looperlative----amp****percussion  
> table(toys& wierd noisemakers)----looperlative---- 
> amp  ...........everything running in sync but each instrument to  
> its own amp
>
> thanks,  Danny nice the antichrist...
>

--Apple-Mail-14-962415980
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<html><body bgcolor="#FFFFFF"><div>What Kris said is sound advise. Hell, it's so good I took it myself! I didn't have the cash to spend that you do, but I might look into the focusrite liquidmix as an audio interface.&nbsp; Also, it's not as flexible as max, but I find Live to be really good host to mobius</div><div><br class="webkit-block-placeholder"></div><div>Mark</div><div><br>Sent from my iPhone</div><div><br>On Jul 25, 2007, at 9:24 PM, "Krispen Hartung" &lt;<a href="mailto:khartung@cableone.net">khartung@cableone.net</a>&gt; wrote:<br><br></div><div></div><blockquote type="cite"><div>

<div><font face="Arial" size="2">Good grief...$10K? Cripes. That's overkill, 
eh?&nbsp;&nbsp;Get a top of the line macbook pro (spend at least $3000 and max 
it out with options memory, fastest duo core processors, etc), a Fireface 800 
audio interface, MAX/MSP, Reaktor, and all the additional VST effects you need 
that you can't muster to create or find for MAX and Reaktor.&nbsp; I can't think 
of anything else one would need for a steller looping system. You can replace 
$10K of hardware with $5k of software and notebook, and not be stuck 
with&nbsp;bunch hardware effects that you are bored of in 5 years. You just keep 
evolving with Max and Reaktor. The only restriction is time and 
creativity.&nbsp; And with MAX, you can host Mobius for free, or create your own 
max looper, borrowing from some of us max loopers.&nbsp; Heck, you could use max 
to host Reaktor and Mobius&nbsp;and nothing else&nbsp;and do the work of at 
least $5K of hardware.</font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<div><font face="Arial" size="2">Kris</font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<blockquote dir="ltr" style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <div style="FONT: 10pt arial">----- Original Message ----- </div>
  <div style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><b>From:</b> 
  <a title="stillllscary@netzero.net" href="mailto:stillllscary@netzero.net"><a href="mailto:stillllscary@netzero.net">stillllscary@netzero.net</a></a> </div>
  <div style="FONT: 10pt arial"><b>To:</b> <a title="loopers-delight@loopers-delight.com" href="mailto:loopers-delight@loopers-delight.com"><a href="mailto:loopers-delight@loopers-delight.com">loopers-delight@loopers-delight.com</a></a> 
  </div>
  <div style="FONT: 10pt arial"><b>Sent:</b> Wednesday, July 25, 2007 9:54 
  PM</div>
  <div style="FONT: 10pt arial"><b>Subject:</b> what gear to aquire?</div>
  <div><br></div>
  <p>what would be the most powerfull loop set up for a 10,000 spending 
  limit?...what units work best together?forgett the rc50(maybe just one for 
  kicks)...would it be best to use a powerfull machine like&nbsp;a looperlative/ 
  edp&nbsp;in isolation...or...with a smorgasborg of other less powerfull 
  loopers?should i buy one or two of everything on the market and figure it out 
  for myself(most likely)...ease of set up is a high priority as im lazy and 
  repulsed by clutter...</p>
  <p>maybe i could get some ideals if some of you folks posted your dream loop 
  set ups..</p>
  <p>my wet behind the ears dream set up would probaly look like this=</p>
  <p>instruments----effects----dual edps---looperlative---laptop &amp; 
  mobius----amps</p>
  <p>or</p>
  <p>instruments----mixer(edps/looperlative in effect loop)---amps</p>
  <p>or</p>
  <p>guitar/violin----looperlative----amp****bass/cello----looperlative----amp****keyboard----looperlative----amp****percussion 
  table(toys&amp; wierd 
  noisemakers)----looperlative----amp&nbsp;&nbsp;...........everything running 
  in sync but each instrument to its own amp</p>
  <p>thanks,&nbsp; Danny nice the antichrist...</p></blockquote>
</div></blockquote></body></html>
--Apple-Mail-14-962415980--

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 08:46:26 2007
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From: "Ben" <benoitruelle@yahoo.fr>
To: <Loopers-Delight@loopers-delight.com>
Subject: BackLine Engineering Announces Feature Update for RiffBox Looping Device
Date: Thu, 26 Jul 2007 10:44:15 +0200
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I Don't know if a lot of members use this device but there's an upgrade:

_________________

BackLine Engineering today announces a significant feature update for =
RiffBoxT, its popular looping device designed to enhance the =
capabilities of performing musicians.=20

The firmware 5.0 update includes the following five most requested =
feature enhancements:

While recording a new layer, you can now abort the recording with the =
simple press of the footswitch.=20
An auto-start option has been added to for manual loop recording. This =
is in addition to the five automatic recording modes that cannot be =
found on any other looping device.=20
A new operating mode 77 has been added which allows you to continuously =
record and playback new loops without having to stop and start the =
record process.=20
MIDI 'note on' messages can now be used to time the loop length. If you =
want to use a MIDI setup, RiffBox can use these messages instead of =
recognizing the notes or chords that you play. This gives you the option =
to time your loop recording to a MIDI track instead of your playing.=20
If you don't like the last layer that you just recorded, you can now =
erase it using MIDI.=20

With the ability to time loops to your playing, automatically recognize =
rhythm and note progressions to create a loop, and 76 loop playback =
modes, RiffBox has been an ideal tool for live performances. This update =
takes RiffBox to the next level while continuing to provide features and =
functions that cannot be found in other looping devices.
=20

These new features will work with any of the 76 different looping modes =
that are currently available and are included in RiffBox Firmware =
version 5.0, which is available free to existing users from the Backline =
Engineering web site.=20

Pricing and Availability:
RiffBox is shipping today at a street price of $319.


For more information, visit their web site at www.backline-eng.com.
_________________

C.U.

Ben.
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.6000.16481" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>I Don't know if a lot of members use =
this device=20
but there's an upgrade:</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>_________________</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>BackLine Engineering today announces a =
significant=20
feature update for RiffBox=99, its popular looping device designed to =
enhance the=20
capabilities of performing musicians. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>The firmware 5.0 update includes the =
following five=20
most requested feature enhancements:</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>While recording a new layer, you can =
now abort the=20
recording with the simple press of the footswitch. <BR>An auto-start =
option has=20
been added to for manual loop recording. This is in addition to the five =

automatic recording modes that cannot be found on any other looping =
device.=20
<BR>A new operating mode 77 has been added which allows you to =
continuously=20
record and playback new loops without having to stop and start the =
record=20
process. <BR>MIDI 'note on' messages can now be used to time the loop =
length. If=20
you want to use a MIDI setup, RiffBox can use these messages instead of=20
recognizing the notes or chords that you play. This gives you the option =
to time=20
your loop recording to a MIDI track instead of your playing. <BR>If you =
don't=20
like the last layer that you just recorded, you can now erase it using =
MIDI.=20
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>With the ability to time loops to your =
playing,=20
automatically recognize rhythm and note progressions to create a loop, =
and 76=20
loop playback modes, RiffBox has been an ideal tool for live =
performances. This=20
update takes RiffBox to the next level while continuing to provide =
features and=20
functions that cannot be found in other looping=20
devices.<BR>&nbsp;<BR></FONT><FONT face=3DArial size=3D2><BR>These new =
features will=20
work with any of the 76 different looping modes that are currently =
available and=20
are included in RiffBox Firmware version 5.0, which is available free to =

existing users from the Backline Engineering web site. </DIV>
<DIV>&nbsp;</DIV>
<DIV>Pricing and Availability:<BR>RiffBox is shipping today at a street =
price of=20
$319.</DIV>
<DIV>&nbsp;</DIV>
<DIV><BR>For more information, visit their web site at <A=20
href=3D"http://www.backline-eng.com">www.backline-eng.com</A>.<BR></FONT>=
<FONT=20
face=3DArial size=3D2>_________________</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>C.U.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Ben.</FONT></DIV></BODY></HTML>

------=_NextPart_000_000E_01C7CF71.E9656960--

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 08:47:37 2007
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Date: Thu, 26 Jul 2007 01:47:35 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS (the psycholgy in music)
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I found her reaction quite puzzling really, and kept
asking her why this particular music would have such a
reaction on her,but she didn´t know she just said she
hated that sound.She was a chemist maybe too much
brain work at her job(she worked over 10 hrs a day)
and just wanted to come home and do easy listening.But
what i think stressed her from this music in my
opinion is those unusual flated fifths and unfamiliar
harmonies,plus those odd time signatures typical of KC
which our ears aren´t used to.Too many devils
intervals perhaps;-)
Luis

> 
> I think that's because when a person listens to
> music it activates  
> the same inner (psychological and emotional)
> mechanisms that  also go  
> with "taking action". So if your girlfriends
> personality (at that  
> time) urged here to do things in a different way
> that the music  
> implied for her, it explains her feelings of stress.
> Since the  
> clashing happens at such a deep level i ones mind
> it's not even sure  
> the person understands what's going on; typically
> only senses the  
> threatening feeling, as if asked to do something one
> don't want to do.
> 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> 
> 
> 
> 
> 


www.myspace.com/luisangulocom


       
____________________________________________________________________________________
Be a better Heartthrob. Get better relationship answers from someone who knows. Yahoo! Answers - Check it out. 
http://answers.yahoo.com/dir/?link=list&sid=396545433

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Date: Thu, 26 Jul 2007 01:54:49 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: BackLine Engineering Announces Feature Update for RiffBox Looping Device
To: Loopers-Delight@loopers-delight.com
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wow cool!important features in a small box,it mentions
automatic fading is this the same as feedback control?
what about multiply you think it works like the EDP?
at first i wasnt attracted to this box at all but now
it has caught my attention!
Luis


--- Ben <benoitruelle@yahoo.fr> wrote:

> I Don't know if a lot of members use this device but
> there's an upgrade:
> 
> _________________
> 
> BackLine Engineering today announces a significant
> feature update for RiffBoxT, its popular looping
> device designed to enhance the capabilities of
> performing musicians. 
> 
> The firmware 5.0 update includes the following five
> most requested feature enhancements:
> 
> While recording a new layer, you can now abort the
> recording with the simple press of the footswitch. 
> An auto-start option has been added to for manual
> loop recording. This is in addition to the five
> automatic recording modes that cannot be found on
> any other looping device. 
> A new operating mode 77 has been added which allows
> you to continuously record and playback new loops
> without having to stop and start the record process.
> 
> MIDI 'note on' messages can now be used to time the
> loop length. If you want to use a MIDI setup,
> RiffBox can use these messages instead of
> recognizing the notes or chords that you play. This
> gives you the option to time your loop recording to
> a MIDI track instead of your playing. 
> If you don't like the last layer that you just
> recorded, you can now erase it using MIDI. 
> 
> With the ability to time loops to your playing,
> automatically recognize rhythm and note progressions
> to create a loop, and 76 loop playback modes,
> RiffBox has been an ideal tool for live
> performances. This update takes RiffBox to the next
> level while continuing to provide features and
> functions that cannot be found in other looping
> devices.
>  
> 
> These new features will work with any of the 76
> different looping modes that are currently available
> and are included in RiffBox Firmware version 5.0,
> which is available free to existing users from the
> Backline Engineering web site. 
> 
> Pricing and Availability:
> RiffBox is shipping today at a street price of $319.
> 
> 
> For more information, visit their web site at
> www.backline-eng.com.
> _________________
> 
> C.U.
> 
> Ben.


www.myspace.com/luisangulocom


       
____________________________________________________________________________________
Be a better Globetrotter. Get better travel answers from someone who knows. Yahoo! Answers - Check it out.
http://answers.yahoo.com/dir/?link=list&sid=396545469

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Controlling an Echoplex via PC or Mac
Date: Thu, 26 Jul 2007 11:10:54 +0200
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On 26 jul 2007, at 05.52, Adam Hart wrote:

> ?  Is there a software that can piggyback on top of a rhythm/bass  
> package that will send my Echoplex proper messages at the right times?
>
> ?  Would I be better off syncing my computer and Echoplex to a  
> sequencer?  If so what type of sequencer would you reccommend?


Any software MIDI sequencer would do. You said you just bought a Mac  
- doesn't Garageband come bundled with them these days. I would start  
by checking out if GB can (1) sync  by MIDI Clock to your EDP/Boss  
and (2) send out MIDI notes to control your EDP actions. I only have  
GarageBand 1.0 here and I guess a lot have changed in today's  
version, so I can't do that check for you. Tracktion is another free  
(or almost) sequencer that you could check out.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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Subject: Re:BackLine Engineering Announces Feature Update for RiffBox Looping 
	Device
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Does it offer delay features like variable feedback control? Does it sync=
 well (master and slave)?=0A---=0AScarlet One, ADSL 6 Mbps + Telefonie, v=
anaf EUR 29,95...=0Ahttp://www.scarlet.be/
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<DIV><FONT face=3DArial size=3D2>Does it offer delay features&nbsp;like v=
ariable feedback control?&nbsp;Does it sync well (master and slave)?</FON=
T></DIV>
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: what gear to aquire?
Date: Thu, 26 Jul 2007 11:19:52 +0200
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On 26 jul 2007, at 07.34, Mark Sottilaro wrote:

>  Also, it's not as flexible as max, but I find Live to be really  
> good host to mobius

And I'm finding Bidule a much better host for Mobius; that is to  
match MY needs. Bottom line: we are all different, playing different  
music, looping in different ways and thus needing different gear.   
You should start out by defining what you want to do, how you want to  
play with looping, and then get the gear that will match it. Then you  
can't go wrong. BAsing it on software is safe because you can change  
your ways later on and adapt your rig - that's not an option with  
hardware based setups.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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From: Per Boysen <perboysen@gmail.com>
Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS (the psycholgy in music)
Date: Thu, 26 Jul 2007 11:28:15 +0200
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On 26 jul 2007, at 10.47, L.A. Angulo wrote:

> .But
> what i think stressed her from this music in my
> opinion is those unusual flated fifths and unfamiliar
> harmonies,plus those odd time signatures typical of KC
> which our ears aren=B4t used to.Too many devils
> intervals perhaps;-)
> Luis


Or... perhaps her real hang-up with that music was that since she did =20=

not like it you would think she is a real moron. ;-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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Subject: Arthur Brown
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Hi there
Having been born in 1955 with parents who showed no interest in music 
I found the effects of LSD and smoking probably had more effect than 
anything else.
I saw Arthur Brown live in the 70's at Brunel University in West 
London. Where at one part in the set he puts  a set of traffic lights 
on his head. The music getting to a grand cacophony and the lights 
changing from green to amber to RED. Anyone who took LSD probably 
understands the significance of traffic lights.

Used to go to see Hawkwind playing on Saturday afternoon in West London.
I used to take LSD whenever I was bored and I was bored a lot.

Mostly play guitar with wah wah - distortion - and lots of delay 
.Also use a GR-20 to trigger samples. Used to use a Shadow but find 
the GR-20 more reliable.

Recently purchased a Digitech Jamman (new version). Influenced by 
Steve Hillage. Steve Hackett, Gong, Hawkwind,Peter Gabriel  and many more.
How hawkwind managed to play live under the influence always amazed 
me. I find to make and play music I have to be completely straight 
but just use the experiences of life as reference.
Personally I prefer to use dedicated hardware as I find you only tend 
to use it specifically for the job in hand. I am an electronic 
engineer and software programmer so I have no prejudices about 
computers but I cannot afford to have one solely dedicated to just music.

Anyway enough of my ramblings.

Regards
Roger Parker


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Date: Thu, 26 Jul 2007 06:36:46 -0400
From: Bill Fox <billyfox@soundscapes.us>
Subject: Listen to Afterglow, Galactic Travels, and The AM/FM Show
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AFTERGLOW ON WMUH:                      http://soundscapes.us/afterglow
=======================================================================
Afterglow airs from 8:00 am to 9:30 am every Thursday morning.  Tune in
for a delightful mix of eclectic musical genres including a healthy
dose of Progressive Rock.  Tune in at 91.7 FM or on the internet at:
http://muhlenberg.edu/wmuh

Today, I will also fill in from 10 am to noon.  Woo-HOO!!!


GALACTIC TRAVELS ON WDIY:                   http://wdiy.org/programs/gt
=======================================================================
Tonight at 11 pm on Galactic Travels, I'll conclude the month-long
Special Focus on Jim Cole and Spectral Voices.  The Featured CD at
Midnight will be "Innertones" by Jim Cole and Spectral Voices on
Spectral Spiral Music.  For details, see the Special Focus page at:
http://wdiy.org/programs/gt/playlists/2007/focus.html#jul

Galactic Travels is an electronic, ambient, and space music show that
airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and
Bethlehem, 93.9 FM in Easton and Phillipsburg, 93.7 FM in Fogelsville
and Trexlertown, on the internet, and in High Definition Radio at 88.1
FM.


THE AM/FM SHOW ON WMUH:                      http://soundscapes.us/amfm
=======================================================================
My next stint on the AM/FM Show will be Saturday, July 28 at 6:00 am.
I will continue the special on E-dition Electronic Music Magazine's
sampler CDs.

Tune in to WMUH Allentown at 91.7 FM, broadcasting from the campus of
Muhlenberg College.  I alternate hosting the show with Bruce.  When I
am at the helm, the show features electronic, ambient, and spacemusic
at the beginning, an eclectic mix of genres in the middle, and winds
up with Progressive Rock.  WMUH's web site is
http://muhlenberg.edu/wmuh


======================================================================
All times are EDT / GMT-4.

Listen on-line to WDIY at http://wdiy.org and click LISTEN or go
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From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 10:34:50 2007
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From: "Ben" <benoitruelle@yahoo.fr>
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Subject: Re: Re:BackLine Engineering Announces Feature Update for RiffBox Looping Device
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Well I don't have the beast myself but from the userguide:

----- from userguide----- 
"There are several operating modes that can be selected. The mode numbers 
are shown below. More operational details of these modes will be described 
in section 5. You can also switch from any mode to reverse mode and/or half 
speed mode during playback using MIDI controls.

Modes 31-40: Automatic Fading of a Loop

Operating modes 31-40 cause the loop playback to fade away over time (...). 
The first note starts the initial record process, which continues until the 
event count is reached. The number of loops required to completely fade the 
signal is determined by the mode number minus 30. Manual layering can be 
used in this mode. New layers will start at full volume and then fade over 
time like the original loop. This allows interesting effects such as 
continuous layering of new musicpassages. Loop playback can be stopped with 
the double press of a footswitch.

Modes 41-50: Automatic Fading of a Loop with Auto Layering
Operating modes 41-50 are the same as the automatic fading modes described 
above,except that automatic layering is used during loop playback as shown 
in the figure below. This mode can be used to create feedback delay effects. 
The number of loops required to completely fade the signal is determined by 
the mode number minus 40.This example assumes the footswitch starts the 
initial record process, which continues until the event count is reached. A 
single footswitch press will stop playback at the end of the current loop. A 
double footswitch press stops the loop playback immediately.

Modes 61-70: Duplicate Loop During First Layer Recording
A given loop can be duplicated multiple times during the first layer 
recording using operating modes 61-70. This can be useful if you have a 
short phrase that you want to play back multiple times while you record a 
longer phrase over it.The number of repeat times is set by the operating 
mode minus 60. If the selected number of duplications exceeds the memory 
capacity, then next lower value is used.The example below shows operating 
mode 62. After loop playback begins, the first press of a footswitch for 
layer recording will duplicate the loop 2 times while a new layer is 
recorded on top of it. The display will count down the number of 
duplications left while the original loop is played. After this layer 
recording is complete, the longer loop will start playing back. From this 
point forward, it acts the same as operating mode 10 in which multiple 
additional layers can be recorded with no additional duplication. Once a new 
layer has been recorded, the right LED will turn from yellow to green. This 
process can be repeated indefinitely. The playback can be stopped at any 
time with the double press of the footswitch."
----- from userguide end ----- 

So it seems there's a kind of feedback and a kind of multiply (only on 
second layer).
It's no EDP but it's not the same price either. You'd better know in advance 
the "structure of the song", you can't change the mode on the fly (except 
reverse mode and/or half speed mode).

Ben.


----- Original Message ----- 
From: Sjaak
To: Loopers-Delight
Sent: Thursday, July 26, 2007 11:15 AM
Subject: Re:BackLine Engineering Announces Feature Update for RiffBox 
Looping Device


Does it offer delay features like variable feedback control? Does it sync 
well (master and slave)? 

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 13:15:25 2007
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From: "RICK WALKER" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
References: <007b01c7ceac$c06a7ed0$0207a8c0@eluk1>
Subject:  LOVING NON NATIVE MUSICAL TRADITIONS
Date: Thu, 26 Jul 2007 06:15:15 -0700
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Stephen Goodman wrote:
"In a kind of balance, I spent the mid-to-late 60s with a transistor radio 
under my pillow every night (even at summer camp in Vermont, where Cousin 
Brucie on WABC wasn't hard to get), and so my nocturnal appetites were fed a 
combination of Motown, Brit Invasion stuff (including four chaps), and pop 
psychedelia like "Pictures of Matchstick Men and You" or "Red Rubber Ball". 
"


I fucking loved 'Red Rubber Ball'  when I was a young teenager (that and the 
aforementioned Motown, Stax Soul, James Brown and Brit Invasion with a 
smattering
of folk music (Joni Mitchell, Dylan, etc.) and later,  liberal doses of 
Psychedelic music and what was then called Hard Rock (Zeppelin, Free, early 
Tull, James Gang, Cream, et. al.).   My sister's musical tastes had a huge 
impact on me except for her love of novelty songs.    I still can't abide 
the combination of humor and music
for some odd reason................................it's sacrilege on this 
list but I just never got Zappa until I heard him play instrumental music 
with George Duke, Jon Luc Ponty,
the Underwoods and the Fowler brothers----dont' ask me why,  I just don't 
know.

Anyway,  I digress...............I got the single of Red Rubber Ball and 
played it over and over and over.  I must have been 12 years old.
Music was all around me (my family were all musical) but I didn't 'get' 
music in a personal way until I discovered the top 40 and got my first
cheap transistor radio.

I suppose you all know the trivia about who penned that tune originally?
If not,  I have a sweet surprise for you.

I've never heard anyone else profess that they listened to it.   I feel a 
little less existentially lonely
reading this post, Stephen.  Thanks!.

 Now,  who else was in love with the song 'Sunny"  by Bobby Hebb?
I'll really feel like I belong to the human race again if someone was into 
that one.............lol.

It was the very first song I learned how to play on
Christmas night 1966 after getting my first snare drum and pair of sticks. 
I ran over to my best friend Bob Murphy's house
and his parents had purchased a  Cappa Minstrel (sp?) electric guitar  and a 
Fender Champ amp.   I went to his house
every single day for three straight months and we learned songs for our 
first band,  the Concave Image <blush>
My dad finally broke down and rented me a drumset at that point and all hell 
broke loose in my life.



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

I, too, spent two or three years listening to a tinny mono earphone under my 
pillow in the mid sixties.   That ended when I quit playing clarinet and 
started playing in bands as a drummer.

For some odd reason I was playing in a band before I even knew how to 
play...........all the beer we could drink at San Jose State fraternity
parties.  I was so insecure that I didn't let anyone in my high school know 
I was playing those shows.   A very successful casuals musician, Joe 
Sharino,
was my sophmore 'gofer' when I was the Senior editor or our school 
newspaper.   He also played other frat parties and neither of us knew that 
the other
were playing rock and roll on the weeks.    Later I played the same stage 
Elvis played in Vegas with Joe...........staying at a five star hotel and 
being
paid oodles of money for a single show..

God, I was horrible in those days, but a very hard hitter and 
minimal..................guess I did something right...................way, 
way too angry to take lessons from anyone.
Didn't take my first serious lessons until after I had already started 
making all my living from drumming but that's another long winded story, I'm 
afraid.
I was so afraid of double strokes and rudiments like paradiddles that I 
played only single stroke rolls for the first 15 years I played.   I was 
making all of my
living as a solid groove drummer, using only single stroke rolls completely 
unable to read music.     It wasn't until I developed the rhythmic system 
that I use to this
day that I taught myself to learn how to read and changed my whole drumming 
life forever.    It was starting to teach that made me see how important it 
was,
but I digress.........................

(((((((((()(((((((((((((()))))))))))))))))()))))))))))))



yours,  Rick 

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 13:34:09 2007
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Date: Thu, 26 Jul 2007 08:34:06 -0500
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Subject: Re: Re:BackLine Engineering Announces Feature Update for RiffBox Looping Device
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I have one. I think of it as being a box containing about 100 musical
looping games. You pick one of the games, then you try to make music from
it. So the mode becomes your limiting structure, and you play within those
boundaries. It's fun, although I'm probably not going to keep it.




On 7/26/07, Ben <benoitruelle@yahoo.fr> wrote:
>
> Well I don't have the beast myself but from the userguide:
>
> ----- from userguide-----
> "There are several operating modes that can be selected. The mode numbers
> are shown below. More operational details of these modes will be described
> in section 5. You can also switch from any mode to reverse mode and/or
> half
> speed mode during playback using MIDI controls.
>
> Modes 31-40: Automatic Fading of a Loop
>
> Operating modes 31-40 cause the loop playback to fade away over time
> (...).
> The first note starts the initial record process, which continues until
> the
> event count is reached. The number of loops required to completely fade
> the
> signal is determined by the mode number minus 30. Manual layering can be
> used in this mode. New layers will start at full volume and then fade over
> time like the original loop. This allows interesting effects such as
> continuous layering of new musicpassages. Loop playback can be stopped
> with
> the double press of a footswitch.
>
> Modes 41-50: Automatic Fading of a Loop with Auto Layering
> Operating modes 41-50 are the same as the automatic fading modes described
> above,except that automatic layering is used during loop playback as shown
> in the figure below. This mode can be used to create feedback delay
> effects.
> The number of loops required to completely fade the signal is determined
> by
> the mode number minus 40.This example assumes the footswitch starts the
> initial record process, which continues until the event count is reached.
> A
> single footswitch press will stop playback at the end of the current loop.
> A
> double footswitch press stops the loop playback immediately.
>
> Modes 61-70: Duplicate Loop During First Layer Recording
> A given loop can be duplicated multiple times during the first layer
> recording using operating modes 61-70. This can be useful if you have a
> short phrase that you want to play back multiple times while you record a
> longer phrase over it.The number of repeat times is set by the operating
> mode minus 60. If the selected number of duplications exceeds the memory
> capacity, then next lower value is used.The example below shows operating
> mode 62. After loop playback begins, the first press of a footswitch for
> layer recording will duplicate the loop 2 times while a new layer is
> recorded on top of it. The display will count down the number of
> duplications left while the original loop is played. After this layer
> recording is complete, the longer loop will start playing back. From this
> point forward, it acts the same as operating mode 10 in which multiple
> additional layers can be recorded with no additional duplication. Once a
> new
> layer has been recorded, the right LED will turn from yellow to green.
> This
> process can be repeated indefinitely. The playback can be stopped at any
> time with the double press of the footswitch."
> ----- from userguide end -----
>
> So it seems there's a kind of feedback and a kind of multiply (only on
> second layer).
> It's no EDP but it's not the same price either. You'd better know in
> advance
> the "structure of the song", you can't change the mode on the fly (except
> reverse mode and/or half speed mode).
>
> Ben.
>
>
> ----- Original Message -----
> From: Sjaak
> To: Loopers-Delight
> Sent: Thursday, July 26, 2007 11:15 AM
> Subject: Re:BackLine Engineering Announces Feature Update for RiffBox
> Looping Device
>
>
> Does it offer delay features like variable feedback control? Does it sync
> well (master and slave)?
>
>

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I have one. I think of it as being a box containing about 100 musical looping games. You pick one of the games, then you try to make music from it. So the mode becomes your limiting structure, and you play within those boundaries. It&#39;s fun, although I&#39;m probably not going to keep it.
<br><br><br><br><br><div><span class="gmail_quote">On 7/26/07, <b class="gmail_sendername">Ben</b> &lt;<a href="mailto:benoitruelle@yahoo.fr">benoitruelle@yahoo.fr</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Well I don&#39;t have the beast myself but from the userguide:<br><br>----- from userguide-----<br>&quot;There are several operating modes that can be selected. The mode numbers<br>are shown below. More operational details of these modes will be described
<br>in section 5. You can also switch from any mode to reverse mode and/or half<br>speed mode during playback using MIDI controls.<br><br>Modes 31-40: Automatic Fading of a Loop<br><br>Operating modes 31-40 cause the loop playback to fade away over time (...).
<br>The first note starts the initial record process, which continues until the<br>event count is reached. The number of loops required to completely fade the<br>signal is determined by the mode number minus 30. Manual layering can be
<br>used in this mode. New layers will start at full volume and then fade over<br>time like the original loop. This allows interesting effects such as<br>continuous layering of new musicpassages. Loop playback can be stopped with
<br>the double press of a footswitch.<br><br>Modes 41-50: Automatic Fading of a Loop with Auto Layering<br>Operating modes 41-50 are the same as the automatic fading modes described<br>above,except that automatic layering is used during loop playback as shown
<br>in the figure below. This mode can be used to create feedback delay effects.<br>The number of loops required to completely fade the signal is determined by<br>the mode number minus 40.This example assumes the footswitch starts the
<br>initial record process, which continues until the event count is reached. A<br>single footswitch press will stop playback at the end of the current loop. A<br>double footswitch press stops the loop playback immediately.
<br><br>Modes 61-70: Duplicate Loop During First Layer Recording<br>A given loop can be duplicated multiple times during the first layer<br>recording using operating modes 61-70. This can be useful if you have a<br>short phrase that you want to play back multiple times while you record a
<br>longer phrase over it.The number of repeat times is set by the operating<br>mode minus 60. If the selected number of duplications exceeds the memory<br>capacity, then next lower value is used.The example below shows operating
<br>mode 62. After loop playback begins, the first press of a footswitch for<br>layer recording will duplicate the loop 2 times while a new layer is<br>recorded on top of it. The display will count down the number of<br>duplications left while the original loop is played. After this layer
<br>recording is complete, the longer loop will start playing back. From this<br>point forward, it acts the same as operating mode 10 in which multiple<br>additional layers can be recorded with no additional duplication. Once a new
<br>layer has been recorded, the right LED will turn from yellow to green. This<br>process can be repeated indefinitely. The playback can be stopped at any<br>time with the double press of the footswitch.&quot;<br>----- from userguide end -----
<br><br>So it seems there&#39;s a kind of feedback and a kind of multiply (only on<br>second layer).<br>It&#39;s no EDP but it&#39;s not the same price either. You&#39;d better know in advance<br>the &quot;structure of the song&quot;, you can&#39;t change the mode on the fly (except
<br>reverse mode and/or half speed mode).<br><br>Ben.<br><br><br>----- Original Message -----<br>From: Sjaak<br>To: Loopers-Delight<br>Sent: Thursday, July 26, 2007 11:15 AM<br>Subject: Re:BackLine Engineering Announces Feature Update for RiffBox
<br>Looping Device<br><br><br>Does it offer delay features like variable feedback control? Does it sync<br>well (master and slave)?<br><br></blockquote></div><br>

------=_Part_193397_26490442.1185456846547--

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 13:40:13 2007
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what lappy has all the bells & whistles,built like a tank,huge display, =
enuff speed and power to achieve global domination....not necessarily in=
 that order of priority? =

thanx,  danisaurus hex(second from the left, top row of sgt. peppers cov=
er)

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<html><P>what lappy has all the bells &amp; whistles,built like a tank,h=
uge display, enuff speed and power to achieve global domination....not n=
ecessarily in that order of priority? </P>
<P>thanx,&nbsp; danisaurus hex(second from the left, top row of sgt. pep=
pers cover)</P></html>

----__JWM__J1c16.3db6S.619eM--

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From: Stefan Smulovitz <stefan@kenaxis.com>
Subject: OT - Kenaxis Workshop and Performance in NY
Date: Thu, 26 Jul 2007 07:11:30 -0700
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Any of you loopers that live out in NY I'd love to meet some of you. =20
I'll be showing my software and doing a performance with Viviane - =20
all loop based.

Kenaxis Workshop and performance by Vancouver BC based Stefan =20
Smulovitz (laptop) and Viviane Houle (vocals)

Tuesday, August 7th - 6:30 pm - Harvestworks 596 Broadway, Suite 602 =20
(at Houston St), New York -  Free


Join Vancouver, BC based duo Stefan Smulovitz (laptop) and Viviane =20
Houle (vocals) for a short performance followed by a lecture on =20
Kenaxis. The performance will demonstrate the versatility and power =20
of Kenaxis Software as a live performance tool. Stefan and Viviane =20
have played extensively as a duet including performances at the =20
Vancouver International Jazz Festival, I am Sound Soundwave>Series - =20
San Francisco, and the International PuSH Festival of Performing Arts.

Kenaxis is a realtime performance software allowing for the use of =20
the laptop as an expressive instrument. Developed by Stefan Smulovitz =20=

over the last 7 years for use in improvisational and compositional =20
settings, this software allows for live sampling and real time sound =20
manipulation including looping, granulation, and convolution. There =20
is also Kenaxis VBAP for surround sound playback: spin, spiral or =20
exact placement of sounds are all possible in realtime. All welcome!


----

Harvestworks is a nonprofit Digital Media Arts Center that provides =20
resources for artists to learn digital tools and exhibit experimental =20=

work created with digital technologies.  Our programs are made =20
possible with funds from mediaThe foundation, New York State Council =20
on the Arts, the National Endowment for the Arts, the NYC Dept. of =20
Cultural Affairs, Materials for the Arts, The Experimental TV Center, =20=

the Mary Flagler Cary Trust, the Aaron Copland Fund, The Greenwall =20
Foundation, the Jerome Foundation, Foundation for Contemporary =20
Performance Arts, JP Morgan Chase Foundation and the Rodney White =20
Foundation. =20
_______________________________________________________________________

HARVESTWORKS Digital Media Arts Center
596 Broadway, Suite 602 (at Houston St)
New York, NY 10012
Tel: 212-431-1130
http://www.harvestworks.org
Subway: F/V Broadway/Lafayette, 6 Bleeker, W/R Prince


----

Stefan Smulovitz, composer, software designer & performer on viola & =20
laptop

A truly interdisciplinary collaborator Stefan has performed and =20
composed for film, live visuals (Pierre Hebert, Jamie Griffiths), =20
theatre (Radix, Rumble, Theatre Replacement), dance (Noam Gagnon - =20
The Holy Body Tattoo, Barbara Bourget - Kokoro Dance, Mascall Dance, =20
Cheryl Prophet, Rob Kitsos), art installations (Museum of =20
Contemporary Art in Los Angeles), and DVD-ROMs (Confluences =96 work of =20=

Frank Gehry).

As a performer he is renowned for his =93quicksilver ability to morph =20=

and manipulate sound via digital technology=94 (Georgia Straight) =20
Transforming the laptop into an instrument using his custom software =20
Kenaxis. Stefan has performed with many of the worlds top improvisers =20=

including: Evan Parker, Uri Caine, Mark Dresser, Fred Frith, Paul =20
Plimley, Francois Houle, Jesse Zubot, Peggy Lee, Mark Feldman, and =20
the NOW Orchestra. With his band Eye of Newt Stefan has created over =20
50 live scores for film.

His electro-acoustic works have won a national Canadian award (JTTP). =20=

He recently won the 2006 Vancouver New Music Chamber Music =20
Competition for his piece for 12 players plus electronics entitled =20
=93the still unanswered question.=94

Stefan=92s compositions have been performed by the Vancouver Symphony =20=

Orchestra, Turning Point, Ensemble Symposium, Chor Leoni, Elektra, =20
and at the Sonic Boom Festival from 2002-2006.

He is currently working on a commission as part of the 2008 Alcan =20
Award for Music.


VIVIANE HOULE, vocalist, improviser, songwriter

Musical maverick Viviane Houle is a vocalist, improviser and =20
songwriter who defies categorization.  With her drop dead gorgeous =20
voice and uncanny ability to mix musical styles as diverse as opera =20
and avant-garde improvisation, Viviane captivates audiences wherever =20
she performs.

In the opera house and concert hall she has performed with Vancouver =20
Opera, Standing Wave Ensemble and pianist Leslie Uyeda.  In the jazz =20
world, she regularly performs with the lions of today=92s improv scene, =20=

including such musicians as Wayne Horvitz, Ron Samworth, Peggy Lee, =20
Coat Cooke, Fran=E7ois Houle and Jesse Zubot.  As a creator, she has =20
released a CD of her original songs and improvisations with =20
Existential Angst Party and collaborates with violist and laptop =20
artist Stefan Smulovitz.

The ease and beauty of Viviane=92s singing allow her to cross musical =20=

boundaries from Mozart to the most avant-garde music of the past =20
century and today.  Viviane=92s appearances at such festivals as the =20
Vancouver International Jazz Festival, Vancouver New Music=92s VOX =20
Festival and Festival Vancouver have been marked by a freshness and =20
commitment to musical innovation.  Her many premieres of work by some =20=

of Canada=92s pre-eminent composers have brought life to new scores.

Visit Viviane on-line at vivianehoule.ca.

--Apple-Mail-7-993460324
Content-Transfer-Encoding: quoted-printable
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	charset=WINDOWS-1252

<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; "><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font =
class=3D"Apple-style-span" face=3D"Arial">Any of you loopers that live =
out in NY I'd love to meet some of you. I'll be showing my software and =
doing a performance with Viviane - all loop based.</font></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; "><font class=3D"Apple-style-span" face=3D"Arial"><b><br=
 class=3D"webkit-block-placeholder"></b></font></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; "><font face=3D"Arial" size=3D"3" style=3D"font: =
12.0px Arial"><b>Kenaxis Workshop and performance by Vancouver BC based =
Stefan Smulovitz (laptop) and Viviane Houle =
(vocals)</b></font></div><div style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal =
12px/normal Arial; min-height: 14px; "><b></b><br></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; "><font face=3D"Arial" size=3D"3" style=3D"font: =
12.0px Arial"><b>Tuesday, August 7th - 6:30 pm - Harvestworks=A0596 =
Broadway, Suite 602 (at Houston St), New York - =
=A0Free</b></font></div><div style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal =
12px/normal Arial; min-height: 14px; "><b></b><br></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; font: normal normal normal 12px/normal Arial; =
min-height: 14px; "><br></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font =
face=3D"Arial" size=3D"3" style=3D"font: 12.0px Arial">Join Vancouver, =
BC based duo Stefan Smulovitz (laptop) and Viviane Houle (vocals) for a =
short performance followed by a lecture on Kenaxis. The=A0performance =
will demonstrate the versatility and power of Kenaxis Software as a live =
performance tool. Stefan and Viviane have played extensively as a duet =
including performances at the Vancouver International Jazz Festival, I =
am Sound Soundwave&gt;Series - San Francisco, and the International PuSH =
Festival of Performing Arts.</font></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal =
normal normal 12px/normal Arial; min-height: 14px; "><br></div><p =
style=3D"margin: 0.0px 0.0px 10.0px 0.0px; line-height: 16.0px"><font =
face=3D"Arial" size=3D"3" style=3D"font: 12.0px Arial">Kenaxis is a =
realtime performance software allowing for the use of the laptop as an =
expressive instrument. Developed by Stefan Smulovitz over the last 7 =
years for use in improvisational and compositional settings, this =
software allows for=A0live sampling and=A0real time sound manipulation =
including looping, granulation, and convolution.=A0There is also Kenaxis =
VBAP for surround sound playback: spin, spiral or exact placement of =
sounds are all possible in realtime. All welcome!</font></p><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; font: normal normal normal 12px/normal Arial; =
min-height: 14px; "><br></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font =
face=3D"Arial" size=3D"3" style=3D"font: 12.0px =
Arial">----</font></div><div style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal =
12px/normal Arial; min-height: 14px; "><br></div><div style=3D"margin-top:=
 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font =
face=3D"Arial" size=3D"3" style=3D"font: 12.0px Arial">Harvestworks is a =
nonprofit Digital Media Arts Center that provides resources for artists =
to learn digital tools and exhibit experimental work created with =
digital technologies.=A0 Our programs are made possible with funds from =
mediaThe foundation, New York State Council on the Arts, the National =
Endowment for the Arts, the NYC Dept. of Cultural Affairs, Materials for =
the Arts, The Experimental TV Center, the Mary Flagler Cary Trust, the =
Aaron Copland Fund, The Greenwall Foundation, the Jerome Foundation, =
Foundation for Contemporary Performance Arts, JP Morgan Chase Foundation =
and the Rodney White Foundation. =
_______________________________________________________________________</f=
ont></div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; font: normal normal normal =
12px/normal Arial; min-height: 14px; "><br></div><div style=3D"margin-top:=
 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font =
face=3D"Arial" size=3D"3" style=3D"font: 12.0px Arial">HARVESTWORKS =
Digital Media Arts Center</font></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font =
face=3D"Arial" size=3D"3" style=3D"font: 12.0px Arial">596 Broadway, =
Suite 602 (at Houston St)</font></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font =
face=3D"Arial" size=3D"3" style=3D"font: 12.0px Arial">New York, NY =
10012</font></div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><font face=3D"Arial" size=3D"3" =
style=3D"font: 12.0px Arial">Tel: 212-431-1130</font></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; "><font face=3D"Arial" size=3D"3" color=3D"#0020e2" =
style=3D"font: 12.0px Arial; color: #0020e2"><a =
href=3D"http://www.harvestworks.org/"><u>http://www.harvestworks.org</u><u=
></u></a></font></div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><font face=3D"Arial" size=3D"3" =
style=3D"font: 12.0px Arial">Subway: F/V Broadway/Lafayette, 6 Bleeker, =
W/R Prince</font></div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; font: normal normal normal =
12px/normal Arial; min-height: 14px; "><br></div><div style=3D"margin-top:=
 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: =
normal normal normal 12px/normal Arial; min-height: 14px; =
"><br></div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><font face=3D"Arial" size=3D"3" =
style=3D"font: 12.0px Arial">----</font></div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: =
normal normal normal 12px/normal Arial; min-height: 14px; =
"><br></div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><font face=3D"Arial" size=3D"3" =
style=3D"font: 12.0px Arial"><b>Stefan Smulovitz,=A0</b>composer, =
software designer &amp; performer on viola &amp; laptop</font></div><p =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><font face=3D"Arial" size=3D"3" =
style=3D"font: 12.0px Arial">=A0</font></p><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font =
face=3D"Arial" size=3D"3" style=3D"font: 12.0px Arial">A truly =
interdisciplinary collaborator Stefan has performed and composed for =
film, live visuals (Pierre Hebert, Jamie Griffiths), theatre (Radix, =
Rumble, Theatre Replacement), dance (Noam Gagnon - The Holy Body Tattoo, =
Barbara Bourget - Kokoro Dance, Mascall Dance, Cheryl Prophet, Rob =
Kitsos), art installations (Museum of Contemporary Art in Los Angeles), =
and DVD-ROMs (Confluences =96 work of Frank Gehry).=A0</font></div><p =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><font face=3D"Arial" size=3D"3" =
style=3D"font: 12.0px Arial">=A0</font></p><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font =
face=3D"Arial" size=3D"3" style=3D"font: 12.0px Arial">As a performer he =
is renowned for his =93quicksilver ability to morph and manipulate sound =
via digital technology=94 (Georgia Straight) Transforming the laptop =
into an instrument using his custom software Kenaxis. Stefan has =
performed with many of the worlds top improvisers including: Evan =
Parker, Uri Caine, Mark Dresser, Fred Frith, Paul Plimley, Francois =
Houle, Jesse Zubot, Peggy Lee, Mark Feldman, and the NOW Orchestra. With =
his band Eye of Newt Stefan has created over 50 live scores for =
film.</font></div><p style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><font =
face=3D"Arial" size=3D"3" style=3D"font: 12.0px Arial">=A0</font></p><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; "><font face=3D"Arial" size=3D"3" style=3D"font: =
12.0px Arial">His electro-acoustic works have won a national Canadian =
award (JTTP). He recently won the 2006 Vancouver New Music Chamber Music =
Competition for his piece for 12 players plus electronics entitled =93the =
still unanswered question.=94</font></div><p style=3D"margin: 0.0px =
0.0px 0.0px 0.0px"><font face=3D"Arial" size=3D"3" style=3D"font: 12.0px =
Arial">=A0</font></p><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><font face=3D"Arial" size=3D"3" =
style=3D"font: 12.0px Arial">Stefan=92s compositions have been performed =
by the Vancouver Symphony Orchestra, Turning Point, Ensemble Symposium, =
Chor Leoni, Elektra, and at the Sonic Boom Festival from =
2002-2006.</font></div><p style=3D"margin: 0.0px 0.0px 0.0px =
0.0px"><font face=3D"Arial" size=3D"3" style=3D"font: 12.0px =
Arial">=A0</font></p><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><font face=3D"Arial" size=3D"3" =
style=3D"font: 12.0px Arial">He is currently working on a commission as =
part of the 2008 Alcan Award for Music.</font></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; font: normal normal normal 12px/normal Arial; =
min-height: 14px; "><br></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal =
normal normal 12px/normal Arial; min-height: 14px; "><br></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; "><font face=3D"Arial" size=3D"3" style=3D"font: =
12.0px Arial"><b>VIVIANE HOULE</b>, vocalist, improviser, =
songwriter</font></div><p style=3D"margin: 0.0px 0.0px 0.0px =
0.0px"><font face=3D"Arial" size=3D"3" style=3D"font: 12.0px =
Arial">=A0</font></p><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><font face=3D"Arial" size=3D"3" =
style=3D"font: 12.0px Arial">Musical maverick Viviane Houle is a =
vocalist, improviser and songwriter who defies categorization.=A0 With =
her drop dead gorgeous voice and uncanny ability to mix musical styles =
as diverse as opera and avant-garde improvisation, Viviane captivates =
audiences wherever she performs.</font></div><p style=3D"margin: 0.0px =
0.0px 0.0px 0.0px"><font face=3D"Arial" size=3D"3" style=3D"font: 12.0px =
Arial">=A0</font></p><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><font face=3D"Arial" size=3D"3" =
style=3D"font: 12.0px Arial">In the opera house and concert hall she has =
performed with Vancouver Opera, Standing Wave Ensemble and pianist =
Leslie Uyeda.=A0 In the jazz world, she regularly performs with the =
lions of today=92s improv scene, including such musicians as Wayne =
Horvitz, Ron Samworth, Peggy Lee, Coat Cooke, Fran=E7ois Houle and Jesse =
Zubot.=A0 As a creator, she has released a CD of her original songs and =
improvisations with Existential Angst Party and collaborates with =
violist and laptop artist Stefan Smulovitz.</font></div><p =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><font face=3D"Arial" size=3D"3" =
style=3D"font: 12.0px Arial">=A0</font></p><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font =
face=3D"Arial" size=3D"3" style=3D"font: 12.0px Arial">The ease and =
beauty of Viviane=92s singing allow her to cross musical boundaries from =
Mozart to the most avant-garde music of the past century and today.=A0 =
Viviane=92s appearances at such festivals as the Vancouver International =
Jazz Festival, Vancouver New Music=92s VOX Festival and Festival =
Vancouver have been marked by a freshness and commitment to musical =
innovation.=A0 Her many premieres of work by some of Canada=92s =
pre-eminent composers have brought life to new scores.</font></div><p =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><font face=3D"Arial" size=3D"3" =
style=3D"font: 12.0px Arial">=A0</font></p><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font =
face=3D"Arial" size=3D"3" style=3D"font: 12.0px Arial">Visit Viviane =
on-line at vivianehoule.ca.</font></div>=20
</body></html>=

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Subject: Re: LOVING NON NATIVE MUSICA/////DRUM QUESTION
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wow Rick has a vast percussional past....
have anyone ever studied rhythmic incantations?i read somewhere that Dan=
ny Carey from TOOL has used supposed incantations in his drumming...over=
looking the hogwash i am interested in the subject...(scales=3Dpatterns)=

how about subliminal suggestion via sound/vision?im sure most of us have=
 heard about retail stores  and wealthy churches using and sub-audible p=
ulse to place the target in a receptive state of mind... =

i used to have a book about these things back in the early 90s it was ca=
lled something like "music of the spheres" or something like that, and i=
t delt with elements of music (earth wind fire and ground if i remember =
correctly)and the evolution of military marches/religious music and the =
psychology of such,and dabbled in subliminal manipulation...i wish i cou=
ld remember that title(i blame the acid).
over and out,,,  evil d's fish and chips
 =


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<html><P>wow Rick has a vast percussional past....</P>
<P>have&nbsp;anyone ever studied rhythmic incantations?i read somewhere =
that Danny Carey from TOOL has used supposed incantations in his drummin=
g...overlooking the hogwash i am interested in the subject...(scales=3Dp=
atterns)</P>
<P>how about subliminal suggestion via sound/vision?im sure most of us h=
ave heard about retail stores&nbsp; and wealthy churches using and sub-a=
udible pulse to place the target in a receptive state of mind... </P>
<P>i used to have a book about these things back in the early 90s it was=
 called something like "music of the spheres" or something like that, an=
d it delt with elements of music (earth wind fire and ground if i rememb=
er correctly)and the evolution of military marches/religious music and t=
he psychology of such,and dabbled in subliminal manipulation...i wish i =
could remember that title(i blame the acid).</P>
<P>over and out,,,&nbsp; evil d's fish and chips</P>
<P>&nbsp;</P></html>

----__JWM__J065f.18a5S.0cf5M--

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 15:30:37 2007
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From: "Krispen Hartung" <khartung@cableone.net>
To: Loopers-Delight@loopers-delight.com
References: <20070726.063941.13243.0@webmail29.lax.untd.com>
Subject: Re: best laptop on the planet for music and video?
Date: Thu, 26 Jul 2007 09:30:33 -0600
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I'm assuming you mean PC, because in the mac world, the macbook pro is 
pretty much the beast to get, right?

For PCs, you can always spend countless hours comparing specs and reading 
user reviews loaded with generalizations and slams against manufactures, or 
you can just look for the top line consumer review metrics, from multiple 
sources of course, and then sort them out yourself based on your needs.

http://www.consumersearch.com/www/computers/laptops/  shows Dell Inspiron 
XPS M1710 as the top rated. Macbook pro is down at #6.

Although Consumer Reports shows the following:

Apple Macbook Pro 15"
Sony VAIO VGN-FE790
Dell Inspiron E1505

PC World has some interesting data and tests: 
http://www.pcworld.com/ic/laptops/#

Top rated power notebook: HP Pavilion HDX
Top rated All Purpose notebook: HP Pavilion dv6500t
Top rated ultra portable notebook: Dell XPS M1210

Then there is my advise...for PCs....stay away from any consumer based 
notebook. Buy a business class or commerical class notebook. There is a 
reason why when you walk into the floor of a fortune 100 company, you don't 
see notebooks that are on display at BestBuy, CompUSA, etc. Manufucatures 
make about $15 on those notebooks. They are virtutally disposable and 
designed to reel in sales on consumables and accessories. Big businesses buy 
business class notebooks that are more robust, reliable, and designed to 
address their corporate performance and security requirements. Buy a 
business class notebook directly from the manufacuture...such as Lenovo, HP, 
etc. They are more expensive, but you pay for what you get. I spent $3600 on 
my Lenovo ThinkPad T60p...it is classified as a business class notebook 
workstation...you can use it as server. That price included a fully loaded 
support plan. If I have a hardware problem, a technician will actually come 
to my home and perform onsite repair, like that major companies do.

Now, of course, the OCDs on this list will answer your question with "Well, 
it depends on your needs and what you want to do" and send you down numerous 
rat holes and technical analyses that will give you headache and complicate 
your decision tree, which is probably all valid...but we are talking about 
laptops here not $6000 custom guitars, and there is a lot of standardization 
across platforms now, such that the major differentiation you get now is 
between the consumer based models and the business class models, where you 
will actually be able to observe a different in performance and reliability. 
But if you end up buying a consumer based notebook....just pick one of the 
top rated boxes, get the one with the fastest duo core processor, the 
fastest harddrive, and with the most memory they offer (I recommend 2gig). 
And make sure it has the IO you need...be sure it has firewire and ample USB 
ports.  Add a firewire audio interface and away you go.

Kris




Kris


----- Original Message ----- 
From: stillllscary@netzero.net
To: Loopers-Delight@loopers-delight.com
Sent: Thursday, July 26, 2007 7:39 AM
Subject: best laptop on the planet for music and video?


what lappy has all the bells & whistles,built like a tank,huge display, 
enuff speed and power to achieve global domination....not necessarily in 
that order of priority?
thanx,  danisaurus hex(second from the left, top row of sgt. peppers cover) 

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 15:37:24 2007
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Subject: Re: Re:BackLine Engineering Announces Feature Update for RiffBox 
	Looping Device
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Thanks for thje info. I have also checked the manual but it isn't fully c=
lear how the fade out functionality works compared to feedback control on=
 delay's. 

So if you choose Modes 31 (Automatic Fading of a Loop), the loop repeats =
1 time. Mode 32 2 times and mode 40 10 times (which his the max). So if y=
ou loop in stereo, you can repeat your loop 10x times 40 sec's? Is it als=
o possible to change the mode number while playing or recording and use i=
t as a sort of "feedback control" mechanisme?=0A---=0AScarlet One, ADSL 6=
 Mbps + Telefonie, vanaf EUR 29,95...=0Ahttp://www.scarlet.be/

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 15:43:49 2007
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Date: Thu, 26 Jul 2007 10:43:47 -0500
From: "Kelly Coyle" <skcoyle@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Re:BackLine Engineering Announces Feature Update for RiffBox Looping Device
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------=_Part_195658_23134966.1185464627313
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Short answer: no. You pick your mode, and play within it. There is no way,
as far as I know, to interactively control feedback. It is more like a
Boomerang than an EDP.



On 7/26/07, Sjaak <tcplugin@scarlet.be> wrote:
>
> Thanks for thje info. I have also checked the manual but it isn't fully
> clear how the fade out functionality works compared to feedback control on
> delay's.
>
> So if you choose Modes 31 (Automatic Fading of a Loop), the loop repeats 1
> time. Mode 32 2 times and mode 40 10 times (which his the max). So if you
> loop in stereo, you can repeat your loop 10x times 40 sec's? Is it also
> possible to change the mode number while playing or recording and use it as
> a sort of "feedback control" mechanisme?
> ---
> Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...
> http://www.scarlet.be/
>
>

------=_Part_195658_23134966.1185464627313
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Short answer: no. You pick your mode, and play within it. There is no way, as far as I know, to interactively control feedback. It is more like a Boomerang than an EDP.<br><br><br><br><div><span class="gmail_quote">On 7/26/07, 
<b class="gmail_sendername">Sjaak</b> &lt;<a href="mailto:tcplugin@scarlet.be">tcplugin@scarlet.be</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Thanks for thje info. I have also checked the manual but it isn&#39;t fully clear how the fade out functionality works compared to feedback control on delay&#39;s.<br><br>So if you choose Modes 31 (Automatic Fading of a Loop), the loop repeats 1 time. Mode 32 2 times and mode 40 10 times (which his the max). So if you loop in stereo, you can repeat your loop 10x times 40 sec&#39;s? Is it also possible to change the mode number while playing or recording and use it as a sort of &quot;feedback control&quot; mechanisme?
<br>---<br>Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...<br><a href="http://www.scarlet.be/">http://www.scarlet.be/</a><br><br></blockquote></div><br>

------=_Part_195658_23134966.1185464627313--

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 15:48:53 2007
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To: Loopers-Delight@loopers-delight.com
Subject: Re: best laptop on the planet & music of the spheres
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----__JWM__J7ac2.77b9S.032cM
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thanx a lot Krispen,your advice is always welcome,and insightful.you are=
 to computers(and mandolins) as Rick is to percussion...
i found the book "music of the spheres,music,science,and the natural ord=
er of the universe" by Jamie James....by searching "music of the spheres=
 i found some fascinating stuff...Pythagoras,Kepler...ect
thank you very much,  Dan gerous
p.s can the word "mandolin" be pluralized?

----__JWM__J7ac2.77b9S.032cM
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<html><P>thanx a lot Krispen,your advice is always welcome,and insightfu=
l.you are to computers(and mandolins)&nbsp;as Rick is to percussion...</=
P>
<P>i found the book "music of the spheres,music,science,and the natural =
order of the universe" by Jamie James....by searching "music of the sphe=
res i found some fascinating stuff...Pythagoras,Kepler...ect</P>
<P>thank you very much,&nbsp; Dan gerous</P>
<P>p.s can the word "mandolin" be pluralized?</P></html>

----__JWM__J7ac2.77b9S.032cM--

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 16:03:05 2007
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
To: <Loopers-Delight@loopers-delight.com>
Subject: loop-based installations
Date: Thu, 26 Jul 2007 18:03:24 +0200
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Thanks, Qua. I was lucky recently to buy a few licences of "old, =
outdated
software" from a guy who moved to Mac, and among it was Vegas 4.0 and =
its
included plugins, which I just used without any knowledge as how to use
video effects ;)

Btw, for those interested: I used three speaker channels in this first
installation, which can be heard hard left, center and hard right.

	Rainer

> -----Urspr=FCngliche Nachricht-----
> Von: Qua Veda [mailto:qua@oregon.com]
> Gesendet: Mittwoch, 25. Juli 2007 22:12
> An: Loopers-Delight@loopers-delight.com
> Betreff: RE: loop-based installations
>=20
> Cool!     Btw,  what did you use to warp the video ?
>=20
> -Qua


From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 16:50:34 2007
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From: "qua@oregon.com" <qua@oregon.com>
To: loopers-delight@loopers-delight.com
Subject: Re: best laptop on the planet for music and video?
Date: Thu, 26 Jul 2007 12:50:18 -0400
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I agree with Kris=2E   In addition, I suggest you check out=20
www=2Epcaudiolabs=2Ecom=2E They build laptops with great options such as m=
ultiple
hard drives , FW, tweeked for musicians=2E
-Qua


Original Message:
-----------------
From: Krispen Hartung khartung@cableone=2Enet
Date: Thu, 26 Jul 2007 09:30:33 -0600
To: Loopers-Delight@loopers-delight=2Ecom
Subject: Re: best laptop on the planet for music and video=3F


I'm assuming you mean PC, because in the mac world, the macbook pro is=20
pretty much the beast to get, right=3F

For PCs, you can always spend countless hours comparing specs and reading=20=

user reviews loaded with generalizations and slams against manufactures, o=
r=20
you can just look for the top line consumer review metrics, from multiple=20=

sources of course, and then sort them out yourself based on your needs=2E

http://www=2Econsumersearch=2Ecom/www/computers/laptops/  shows Dell Inspi=
ron=20
XPS M1710 as the top rated=2E Macbook pro is down at #6=2E

Although Consumer Reports shows the following:

Apple Macbook Pro 15"
Sony VAIO VGN-FE790
Dell Inspiron E1505

PC World has some interesting data and tests:=20
http://www=2Epcworld=2Ecom/ic/laptops/#

Top rated power notebook: HP Pavilion HDX
Top rated All Purpose notebook: HP Pavilion dv6500t
Top rated ultra portable notebook: Dell XPS M1210

Then there is my advise=2E=2E=2Efor PCs=2E=2E=2E=2Estay away from any cons=
umer based=20
notebook=2E Buy a business class or commerical class notebook=2E There is =
a=20
reason why when you walk into the floor of a fortune 100 company, you don'=
t=20
see notebooks that are on display at BestBuy, CompUSA, etc=2E Manufucature=
s=20
make about $15 on those notebooks=2E They are virtutally disposable and=20=

designed to reel in sales on consumables and accessories=2E Big businesses=

buy=20
business class notebooks that are more robust, reliable, and designed to=20=

address their corporate performance and security requirements=2E Buy a=20
business class notebook directly from the manufacuture=2E=2E=2Esuch as Len=
ovo,
HP,=20
etc=2E They are more expensive, but you pay for what you get=2E I spent $3=
600
on=20
my Lenovo ThinkPad T60p=2E=2E=2Eit is classified as a business class noteb=
ook=20
workstation=2E=2E=2Eyou can use it as server=2E That price included a full=
y loaded=20
support plan=2E If I have a hardware problem, a technician will actually c=
ome=20
to my home and perform onsite repair, like that major companies do=2E

Now, of course, the OCDs on this list will answer your question with "Well=
,=20
it depends on your needs and what you want to do" and send you down
numerous=20
rat holes and technical analyses that will give you headache and complicat=
e=20
your decision tree, which is probably all valid=2E=2E=2Ebut we are talking=
 about=20
laptops here not $6000 custom guitars, and there is a lot of
standardization=20
across platforms now, such that the major differentiation you get now is=20=

between the consumer based models and the business class models, where you=
=20
will actually be able to observe a different in performance and
reliability=2E=20
But if you end up buying a consumer based notebook=2E=2E=2E=2Ejust pick on=
e of the=20
top rated boxes, get the one with the fastest duo core processor, the=20
fastest harddrive, and with the most memory they offer (I recommend 2gig)=2E=
=20
And make sure it has the IO you need=2E=2E=2Ebe sure it has firewire and a=
mple
USB=20
ports=2E  Add a firewire audio interface and away you go=2E

Kris




Kris


----- Original Message -----=20
From: stillllscary@netzero=2Enet
To: Loopers-Delight@loopers-delight=2Ecom
Sent: Thursday, July 26, 2007 7:39 AM
Subject: best laptop on the planet for music and video=3F


what lappy has all the bells & whistles,built like a tank,huge display,=20=

enuff speed and power to achieve global domination=2E=2E=2E=2Enot necessar=
ily in=20
that order of priority=3F
thanx,  danisaurus hex(second from the left, top row of sgt=2E peppers cov=
er)=20



--------------------------------------------------------------------
mail2web=2Ecom =96 What can On Demand Business Solutions do for you=3F
http://link=2Email2web=2Ecom/Business/SharePoint


From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 16:54:36 2007
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From: "Mark Sottilaro" <sine@zerocrossing.net>
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Subject: Bidule as a host to Mobius
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Bidule as a host to Mobius... I think I rejected it because it didn't =
seem
to sync to an external MIDI clock, which was one of my needs... though, =
Live
seems to have some issues to in this regard so I've kind of given up.  =
I'm
curious, why Bidule over Live?

-----Original Message-----
From: Per Boysen [mailto:perboysen@gmail.com]=20
Sent: Thursday, July 26, 2007 2:20 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: what gear to aquire?

On 26 jul 2007, at 07.34, Mark Sottilaro wrote:

>  Also, it's not as flexible as max, but I find Live to be really =20
> good host to mobius

And I'm finding Bidule a much better host for Mobius; that is to =20
match MY needs. Bottom line: we are all different, playing different =20
music, looping in different ways and thus needing different gear.  =20
You should start out by defining what you want to do, how you want to =20
play with looping, and then get the gear that will match it. Then you =20
can't go wrong. BAsing it on software is safe because you can change =20
your ways later on and adapt your rig - that's not an option with =20
hardware based setups.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)






From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 16:56:58 2007
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Subject: RE: best laptop on the planet for music and video?
Date: Thu, 26 Jul 2007 09:56:47 -0700
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Get the most expensive Macbook Pro as it will run Mac and XP apps.  Make
sure you load it up with RAM, a faster bigger hard drive and XP and you
should be golden.

 

-----Original Message-----
From: stillllscary@netzero.net [mailto:stillllscary@netzero.net] 
Sent: Thursday, July 26, 2007 6:40 AM
To: Loopers-Delight@loopers-delight.com
Subject: best laptop on the planet for music and video?

 

what lappy has all the bells & whistles,built like a tank,huge display,
enuff speed and power to achieve global domination....not necessarily in
that order of priority? 

thanx,  danisaurus hex(second from the left, top row of sgt. peppers cover)


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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Get the most expensive Macbook Pro =
as it
will run Mac and XP apps.&nbsp; Make sure you load it up with RAM, a =
faster bigger hard
drive and XP and you should be golden.</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>-----Original =
Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> =
stillllscary@netzero.net
[mailto:stillllscary@netzero.net] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Thursday, July 26, =
2007 6:40
AM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> best laptop on =
the planet
for music and video?</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<p style=3D'margin-left:.5in'><font size=3D3 face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt'>what lappy has all the bells &amp; =
whistles,built like
a tank,huge display, enuff speed and power to achieve global =
domination....not
necessarily in that order of priority? </span></font></p>

<p style=3D'margin-left:.5in'><font size=3D3 face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt'>thanx,&nbsp; danisaurus hex(second from the =
left, top
row of sgt. peppers cover)</span></font></p>

</div>

</body>

</html>

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From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 17:28:09 2007
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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: Arthur Brown
Date: Thu, 26 Jul 2007 10:27:58 -0700
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On Jul 26, 2007, at 3:06 AM, roger wrote:

> Hi there
> Having been born in 1955 with parents who showed no interest in  
> music I found the effects of LSD and smoking probably had more  
> effect than anything else.
> I saw Arthur Brown live in the 70's at Brunel University in West  
> London. Where at one part in the set he puts  a set of traffic  
> lights on his head. The music getting to a grand cacophony and the  
> lights changing from green to amber to RED.

This is (what else? :-) ) 'The Traffic Light Song' from the amazing  
album, 'Galactic Zoo Dossier'. (cd reissue from Voiceprint, UK)

Several well-known music artists in the past, particularly Alice  
Cooper and George Clinton, WAY back then,
give Arthur all the credit for originally inspring them to  
incorporate elements of theatre, etc into their stage shows.

Hey, this was a guy who was coming out on stage as early as 1967 with  
a "crown" on his head that was in LARGE FLAMES, along with "mystical"  
costumes,etc
and with an amazing several-octaves range voice, and with a tight  
band, and more.

For anyone really interested in knowing much more about Arthur Brown  
(and there IS a LOT MORE TO FIND OUT ABOUT), then I highly REVcommend  
his
semi-recent  (late 2005) biography entitled (again..what else?) 'The  
God of Hellfire'.  (SAF Publishing,UK  ISBN-0 946719 77 2, hardback  
book)

Enjoy!

Towards the alien...

-Rev. Fever

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 17:30:02 2007
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From: "miles ward" <miles932@gmail.com>
To: Loopers-Delight@loopers-delight.com
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god bless my macbookpro.  it is a walking miracle of goodness.


On 7/26/07, Mark Sottilaro <sine@zerocrossing.net> wrote:
>
>
>
> Get the most expensive Macbook Pro as it will run Mac and XP apps.  Make
> sure you load it up with RAM, a faster bigger hard drive and XP and you
> should be golden.
>
>
>
> -----Original Message-----
> From: stillllscary@netzero.net [mailto:stillllscary@netzero.net]
> Sent: Thursday, July 26, 2007 6:40 AM
> To: Loopers-Delight@loopers-delight.com
> Subject: best laptop on the planet for music and video?
> Subject: best laptop on the planet for music and video?
>
>
>
>
>
> what lappy has all the bells & whistles,built like a tank,huge display,
> enuff speed and power to achieve global domination....not necessarily in
> that order of priority?
>
> thanx,  danisaurus hex(second from the left, top row of sgt. peppers cover)


-- 
---Miles Ward

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 18:03:06 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Bidule as a host to Mobius
Date: Thu, 26 Jul 2007 20:03:01 +0200
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On 26 jul 2007, at 18.54, Mark Sottilaro wrote:

> Bidule as a host to Mobius... I think I rejected it because it  
> didn't seem
> to sync to an external MIDI clock, which was one of my needs...  
> though, Live
> seems to have some issues to in this regard so I've kind of given  
> up.  I'm
> curious, why Bidule over Live?


Well, I prefer Bidule because I don't want to sync to anything. I  
want to set the tempo by my playing, i.e. by creating the first loop  
in Mobius. Then, if using Bidule to host MObius VST, Bidule has a  
rock solid built-in sync system that makes other tempo dependent VST  
plug-ins sync to that first loop's tempo of Mobius. It's the classic  
old EDP looping concept, letting the music take the lead and have  
technology follow ;-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 18:06:43 2007
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Bidule handles midi clock - it both will sync to it and send it.

 -------------- Original message ----------------------
From: Per Boysen <perboysen@gmail.com>
> On 26 jul 2007, at 18.54, Mark Sottilaro wrote:
> 
> > Bidule as a host to Mobius... I think I rejected it because it  
> > didn't seem
> > to sync to an external MIDI clock, which was one of my needs...  
> > though, Live
> > seems to have some issues to in this regard so I've kind of given  
> > up.  I'm
> > curious, why Bidule over Live?
> 
> 
> Well, I prefer Bidule because I don't want to sync to anything. I  
> want to set the tempo by my playing, i.e. by creating the first loop  
> in Mobius. Then, if using Bidule to host MObius VST, Bidule has a  
> rock solid built-in sync system that makes other tempo dependent VST  
> plug-ins sync to that first loop's tempo of Mobius. It's the classic  
> old EDP looping concept, letting the music take the lead and have  
> technology follow ;-)
> 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> 
> 
> 
> 

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 18:10:09 2007
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From: "Tilmann Dehnhard" <tilmann@dehnhard.com>
To: <Loopers-Delight@loopers-delight.com>
References: <20070726.063941.13243.0@webmail29.lax.untd.com> <002001c7cfa5$f6ffef30$757ba8c0@planetmoon.local> <4cf76a0b0707261030s3850d045p8e57e4255d70c539@mail.gmail.com>
Subject: Re: best laptop on the planet for music and video?
Date: Thu, 26 Jul 2007 20:10:04 +0200
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i have heard a lot of good things about macbooks, but WALKING...?!?
tilmann



> god bless my macbookpro.  it is a walking miracle of goodness.

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 19:14:08 2007
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From: "Mark Sottilaro" <sine@zerocrossing.net>
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Subject: RE: Bidule as a host to Mobius
Date: Thu, 26 Jul 2007 12:13:53 -0700
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Huh, I seem to remember I couldn't at the time, but it was a while ago that
I tried... perhaps it was that I couldn't get mobius to follow along well.

-----Original Message-----
From: Ancient Eyeball Recipe [mailto:implode7@comcast.net] 
Sent: Thursday, July 26, 2007 11:07 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Bidule as a host to Mobius


Bidule handles midi clock - it both will sync to it and send it.

 -------------- Original message ----------------------
From: Per Boysen <perboysen@gmail.com>
> On 26 jul 2007, at 18.54, Mark Sottilaro wrote:
> 
> > Bidule as a host to Mobius... I think I rejected it because it  
> > didn't seem
> > to sync to an external MIDI clock, which was one of my needs...  
> > though, Live
> > seems to have some issues to in this regard so I've kind of given  
> > up.  I'm
> > curious, why Bidule over Live?
> 
> 
> Well, I prefer Bidule because I don't want to sync to anything. I  
> want to set the tempo by my playing, i.e. by creating the first loop  
> in Mobius. Then, if using Bidule to host MObius VST, Bidule has a  
> rock solid built-in sync system that makes other tempo dependent VST  
> plug-ins sync to that first loop's tempo of Mobius. It's the classic  
> old EDP looping concept, letting the music take the lead and have  
> technology follow ;-)
> 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> 
> 
> 
> 



From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 19:24:13 2007
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Date: Thu, 26 Jul 2007 14:24:10 -0500
From: "Doug Cox" <uncledig@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Bidule as a host to Mobius
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You just need to bring the clock in from whatever device is receiving it,
and then use a Bidule to convert it to Bidule's internal sync system.

Works like a charm.

On 7/26/07, Mark Sottilaro <sine@zerocrossing.net> wrote:
>
> Huh, I seem to remember I couldn't at the time, but it was a while ago
> that
> I tried... perhaps it was that I couldn't get mobius to follow along well.
>
> -----Original Message-----
> From: Ancient Eyeball Recipe [mailto:implode7@comcast.net]
> Sent: Thursday, July 26, 2007 11:07 AM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: Bidule as a host to Mobius
>
>
> Bidule handles midi clock - it both will sync to it and send it.
>
> -------------- Original message ----------------------
> From: Per Boysen <perboysen@gmail.com>
> > On 26 jul 2007, at 18.54, Mark Sottilaro wrote:
> >
> > > Bidule as a host to Mobius... I think I rejected it because it
> > > didn't seem
> > > to sync to an external MIDI clock, which was one of my needs...
> > > though, Live
> > > seems to have some issues to in this regard so I've kind of given
> > > up.  I'm
> > > curious, why Bidule over Live?
> >
> >
> > Well, I prefer Bidule because I don't want to sync to anything. I
> > want to set the tempo by my playing, i.e. by creating the first loop
> > in Mobius. Then, if using Bidule to host MObius VST, Bidule has a
> > rock solid built-in sync system that makes other tempo dependent VST
> > plug-ins sync to that first loop's tempo of Mobius. It's the classic
> > old EDP looping concept, letting the music take the lead and have
> > technology follow ;-)
> >
> > Greetings from Sweden
> >
> > Per Boysen
> > www.boysen.se (Swedish)
> > www.looproom.com (international)
> >
> >
> >
> >
>
>
>
>

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You just need to bring the clock in from whatever device is receiving it, and then use a Bidule to convert it to Bidule&#39;s internal sync system.<br><br>Works like a charm.<br><br><div><span class="gmail_quote">On 7/26/07, 
<b class="gmail_sendername">Mark Sottilaro</b> &lt;<a href="mailto:sine@zerocrossing.net">sine@zerocrossing.net</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Huh, I seem to remember I couldn&#39;t at the time, but it was a while ago that<br>I tried... perhaps it was that I couldn&#39;t get mobius to follow along well.<br><br>-----Original Message-----<br>From: Ancient Eyeball Recipe [mailto:
<a href="mailto:implode7@comcast.net">implode7@comcast.net</a>]<br>Sent: Thursday, July 26, 2007 11:07 AM<br>To: <a href="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com</a><br>Subject: Re: Bidule as a host to Mobius
<br><br><br>Bidule handles midi clock - it both will sync to it and send it.<br><br> -------------- Original message ----------------------<br>From: Per Boysen &lt;<a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a>
&gt;<br>&gt; On 26 jul 2007, at 18.54, Mark Sottilaro wrote:<br>&gt;<br>&gt; &gt; Bidule as a host to Mobius... I think I rejected it because it<br>&gt; &gt; didn&#39;t seem<br>&gt; &gt; to sync to an external MIDI clock, which was one of my needs...
<br>&gt; &gt; though, Live<br>&gt; &gt; seems to have some issues to in this regard so I&#39;ve kind of given<br>&gt; &gt; up.&nbsp;&nbsp;I&#39;m<br>&gt; &gt; curious, why Bidule over Live?<br>&gt;<br>&gt;<br>&gt; Well, I prefer Bidule because I don&#39;t want to sync to anything. I
<br>&gt; want to set the tempo by my playing, i.e. by creating the first loop<br>&gt; in Mobius. Then, if using Bidule to host MObius VST, Bidule has a<br>&gt; rock solid built-in sync system that makes other tempo dependent VST
<br>&gt; plug-ins sync to that first loop&#39;s tempo of Mobius. It&#39;s the classic<br>&gt; old EDP looping concept, letting the music take the lead and have<br>&gt; technology follow ;-)<br>&gt;<br>&gt; Greetings from Sweden
<br>&gt;<br>&gt; Per Boysen<br>&gt; <a href="http://www.boysen.se">www.boysen.se</a> (Swedish)<br>&gt; <a href="http://www.looproom.com">www.looproom.com</a> (international)<br>&gt;<br>&gt;<br>&gt;<br>&gt;<br><br><br><br>
</blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 19:28:07 2007
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Subject: RE: Bidule as a host to Mobius
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Hm, I'll try it, though I've invested quite a bit of cash on Live. not that
Live is shabby with it's suite of plug-ins.

 

-----Original Message-----
From: Doug Cox [mailto:uncledig@gmail.com] 
Sent: Thursday, July 26, 2007 12:24 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Bidule as a host to Mobius

 

You just need to bring the clock in from whatever device is receiving it,
and then use a Bidule to convert it to Bidule's internal sync system.

Works like a charm.

On 7/26/07, Mark Sottilaro <sine@zerocrossing.net> wrote:

Huh, I seem to remember I couldn't at the time, but it was a while ago that
I tried... perhaps it was that I couldn't get mobius to follow along well.

-----Original Message-----
From: Ancient Eyeball Recipe [mailto: implode7@comcast.net]
Sent: Thursday, July 26, 2007 11:07 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Bidule as a host to Mobius 


Bidule handles midi clock - it both will sync to it and send it.

-------------- Original message ----------------------
From: Per Boysen <perboysen@gmail.com >
> On 26 jul 2007, at 18.54, Mark Sottilaro wrote:
>
> > Bidule as a host to Mobius... I think I rejected it because it
> > didn't seem
> > to sync to an external MIDI clock, which was one of my needs... 
> > though, Live
> > seems to have some issues to in this regard so I've kind of given
> > up.  I'm
> > curious, why Bidule over Live?
>
>
> Well, I prefer Bidule because I don't want to sync to anything. I 
> want to set the tempo by my playing, i.e. by creating the first loop
> in Mobius. Then, if using Bidule to host MObius VST, Bidule has a
> rock solid built-in sync system that makes other tempo dependent VST 
> plug-ins sync to that first loop's tempo of Mobius. It's the classic
> old EDP looping concept, letting the music take the lead and have
> technology follow ;-)
>
> Greetings from Sweden 
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>
>
>
>




 


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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Hm, I&#8217;ll try it, though =
I&#8217;ve
invested quite a bit of cash on Live&#8230; not that Live is shabby with =
it&#8217;s
suite of plug-ins.</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>-----Original =
Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> Doug Cox
[mailto:uncledig@gmail.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Thursday, July 26, =
2007
12:24 PM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: Bidule as a =
host to
Mobius</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<p class=3DMsoNormal =
style=3D'margin-right:0in;margin-bottom:12.0pt;margin-left:
.5in'><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>You
just need to bring the clock in from whatever device is receiving it, =
and then
use a Bidule to convert it to Bidule's internal sync system.<br>
<br>
Works like a charm.</span></font></p>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><span =
class=3Dgmailquote><font
size=3D3 face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>On =
7/26/07, <b><span
style=3D'font-weight:bold'>Mark Sottilaro</span></b> &lt;<a
href=3D"mailto:sine@zerocrossing.net">sine@zerocrossing.net</a>&gt; =
wrote:</span></font></span></p>

<p class=3DMsoNormal =
style=3D'margin-right:0in;margin-bottom:12.0pt;margin-left:
.5in'><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Huh, I
seem to remember I couldn't at the time, but it was a while ago that<br>
I tried... perhaps it was that I couldn't get mobius to follow along =
well.<br>
<br>
-----Original Message-----<br>
From: Ancient Eyeball Recipe [mailto: <a =
href=3D"mailto:implode7@comcast.net">implode7@comcast.net</a>]<br>
Sent: Thursday, July 26, 2007 11:07 AM<br>
To: <a =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</a><br>
Subject: Re: Bidule as a host to Mobius <br>
<br>
<br>
Bidule handles midi clock - it both will sync to it and send it.<br>
<br>
-------------- Original message ----------------------<br>
From: Per Boysen &lt;<a =
href=3D"mailto:perboysen@gmail.com">perboysen@gmail.com</a>
&gt;<br>
&gt; On 26 jul 2007, at 18.54, Mark Sottilaro wrote:<br>
&gt;<br>
&gt; &gt; Bidule as a host to Mobius... I think I rejected it because =
it<br>
&gt; &gt; didn't seem<br>
&gt; &gt; to sync to an external MIDI clock, which was one of my =
needs... <br>
&gt; &gt; though, Live<br>
&gt; &gt; seems to have some issues to in this regard so I've kind of =
given<br>
&gt; &gt; up.&nbsp;&nbsp;I'm<br>
&gt; &gt; curious, why Bidule over Live?<br>
&gt;<br>
&gt;<br>
&gt; Well, I prefer Bidule because I don't want to sync to anything. I =
<br>
&gt; want to set the tempo by my playing, i.e. by creating the first =
loop<br>
&gt; in Mobius. Then, if using Bidule to host MObius VST, Bidule has =
a<br>
&gt; rock solid built-in sync system that makes other tempo dependent =
VST <br>
&gt; plug-ins sync to that first loop's tempo of Mobius. It's the =
classic<br>
&gt; old EDP looping concept, letting the music take the lead and =
have<br>
&gt; technology follow ;-)<br>
&gt;<br>
&gt; Greetings from Sweden <br>
&gt;<br>
&gt; Per Boysen<br>
&gt; <a href=3D"http://www.boysen.se">www.boysen.se</a> (Swedish)<br>
&gt; <a href=3D"http://www.looproom.com">www.looproom.com</a> =
(international)<br>
&gt;<br>
&gt;<br>
&gt;<br>
&gt;<br>
<br>
<br>
</span></font></p>

</div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
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rainer.....what fun!!!!!.....thnaks.....michael



www.ct-collective.com
http://mysite.verizon.net/vzepmeci/
http://www.myspace.com/klobuchar11



**************************************
 Get a sneak peek of the all-new AOL at 
http://discover.aol.com/memed/aolcom30tour

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2">rainer.....what fun!!!!!.....thnaks....=
.michael<BR>
<BR>
<BR>
<BR>
www.ct-collective.com<BR>
http://mysite.verizon.net/vzepmeci/<BR>
http://www.myspace.com/klobuchar11<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************************************<BR> Get a sneak=
 peek of the all-new AOL at http://discover.aol.com/memed/aolcom30tour</HTML=
>

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From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 19:58:27 2007
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Date: Thu, 26 Jul 2007 21:58:20 +0200
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On 26 jul 2007, at 21.27, Mark Sottilaro wrote:
> not that Live is shabby with it=92s suite of plug-ins

I think Live has some excellent plug-ins. The reverb with preset =20
"Freezeverb" is my all time favorite! Instant Harold Budd sound :-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From WesternUnion@mailings.westernunion.com  Thu Jul 26 21:05:32 2007
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From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 21:29:06 2007
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Subject: AW: what gear to aquire? - other .02$
Date: Thu, 26 Jul 2007 23:29:23 +0200
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Hey Danny,

with a budget like this, you can do real LOADS of stuff. And that makes it
both easier and more complicated.

A few ideas for starters:

* There are three basic setup options: all hardware, all computer and
hybrid. 
* Complex loopers are not easy to set up - you'll at least have to program
your MIDI foot controller to make full use of their features.
* I always recommend a non-linear topology (meaning mixer or automated
patchbay like Switchblade), because this will allow you to place effects in
any place in the signal chain rather than at a fixed point (e.g. either
before or after the looper).
* Hardware-wise, I have always liked the Repeater. It should be even more
powerful now with the new software.
* Make two setups, one very simple one (guitar floorboard into DD20 or DL4)
and one very powerful one.
* For a typical musician's workflow, optimizing the computer (if any) for
fast and automated bootup makes sense.

	Rainer

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 21:52:22 2007
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Cc: "C3" Christopher Cardone <modulus10@gmail.com>
From: Paul Mimlitsch <pmimlitsch@mac.com>
Subject: gig spam colorado loopage
Date: Thu, 26 Jul 2007 15:52:17 -0600
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Fri. 27th. "Concept" (Paul Mimlitsch - guitar/loopage, Richard Ball - 
horns/flutes/kalimba/berimbau/loopage) @ Timberline Gallery, Main St., 
Evergreen, CO. 5-8pm.

Sat. 28th. "Java Groove Outdoor Cafe" summer concert series @ "Java 
Groove Coffeehouse", Main St., Evergreen, CO.  11-12: Paul Mimlitsch 
(guitar) w/ Meg York (clarinet/ flutes), 12-1:30: "Before the Rain" 
(electro/ acoustic trio version),  2-3 Christopher Cardone (9 string 
bass).  All doing some sort of looping.

Info:
<< http://web.mac.com/pmimlitsch/iWeb/Site/CD.html >>

<< http://www.sonicbids.com/concept >>

<< http://web.mac.com/pmimlitsch/ >>

<< http://www.beforetherainband.com/ >>

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 22:14:18 2007
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  I remember Arthyr Brown from psychedelic days ( or daze) and he was indeed 
outrageous.Don't want to take deserved props away from him ,but he wasn't 
the first one to do spooky theatrics in rock/pop. I do believe he was 
inspired by Screamin' Jay Hawkins of I Put a Spell on You fame, who would 
get out of a coffin onstage etc. James Brown  copped part of his early 
schtick from Hawkins,  becoming so overcome with emotion that he fell down 
and would be led off stage by someone who wrapped a cape around his 
shoulders(Hawkins wore a cape) .JB would turn and throw off the cape and 
ruch back center stage and go down on his knees and go back to screaming.I 
believe it was on te song Please Please Please I saw the bit in about 65 so 
I'm not sure.

_________________________________________________________________
http://newlivehotmail.com

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 22:15:02 2007
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From: "Krispen Hartung" <khartung@cableone.net>
To: Loopers-Delight@loopers-delight.com
Subject: OT: Small, Hand-Sized Battery Powered Mixers
Date: Thu, 26 Jul 2007 16:14:58 -0600
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------=_NextPart_000_003F_01C7CFA0.1C998A90
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I am looking for a decent battery powered mixer that is about the size =
of my hand, just to mix line level and mic levels into my laptop sound =
card. I have been investigating options for a day or so and have =
reviewed products from ART, Rolls, Nady, Eiderol, Maplin, Samson S-Mix =
(not battery powered, unforunately), etc.

Any experience with any of these small type mixers?  I don't need EQ, =
just ability to mix and with clean, low noise results.

Right now, I have narrowed it down to:

Maplin 4-Channel Mono Mixer - =
http://www.maplin.co.uk/Module.aspx?ModuleNo=3D31136&&source=3D14&doy=3D2=
6m7
Edirol M10-MX analog mixer - =
http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html

Any other suggestions?=20

Kris

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2900.3132" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>I am looking for a decent battery =
powered mixer=20
that is about the size of my hand, just to mix line level and mic levels =
into my=20
laptop sound card. I have been investigating options for a day or so and =
have=20
reviewed products from ART, Rolls, Nady, Eiderol, Maplin, Samson S-Mix =
(not=20
battery powered, unforunately), etc.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Any experience with any of these small =
type=20
mixers?&nbsp; I don't need EQ, just ability to mix and with clean, low =
noise=20
results.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Right now, I have narrowed it down =
to:</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Maplin 4-Channel Mono Mixer - <A=20
href=3D"http://www.maplin.co.uk/Module.aspx?ModuleNo=3D31136&amp;&amp;sou=
rce=3D14&amp;doy=3D26m7">http://www.maplin.co.uk/Module.aspx?ModuleNo=3D3=
1136&amp;&amp;source=3D14&amp;doy=3D26m7</A></FONT></DIV>
<DIV>Edirol M10-MX analog mixer - <A=20
href=3D"http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html=
">http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html</A></=
DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Any other suggestions? </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV></BODY></HTML>

------=_NextPart_000_003F_01C7CFA0.1C998A90--

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 22:31:05 2007
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From: Paul Mimlitsch <pmimlitsch@mac.com>
Subject: Cuong Vu/ Bill Frissel
Date: Thu, 26 Jul 2007 16:31:01 -0600
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For those interested in the work of Bill Frissel and or Cuong Vu check 
out  Cuong Vu's CD "It's Mostly Residual".  Features his trio w/ the 
addition of Bill Frissell.  May only be available off his << 
artistshare.com >> site.

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 22:34:54 2007
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Subject: Re: Small, Hand-Sized Battery Powered Mixers
Date: Thu, 26 Jul 2007 16:34:51 -0600
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I found these too from RMS and Leam. Looks simple enough....in fact, they 
look almost identical to the Maplin.

http://www.bmusic.com.au/prod942.htm (Leam)
http://www.fruity-loops.com/item--MC.RMM-290 (RMS)

Maplin 4-Channel Mono Mixer - 
http://www.maplin.co.uk/Module.aspx?ModuleNo=31136&&source=14&doy=26m7
Edirol M10-MX analog mixer - 
http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html 

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 22:41:48 2007
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Subject: RE: Small, Hand-Sized Battery Powered Mixers
Date: Thu, 26 Jul 2007 15:41:41 -0700
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Hey Kris,

=20

I know this may sound crazy, but why not just get an audio interface =
that
has built in mixing?  The Focusrite Liquidmix I mentioned looks very
interesting and if you buy one from Sweetwater they're including an
additional DSP card for no charge.

=20

-----Original Message-----
From: Krispen Hartung [mailto:khartung@cableone.net]=20
Sent: Thursday, July 26, 2007 3:15 PM
To: Loopers-Delight@loopers-delight.com
Subject: OT: Small, Hand-Sized Battery Powered Mixers

=20

I am looking for a decent battery powered mixer that is about the size =
of my
hand, just to mix line level and mic levels into my laptop sound card. I
have been investigating options for a day or so and have reviewed =
products
from ART, Rolls, Nady, Eiderol, Maplin, Samson S-Mix (not battery =
powered,
unforunately), etc.

=20

Any experience with any of these small type mixers?  I don't need EQ, =
just
ability to mix and with clean, low noise results.

=20

Right now, I have narrowed it down to:

=20

Maplin 4-Channel Mono Mixer -
http://www.maplin.co.uk/Module.aspx?ModuleNo=3D31136
<http://www.maplin.co.uk/Module.aspx?ModuleNo=3D31136&&source=3D14&doy=3D=
26m7>
&&source=3D14&doy=3D26m7

Edirol M10-MX analog mixer -
http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html

=20

Any other suggestions?=20

=20

Kris

=20


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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Hey Kris,</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>I know this may sound crazy, but =
why not
just get an audio interface that has built in mixing?&nbsp; The =
Focusrite Liquidmix
I mentioned looks very interesting and if you buy one from Sweetwater =
they&#8217;re
including an additional DSP card for no charge.</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>-----Original =
Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> Krispen Hartung
[mailto:khartung@cableone.net] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Thursday, July 26, =
2007 3:15
PM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> OT: Small, =
Hand-Sized
Battery Powered Mixers</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>I am looking for a decent =
battery
powered mixer that is about the size of my hand, just to mix line level =
and mic
levels into my laptop sound card. I have been investigating options for =
a day
or so and have reviewed products from ART, Rolls, Nady, Eiderol, Maplin, =
Samson
S-Mix (not battery powered, unforunately), etc.</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Any experience with any of =
these
small type mixers?&nbsp; I don't need EQ, just ability to mix and with =
clean,
low noise results.</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Right now, I have narrowed =
it down
to:</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Maplin 4-Channel Mono Mixer =
- <a
href=3D"http://www.maplin.co.uk/Module.aspx?ModuleNo=3D31136&amp;&amp;sou=
rce=3D14&amp;doy=3D26m7">http://www.maplin.co.uk/Module.aspx?ModuleNo=3D3=
1136&amp;&amp;source=3D14&amp;doy=3D26m7</a></span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>Edirol M10-MX analog mixer - <a
href=3D"http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html=
">http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html</a></=
span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Any other suggestions? =
</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Kris</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

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</div>

</body>

</html>

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From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 22:47:09 2007
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From: "Sjaak" <tcplugin@scarlet.be>
To: <Loopers-Delight@loopers-delight.com>
Subject: First live recordings
Date: Fri, 27 Jul 2007 00:46:36 +0200
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Hi, this live recording is actually my first live loop I played :) It's a 5
minute snippet of a longer piece, it contains 4 parts, ambient style. 

http://home.scarlet.be/blue-moon/sjaak/soundscapes.htm


From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 22:59:32 2007
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To: Loopers-Delight@loopers-delight.com
References: <007201c7cfd6$23381f20$757ba8c0@planetmoon.local>
Subject: Re: Small, Hand-Sized Battery Powered Mixers
Date: Thu, 26 Jul 2007 16:59:28 -0600
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Hey Kris,



I know this may sound crazy, but why not just get an audio interface =
that has built in mixing?  The Focusrite Liquidmix I mentioned looks =
very interesting and if you buy one from Sweetwater they're including an =
additional DSP card for no charge.



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


I knew someone would ask this. :) =20

Well, the truth is that until I get a mac, I am utterly frustrated and =
disgusted beyond freakin' belief with compatibility and performance =
issues that I'm experiencing with audio interfaces for my notebook pc. =
If I didn't work for a major company that sells PCs and didn't have to =
work on one 60 hours a week, I'd through them all out the window. I =
can't even begin to think of how many hundreds of hours I've spent in my =
lifetime trying to resolve issues with PCs, tweaking registries, =
changing bootup options, startup programs, settings burried within =
settings inside drivers, etc, etc...it now seems like complete madness =
and quite frankly a sickness.  I demand a refund on my life from Bill =
Gates and IBM.

I started with the Indigo IO cardbus interface. No complaints except =
that it is line input only and has only a mini plug input/ouput). Still =
a great little unit with very little latency.=20

I tried an M-Audio firewire unit with cardbus to fireware adaptor. It =
was a total distaster and IRC conflict between the adaptor and anothe =
piece of hardware. Not resolvable.

I tried the EM-U cardbus interface. Another total disaster and problem =
with their driver and MAX/MSP.=20

Then I went to the Eidrio UA-25 USB interface. It works great, but more =
latency than I prefer, and again the driver sucks and doesn't give me =
enough buffer and vector size options to run some high powered patches =
in MAX/MSP. =20

Totally nuts. So, yesterday, I yanked everything out, installed the ASIO =
for All driver and I'm pluging my mandolin and headset mic (separately, =
hence the need of a small mixer) into my notebook's soundcard. =
Wonderfully simple.

The crazy thing is that using this ASIO for ALL driver and the Intel =
integrated High Definition Audio system inside my ThinkPad sounds better =
than any othe other prior solutions I've used with next to nothing for =
latency.  Imagine that? I'm convinced most of these companies making =
audio interfaces couldn't build a decent audio driver without =
compatibility problems if their lives depended on it.

And I hear now that with mac, no one has these problems because they =
have their core audio and force everyone to comply to their standards so =
that users don't have to suffer as a result of so many diverse driving =
coding standards across the globe.

Kris

  ----- Original Message -----=20





  -----Original Message-----
  From: Krispen Hartung [mailto:khartung@cableone.net]=20
  Sent: Thursday, July 26, 2007 3:15 PM
  To: Loopers-Delight@loopers-delight.com
  Subject: OT: Small, Hand-Sized Battery Powered Mixers



  I am looking for a decent battery powered mixer that is about the size =
of my hand, just to mix line level and mic levels into my laptop sound =
card. I have been investigating options for a day or so and have =
reviewed products from ART, Rolls, Nady, Eiderol, Maplin, Samson S-Mix =
(not battery powered, unforunately), etc.



  Any experience with any of these small type mixers?  I don't need EQ, =
just ability to mix and with clean, low noise results.



  Right now, I have narrowed it down to:



  Maplin 4-Channel Mono Mixer - =
http://www.maplin.co.uk/Module.aspx?ModuleNo=3D31136&&source=3D14&doy=3D2=
6m7

  Edirol M10-MX analog mixer - =
http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html



  Any other suggestions?=20



  Kris



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<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">Hey=20
Kris,</SPAN></FONT></P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT>&nbsp;</P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">I know this =
may sound=20
crazy, but why not just get an audio interface that has built in =
mixing?&nbsp;=20
The Focusrite Liquidmix I mentioned looks very interesting and if you =
buy one=20
from Sweetwater they=92re including an additional DSP card for no=20
charge.</SPAN></FONT></P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT>&nbsp;</P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial">*************</SPAN></FONT></P></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I knew someone would ask this. :)&nbsp; =

</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Well, the truth is that until I get a =
mac, I am=20
utterly frustrated and disgusted beyond freakin' belief with =
compatibility and=20
performance issues that I'm experiencing with audio interfaces for my =
notebook=20
pc. If I didn't work for a major company that sells PCs and didn't have =
to work=20
on one 60 hours a week, I'd through them all out the window. I can't =
even begin=20
to think of how many hundreds of hours I've spent in my lifetime trying =
to=20
resolve issues with PCs, tweaking registries, changing bootup options, =
startup=20
programs, settings burried within settings inside drivers, etc, etc...it =
now=20
seems like complete madness and quite frankly a sickness.&nbsp; I demand =
a=20
refund on my life from Bill Gates and IBM.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I started with the Indigo IO cardbus =
interface. No=20
complaints except that it is line input only and has only a mini plug=20
input/ouput). Still a great little unit with very little latency. =
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I tried an M-Audio firewire unit with =
cardbus to=20
fireware adaptor. It was a total distaster and IRC conflict between the =
adaptor=20
and anothe piece of hardware. Not resolvable.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I tried the EM-U cardbus interface. =
Another total=20
disaster and problem with their driver and MAX/MSP. </FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial><FONT size=3D2>Then&nbsp;I <FONT>went to the =
Eidrio UA-25=20
USB interface. It works great, but more latency than I prefer, =
and&nbsp;again=20
the driver sucks and doesn't give me enough buffer and vector size =
options to=20
run some high powered patches in MAX/MSP.&nbsp; =
</FONT></FONT></FONT></DIV>
<DIV><FONT face=3DArial><FONT =
size=3D2><FONT></FONT></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial><FONT size=3D2><FONT>Totally nuts. So, =
yesterday, I yanked=20
everything out, installed the ASIO for All driver and I'm pluging my =
mandolin=20
and headset mic (separately, hence the need of a small mixer) into my =
notebook's=20
soundcard. Wonderfully simple.</FONT></FONT></FONT></DIV>
<DIV><FONT face=3DArial><FONT =
size=3D2><FONT></FONT></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial><FONT><FONT size=3D2><FONT>The crazy thing is =
that using=20
this ASIO for ALL driver and the Intel integrated High Definition Audio =
system=20
inside my ThinkPad sounds better than any othe other prior solutions =
I've used=20
with next to nothing for latency.</FONT></FONT></FONT><FONT =
size=3D2>&nbsp;=20
Imagine that? I'm convinced most of these companies making audio =
interfaces=20
couldn't build a decent audio driver without compatibility problems if =
their=20
lives depended on it.</FONT></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>And I hear now that with mac, no one =
has these=20
problems because they have their core audio and force everyone to comply =
to=20
their standards so that users don't have to suffer as a result of so =
many=20
diverse driving coding standards across the globe.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><BR>&nbsp;</DIV>
  <DIV class=3DSection1>
  <P class=3DMsoNormal>
  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT></P><FONT=20
  face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT></P>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DTahoma =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Tahoma">-----Original=20
  Message-----<BR><B><SPAN style=3D"FONT-WEIGHT: bold">From:</SPAN></B> =
Krispen=20
  Hartung [mailto:khartung@cableone.net] <BR><B><SPAN=20
  style=3D"FONT-WEIGHT: bold">Sent:</SPAN></B> Thursday, July 26, 2007 =
3:15=20
  PM<BR><B><SPAN style=3D"FONT-WEIGHT: bold">To:</SPAN></B>=20
  Loopers-Delight@loopers-delight.com<BR><B><SPAN=20
  style=3D"FONT-WEIGHT: bold">Subject:</SPAN></B> OT: Small, Hand-Sized =
Battery=20
  Powered Mixers</SPAN></FONT></P>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: 12pt"></SPAN></FONT>&nbsp;</P>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">I am looking for a =
decent battery=20
  powered mixer that is about the size of my hand, just to mix line =
level and=20
  mic levels into my laptop sound card. I have been investigating =
options for a=20
  day or so and have reviewed products from ART, Rolls, Nady, Eiderol, =
Maplin,=20
  Samson S-Mix (not battery powered, unforunately), =
etc.</SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Any experience with any =
of these=20
  small type mixers?&nbsp; I don't need EQ, just ability to mix and with =
clean,=20
  low noise results.</SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Right now, I have =
narrowed it down=20
  to:</SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Maplin 4-Channel Mono =
Mixer - <A=20
  =
href=3D"http://www.maplin.co.uk/Module.aspx?ModuleNo=3D31136&amp;&amp;sou=
rce=3D14&amp;doy=3D26m7">http://www.maplin.co.uk/Module.aspx?ModuleNo=3D3=
1136&amp;&amp;source=3D14&amp;doy=3D26m7</A></SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: 12pt">Edirol M10-MX analog mixer - =
<A=20
  =
href=3D"http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html=
">http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html</A></=
SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Any other suggestions?=20
  </SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial">Kris</SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN=20
style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV></DIV></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_0062_01C7CFA6.54060570--

From Loopers-Delight-request@loopers-delight.com  Thu Jul 26 23:28:14 2007
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From: "Mark Sottilaro" <sine@zerocrossing.net>
To: <Loopers-Delight@loopers-delight.com>
Subject: RE: Small, Hand-Sized Battery Powered Mixers
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Oh oh oh.  Perhaps I've been lucky?  I got a Toshiba, because them and =
Sony
seemed to be the only companies that build in Firewire ports standard in =
the
XP world.  A friend (who's very good with computers, but does not use =
them
for audio) told me I'd be able to do the Firewire to PCMCIA card. but I
didn't believe it.  I knew there'd be crap.

=20

Inversely, I think my Toshiba's own audio card using the ASIOFORALL =
driver
sounds like crap compared to the cheap M-Audio Firewire Solo card.

=20

In hindsight, I wish I'd gone the Macbook Pro route, even though I'm =
pretty
happy with the Toshiba.  Man XP is a clunky, crappy dog compared to the =
Mac.
in fact, if Mobius. I'll shut up now. ;)

=20

M

=20

-----Original Message-----
From: Krispen Hartung [mailto:khartung@cableone.net]=20
Sent: Thursday, July 26, 2007 3:59 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Small, Hand-Sized Battery Powered Mixers

=20

Hey Kris,

=20

I know this may sound crazy, but why not just get an audio interface =
that
has built in mixing?  The Focusrite Liquidmix I mentioned looks very
interesting and if you buy one from Sweetwater they're including an
additional DSP card for no charge.

=20

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

=20

I knew someone would ask this. :) =20

=20

Well, the truth is that until I get a mac, I am utterly frustrated and
disgusted beyond freakin' belief with compatibility and performance =
issues
that I'm experiencing with audio interfaces for my notebook pc. If I =
didn't
work for a major company that sells PCs and didn't have to work on one =
60
hours a week, I'd through them all out the window. I can't even begin to
think of how many hundreds of hours I've spent in my lifetime trying to
resolve issues with PCs, tweaking registries, changing bootup options,
startup programs, settings burried within settings inside drivers, etc,
etc...it now seems like complete madness and quite frankly a sickness.  =
I
demand a refund on my life from Bill Gates and IBM.

=20

I started with the Indigo IO cardbus interface. No complaints except =
that it
is line input only and has only a mini plug input/ouput). Still a great
little unit with very little latency.=20

=20

I tried an M-Audio firewire unit with cardbus to fireware adaptor. It =
was a
total distaster and IRC conflict between the adaptor and anothe piece of
hardware. Not resolvable.

=20

I tried the EM-U cardbus interface. Another total disaster and problem =
with
their driver and MAX/MSP.=20

=20

Then I went to the Eidrio UA-25 USB interface. It works great, but more
latency than I prefer, and again the driver sucks and doesn't give me =
enough
buffer and vector size options to run some high powered patches in =
MAX/MSP.


=20

Totally nuts. So, yesterday, I yanked everything out, installed the ASIO =
for
All driver and I'm pluging my mandolin and headset mic (separately, =
hence
the need of a small mixer) into my notebook's soundcard. Wonderfully =
simple.

=20

The crazy thing is that using this ASIO for ALL driver and the Intel
integrated High Definition Audio system inside my ThinkPad sounds better
than any othe other prior solutions I've used with next to nothing for
latency.  Imagine that? I'm convinced most of these companies making =
audio
interfaces couldn't build a decent audio driver without compatibility
problems if their lives depended on it.

=20

And I hear now that with mac, no one has these problems because they =
have
their core audio and force everyone to comply to their standards so that
users don't have to suffer as a result of so many diverse driving coding
standards across the globe.

=20

Kris

=20

----- Original Message -----=20


=20

-----Original Message-----
From: Krispen Hartung [mailto:khartung@cableone.net]=20
Sent: Thursday, July 26, 2007 3:15 PM
To: Loopers-Delight@loopers-delight.com
Subject: OT: Small, Hand-Sized Battery Powered Mixers

=20

I am looking for a decent battery powered mixer that is about the size =
of my
hand, just to mix line level and mic levels into my laptop sound card. I
have been investigating options for a day or so and have reviewed =
products
from ART, Rolls, Nady, Eiderol, Maplin, Samson S-Mix (not battery =
powered,
unforunately), etc.

=20

Any experience with any of these small type mixers?  I don't need EQ, =
just
ability to mix and with clean, low noise results.

=20

Right now, I have narrowed it down to:

=20

Maplin 4-Channel Mono Mixer -
http://www.maplin.co.uk/Module.aspx?ModuleNo=3D31136
<http://www.maplin.co.uk/Module.aspx?ModuleNo=3D31136&&source=3D14&doy=3D=
26m7>
&&source=3D14&doy=3D26m7

Edirol M10-MX analog mixer -
http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html

=20

Any other suggestions?=20

=20

Kris

=20


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<div class=3DSection1>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Oh oh oh&#8230;&nbsp; Perhaps =
I&#8217;ve
been lucky?&nbsp; I got a Toshiba, because them and Sony seemed to be =
the only
companies that build in Firewire ports standard in the XP world.&nbsp; A =
friend
(who&#8217;s very good with computers, but does not use them for audio) =
told me
I&#8217;d be able to do the Firewire to PCMCIA card&#8230; but I =
didn&#8217;t
believe it.&nbsp; I knew there&#8217;d be crap.</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Inversely, I think my =
Toshiba&#8217;s own
audio card using the ASIOFORALL driver sounds like crap compared to the =
cheap
M-Audio Firewire Solo card.</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>In hindsight, I wish I&#8217;d gone =
the Macbook
Pro route, even though I&#8217;m pretty happy with the Toshiba.&nbsp; =
Man XP is
a clunky, crappy dog compared to the Mac&#8230; in fact, if =
Mobius&#8230; I&#8217;ll
shut up now. ;)</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>M</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>-----Original =
Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> Krispen Hartung
[mailto:khartung@cableone.net] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Thursday, July 26, =
2007 3:59
PM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: Small, =
Hand-Sized
Battery Powered Mixers</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
color=3Dnavy face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:navy'>Hey =
Kris,</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
color=3Dnavy face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:navy'>I know this may =
sound
crazy, but why not just get an audio interface that has built in =
mixing?&nbsp;
The Focusrite Liquidmix I mentioned looks very interesting and if you =
buy one
from Sweetwater they&#8217;re including an additional DSP card for no =
charge.</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
color=3Dnavy face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:navy'>*************</sp=
an></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>I knew someone would ask =
this.
:)&nbsp; </span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Well, the truth is that =
until I get
a mac, I am utterly frustrated and disgusted beyond freakin' belief with
compatibility and performance issues that I'm experiencing with audio
interfaces for my notebook pc. If I didn't work for a major company that =
sells
PCs and didn't have to work on one 60 hours a week, I'd through them all =
out
the window. I can't even begin to think of how many hundreds of hours =
I've
spent in my lifetime trying to resolve issues with PCs, tweaking =
registries,
changing bootup options, startup programs, settings burried within =
settings
inside drivers, etc, etc...it now seems like complete madness and quite =
frankly
a sickness.&nbsp; I demand a refund on my life from Bill Gates and =
IBM.</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>I started with the Indigo =
IO cardbus
interface. No complaints except that it is line input only and has only =
a mini
plug input/ouput). Still a great little unit with very little latency. =
</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>I tried an M-Audio firewire =
unit
with cardbus to fireware adaptor. It was a total distaster and IRC =
conflict
between the adaptor and anothe piece of hardware. Not =
resolvable.</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>I tried the EM-U cardbus =
interface.
Another total disaster and problem with their driver and MAX/MSP. =
</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Then&nbsp;I went to the =
Eidrio UA-25
USB interface. It works great, but more latency than I prefer, =
and&nbsp;again
the driver sucks and doesn't give me enough buffer and vector size =
options to
run some high powered patches in MAX/MSP.&nbsp; </span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Totally nuts. So, =
yesterday, I
yanked everything out, installed the ASIO for All driver and I'm pluging =
my
mandolin and headset mic (separately, hence the need of a small mixer) =
into my
notebook's soundcard. Wonderfully simple.</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>The crazy thing is that =
using this
ASIO for ALL driver and the Intel integrated High Definition Audio =
system
inside my ThinkPad sounds better than any othe other prior solutions =
I've used
with next to nothing for latency.&nbsp; Imagine that? I'm convinced most =
of
these companies making audio interfaces couldn't build a decent audio =
driver
without compatibility problems if their lives depended on =
it.</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>And I hear now that with =
mac, no one
has these problems because they have their core audio and force everyone =
to
comply to their standards so that users don't have to suffer as a result =
of so
many diverse driving coding standards across the =
globe.</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Kris</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<blockquote style=3D'border:none;border-left:solid black =
1.5pt;padding:0in 0in 0in 4.0pt;
margin-left:3.75pt;margin-top:5.0pt;margin-right:0in;margin-bottom:5.0pt'=
>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>----- Original Message =
----- </span></font></p>

</div>

<div style=3D'font-color:black'>

<p class=3DMsoNormal style=3D'margin-left:.5in;background:#E4E4E4'><font =
size=3D2
face=3DArial><span style=3D'font-size:10.0pt;font-family:Arial'><br>
&nbsp;</span></font></p>

</div>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>-----Original =
Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> Krispen Hartung
[mailto:khartung@cableone.net] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Thursday, July 26, =
2007 3:15
PM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> OT: Small, =
Hand-Sized
Battery Powered Mixers</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<div>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>I am looking for a decent =
battery
powered mixer that is about the size of my hand, just to mix line level =
and mic
levels into my laptop sound card. I have been investigating options for =
a day
or so and have reviewed products from ART, Rolls, Nady, Eiderol, Maplin, =
Samson
S-Mix (not battery powered, unforunately), etc.</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Any experience with any of =
these
small type mixers?&nbsp; I don't need EQ, just ability to mix and with =
clean,
low noise results.</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Right now, I have narrowed =
it down
to:</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Maplin 4-Channel Mono Mixer =
- <a
href=3D"http://www.maplin.co.uk/Module.aspx?ModuleNo=3D31136&amp;&amp;sou=
rce=3D14&amp;doy=3D26m7">http://www.maplin.co.uk/Module.aspx?ModuleNo=3D3=
1136&amp;&amp;source=3D14&amp;doy=3D26m7</a></span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>Edirol M10-MX analog mixer - <a
href=3D"http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html=
">http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html</a></=
span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Any other suggestions? =
</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Kris</span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:1.0in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

</div>

</blockquote>

</div>

</body>

</html>

------=_NextPart_000_007C_01C7CFA1.F2D443B0--


From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 00:35:18 2007
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Date: Thu, 26 Jul 2007 17:35:16 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: Clocking
To: loopers-Delight@loopers-delight.com
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Howdy,

 ther is an article in this month's Electronic
Musician about clocking, not much MIDI, but you might
find it useful.
rig



       
____________________________________________________________________________________
Choose the right car based on your needs.  Check out Yahoo! Autos new Car Finder tool.
http://autos.yahoo.com/carfinder/

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 00:48:02 2007
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: Cuong Vu/ Bill Frissel
Date: Thu, 26 Jul 2007 17:47:56 -0700
To: Loopers-Delight@loopers-delight.com
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Hi there,

I have it already and have to say that I really enjoy it a lot.

Vu is a looper too (so my pal Jeff Kaiser is not the only trumpet=20
looper around).

Check out the last couple of concert videos of Pat Metheny's band.

Vu is there looping up a storm (in the background) as well as backup=20
singing and even playing a bit of guitar.

Quite an amazing young musician.

I expect well hear lots more from him in the future.

Best regards,

tEd =AE KiLLiAn

On Jul 26, 2007, at 3:31 PM, Paul Mimlitsch wrote:

> For those interested in the work of Bill Frissel and or Cuong Vu check=20=

> out  Cuong Vu's CD "It's Mostly Residual".  Features his trio w/ the=20=

> addition of Bill Frissell.  May only be available off his <<=20
> artistshare.com >> site.



From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 04:41:42 2007
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On Fri, 27 Jul 2007, Sjaak wrote:

> Hi, this live recording is actually my first live loop I played :) It's a 5
> minute snippet of a longer piece, it contains 4 parts, ambient style.
>
> http://home.scarlet.be/blue-moon/sjaak/soundscapes.htm

Nice work.

Steve Burnett    Subscape Annex   http://www.subscapeannex.com/

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 04:44:16 2007
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Subject: Re: Spell on Arthur Brown
Date: Thu, 26 Jul 2007 21:44:12 -0700
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All true about Screamin' Jay and JB.

But, Arthur was the first (to my knowledge) to have done in this in  
the modern rock-n-rock context for it's time.
Or, at least he did it to such an extreme degree,  more than possibly  
anyone else had ever previously done.

Regardless, I would say he was THE godfather of  "rock theatre", and  
I doubt there are many who would argue with that.

I also recall seeing the footage of JB and his "emotional" cape  
routine. It was also great!

I have a (later reissue) LP copy of a Screamin' Jay album with him  
"emerging" from some fancy coffin.
He and his management likely paid off some funeral home let them take  
the pic of him, in the coffin sales room area. Hilarious!

Also, on Arthur Brown's first album, he and his band do a KILLER  
version Screamin' Jays' "I Put A Spell On You"!!!
The chicken before the egg, or the egg before the chicken? Dilemma!  
(snicker) :-)

-Rev. Fever

PS-For lovers of the synthesizer and other musical electronics, (as I  
most certainly AM!)  Arthur also put out the first ever all  
electronic "rock" album,
back in 1982 or so, entitled "Requiem" (still available on CD  
reissue), when he was still living in Austin,TX.

(And still doing a *house painting business*  with JImmy Carl Black.  
No kidding. I have long time Austin friends who can verify this.)

He was fortunate enough to have hooked up with some folks there who  
had access to, or owned, a lot of the latest state-of-the-art  
electronic instruments
and devices that were new and available at that time. Arthur was  
always a few steps ahead of the curve, as usual...


On Jul 26, 2007, at 3:14 PM, samba - wrote:

>
>  I remember Arthyr Brown from psychedelic days ( or daze) and he  
> was indeed outrageous.Don't want to take deserved props away from  
> him ,but he wasn't the first one to do spooky theatrics in rock/ 
> pop. I do believe he was inspired by Screamin' Jay Hawkins of I Put  
> a Spell on You fame, who would get out of a coffin onstage etc.  
> James Brown  copped part of his early schtick from Hawkins,   
> becoming so overcome with emotion that he fell down and would be  
> led off stage by someone who wrapped a cape around his shoulders 
> (Hawkins wore a cape) .JB would turn and throw off the cape and  
> ruch back center stage and go down on his knees and go back to  
> screaming.I believe it was on te song Please Please Please I saw  
> the bit in about 65 so I'm not sure.

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From: "Ben" <benoitruelle@yahoo.fr>
To: <Loopers-Delight@loopers-delight.com>
References: <000201c7cfd6$d5c3d300$020313ac@yoyo>
Subject: Re: First live recordings
Date: Fri, 27 Jul 2007 08:48:33 +0200
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Nice. In which kind of place did you record this? A cafe? An exhibition 
hall? @home?

Ben.

----- Original Message ----- 
From: "Sjaak" <tcplugin@scarlet.be>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, July 27, 2007 12:46 AM
Subject: First live recordings


> Hi, this live recording is actually my first live loop I played :) It's a 
> 5
> minute snippet of a longer piece, it contains 4 parts, ambient style.
>
> http://home.scarlet.be/blue-moon/sjaak/soundscapes.htm
>
> 

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 06:56:16 2007
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Date: Thu, 26 Jul 2007 23:56:15 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: LOVING NON NATIVE MUSICAL TRADITIONS (the psycholgy in music)
To: Loopers-Delight@loopers-delight.com
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Yeah!;-))

--- Per Boysen <perboysen@gmail.com> wrote:

> On 26 jul 2007, at 10.47, L.A. Angulo wrote:
> 
> > .But
> > what i think stressed her from this music in my
> > opinion is those unusual flated fifths and
> unfamiliar
> > harmonies,plus those odd time signatures typical
> of KC
> > which our ears aren´t used to.Too many devils
> > intervals perhaps;-)
> > Luis
> 
> 
> Or... perhaps her real hang-up with that music was
> that since she did  
> not like it you would think she is a real moron. ;-)
> 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> 
> 
> 
> 
> 


www.myspace.com/luisangulocom


       
____________________________________________________________________________________
Choose the right car based on your needs.  Check out Yahoo! Autos new Car Finder tool.
http://autos.yahoo.com/carfinder/

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 06:58:48 2007
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From: Adrian Bartholomew <adrian@bartholomusic.com>
Subject: ur opinion
Date: Fri, 27 Jul 2007 01:59:03 -0500
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--Apple-Mail-9-1053913016
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hey guys, i really need ur help.
i know this has nothing to do with looping. (i DO own a Looperlative,  
an Echoplex and a Boomerang so i PROMISE to help anyone who needs it  
on any of these 3 machines. i know them inside out. started with the  
rang and moved up. just didnt have the heart to sell anything.

anyways please help me with this.


go to:
http://myspace.com/bartholomewband

click the "videos" link (right next to the pics link) and tell me  
which video experience u think is more impressive.

"grey" or "crocodile".

they are boring videos i know but its all i have.

thanks, i really appreciate it.

Adrian

--Apple-Mail-9-1053913016
Content-Transfer-Encoding: quoted-printable
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	charset=US-ASCII

<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; "><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">hey guys, i =
really need ur help.</div><div style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; ">i know this has nothing to =
do with looping. (i DO own a Looperlative, an Echoplex and a Boomerang =
so i PROMISE to help anyone who needs it on any of these 3 machines. i =
know them inside out. started with the rang and moved up. just didnt =
have the heart to sell anything.</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><br =
class=3D"webkit-block-placeholder"></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">anyways =
please help me with this.</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><br =
class=3D"webkit-block-placeholder"></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><br =
class=3D"webkit-block-placeholder"></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">go =
to:</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><a =
href=3D"http://myspace.com/bartholomewband">http://myspace.com/bartholomew=
band</a></div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">click the "videos" link <i>(right next to the pics =
link)</i> and tell me which video experience u think is more =
impressive.</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">"grey" or "crocodile".</div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><br =
class=3D"webkit-block-placeholder"></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">they are =
boring videos i know but its all i have.</div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
min-height: 14px; "><br></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">thanks, i =
really appreciate it.</div><div style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; =
"><br></div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">Adrian</div> </body></html>=

--Apple-Mail-9-1053913016--

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 07:54:03 2007
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Date: Thu, 26 Jul 2007 23:48:11 -0700 (PDT)
From: Adam Hart <loop.troop@yahoo.com>
Subject: Re: Controlling an Echoplex via PC or Mac
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--0-286307585-1185518891=:81149
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Eureka!  You have caused a new neural pathway to form in my head!  I get it=
, Par!!=0A=0A                                                              =
      *yay*=0A=0AFor the record: *No* version of Garageband sends clocks - =
not even the new one, so I hear.  =0A=0AThanks for your help, Par; it was p=
aramount!!!  Thanks to all others in this community as well for your guidan=
ce and expertise.  I look forward to reading and hearing your thoughts.=0A=
=0AI'm giddy as a school girl!=0A=0AAdam=0A=0A----- Original Message ----=
=0AFrom: Per Boysen <perboysen@gmail.com>=0ATo: Loopers-Delight@loopers-del=
ight.com=0ASent: Thursday, July 26, 2007 3:10:54 AM=0ASubject: Re: Controll=
ing an Echoplex via PC or Mac=0A=0AOn 26 jul 2007, at 05.52, Adam Hart wrot=
e:=0A=0A> ?  Is there a software that can piggyback on top of a rhythm/bass=
  =0A> package that will send my Echoplex proper messages at the right time=
s?=0A>=0A> ?  Would I be better off syncing my computer and Echoplex to a  =
=0A> sequencer?  If so what type of sequencer would you reccommend?=0A=0A=
=0AAny software MIDI sequencer would do. You said you just bought a Mac  =
=0A- doesn't Garageband come bundled with them these days. I would start  =
=0Aby checking out if GB can (1) sync  by MIDI Clock to your EDP/Boss  =0Aa=
nd (2) send out MIDI notes to control your EDP actions. I only have  =0AGar=
ageBand 1.0 here and I guess a lot have changed in today's  =0Aversion, so =
I can't do that check for you. Tracktion is another free  =0A(or almost) se=
quencer that you could check out.=0A=0AGreetings from Sweden=0A=0APer Boyse=
n=0Awww.boysen.se (Swedish)=0Awww.looproom.com (international)=0A=0A=0A=0A=
=0A=0A=0A=0A=0A=0A=0A=0A       =0A_________________________________________=
___________________________________________Ready for the edge of your seat?=
 =0ACheck out tonight's top picks on Yahoo! TV. =0Ahttp://tv.yahoo.com/
--0-286307585-1185518891=:81149
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<html><head><style type=3D"text/css"><!-- DIV {margin:0px;} --></style></he=
ad><body><div style=3D"font-family:times new roman, new york, times, serif;=
font-size:12pt"><div style=3D"font-family: times new roman,new york,times,s=
erif; font-size: 12pt;">Eureka!&nbsp; You have caused a new neural pathway =
to form in my head!&nbsp; I get it, Par!!<br><br>&nbsp;&nbsp;&nbsp; &nbsp;&=
nbsp;  &nbsp;&nbsp;  &nbsp;&nbsp;  &nbsp;&nbsp;  &nbsp;&nbsp;  &nbsp;&nbsp;=
  &nbsp;&nbsp;  &nbsp;&nbsp;  &nbsp;&nbsp;  &nbsp;&nbsp;  &nbsp;&nbsp;  &nb=
sp;&nbsp;  &nbsp;&nbsp;  &nbsp;&nbsp;  &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp=
; *yay*<br><br>For the record: *No* version of Garageband sends clocks - no=
t even the new one, so I hear.&nbsp; <br><br>Thanks for your help, Par; it =
was paramount!!!&nbsp; Thanks to all others in this community as well for y=
our guidance and expertise.&nbsp; I look forward to reading and hearing you=
r thoughts.<br><br>I'm giddy as a school girl!<br><br>Adam<br><br><div
 style=3D"font-family: times new roman,new york,times,serif; font-size: 12p=
t;">----- Original Message ----<br>From: Per Boysen &lt;perboysen@gmail.com=
&gt;<br>To: Loopers-Delight@loopers-delight.com<br>Sent: Thursday, July 26,=
 2007 3:10:54 AM<br>Subject: Re: Controlling an Echoplex via PC or Mac<br><=
br><div>On 26 jul 2007, at 05.52, Adam Hart wrote:<br><br>&gt; ?&nbsp;&nbsp=
;Is there a software that can piggyback on top of a rhythm/bass&nbsp;&nbsp;=
<br>&gt; package that will send my Echoplex proper messages at the right ti=
mes?<br>&gt;<br>&gt; ?&nbsp;&nbsp;Would I be better off syncing my computer=
 and Echoplex to a&nbsp;&nbsp;<br>&gt; sequencer?&nbsp;&nbsp;If so what typ=
e of sequencer would you reccommend?<br><br><br>Any software MIDI sequencer=
 would do. You said you just bought a Mac&nbsp;&nbsp;<br>- doesn't Garageba=
nd come bundled with them these days. I would start&nbsp;&nbsp;<br>by check=
ing out if GB can (1) sync&nbsp;&nbsp;by MIDI Clock to your
 EDP/Boss&nbsp;&nbsp;<br>and (2) send out MIDI notes to control your EDP ac=
tions. I only have&nbsp;&nbsp;<br>GarageBand 1.0 here and I guess a lot hav=
e changed in today's&nbsp;&nbsp;<br>version, so I can't do that check for y=
ou. Tracktion is another free&nbsp;&nbsp;<br>(or almost) sequencer that you=
 could check out.<br><br>Greetings from Sweden<br><br>Per Boysen<br><a targ=
et=3D"_blank" href=3D"http://www.boysen.se">www.boysen.se</a> (Swedish)<br>=
<a target=3D"_blank" href=3D"http://www.looproom.com">www.looproom.com</a> =
(international)<br><br><br><br><br></div></div><br></div></div><br>=0A     =
 <hr size=3D1>Ready for the edge of your seat? =0A<a href=3D"http://us.rd.y=
ahoo.com/evt=3D48220/*http://tv.yahoo.com/">Check out tonight's top picks</=
a> on Yahoo! TV. =0A=0A</body></html>
--0-286307585-1185518891=:81149--

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: First live recordings
Date: Fri, 27 Jul 2007 10:45:14 +0200
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On 27 jul 2007, at 00.46, Sjaak wrote:

> Hi, this live recording is actually my first live loop I played :)  
> It's a 5
> minute snippet of a longer piece, it contains 4 parts, ambient style.
>
> http://home.scarlet.be/blue-moon/sjaak/soundscapes.htm


Enjoyed it. THanks.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 11:16:41 2007
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From: "RICK WALKER" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: choosing the right laptop for live looping , real time DSP processing and running Video
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Kris wrote:

"And I hear now that with mac, no one has these problems because they have 
their core audio and force everyone to comply to their standards so that 
users don't have to suffer as a result of so many diverse driving coding 
standards across the globe."


I have to admit.    I've been a real skeptic about the whole Mac world for a 
long time.

Now,  hear me out before you make any judgements here about what I"m 
saying...................
To preface what I'm saying,  I'm actually seriously considering investing in 
a Macbook pro.
Please help me out with my fears if you don't mind:

To my mind, Macs have always seemed unnecessarily overpriced (especially for 
peripherals)
and surrounded by almost fetishistic devotees who could never admit that 
valid music making was possible on a PC.

 Also,  frankly,   I was a little jealous because I just couldn't afford one 
and it seemed like they become obsolete every three years without the 
ability to upgrade as is possible,  $100 at a time in the PC world.   For a 
long time I just couldn't afford to be in that world so I learned how to 
overcome IRQ conflicts,   edit my registry,  install new drivers and fight 
off the myriad spyware/adware/malware and viruses that plague the Microsoft 
world.

That said and done,  this is the first sentence (by Kris stated above) that 
I've read that is making me reconsider my next purchase of a laptop for 
making music (and video).

Now one last thing fills me with a little fear and it is here where I truly 
need your advice all you experts (Mac and Windows alike):

I honestly love a whole suite of programs that are PC only (and a zillion 
VST and VSTi plugings the either don't run on a Mac or don't run well).
These are FlStudio Producers Edition for which there is no single program in 
the Mac domain that will do, specifically, what this incredible program
will do............Sony ACID,  Sony Sound Forge,  Sony Vegas Video,  Tuareg 
2,  Granulab and a bunch of simple proprietary sound design progams too 
numberous
to mention.

I have heard it said by some that running Windows XP on on the Intel Macs is 
exactly the same as running it on a specific Windows maching
and I've heard it said that Win XP does NOT run as effeciently on an Intel 
Mac as on a high powered Windows desktop or laptop.

Which is it you guys?

Can anyone who has truly deep experience running Windows XP on an Intel Mac 
tell me whether I'm safe running all my favorite programs
on the WIN XP side of an Intel Macbook Pro?     I don't want to hear 
theoreticals just because I have heard way too many Mac enthusiasts who've 
had no experience whatsoever
with a lighting fast dual processor WinXP machine make critiques of it that 
are ludicrously innaccurate.

Assuming I have the money,   and if the Intel Macbook Pro is truly just as 
good as a fast Win XP machine then I'd be a fool not to buy one
if for no other reason than doing all of my browsing and e-mail on the much 
safer OS-X side of the machine, whilst using my favorite programs on
the WinXP side of the machine.

Thanks in advance for any advice people have to give me.

yours,
Rick Walker 

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 14:02:30 2007
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Date: Fri, 27 Jul 2007 14:01:22 GMT
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Attention Detroit loopers,

Sat night =

at the Zeitgeist Theater in Detroit.

texture 2x

Featuring mr mrbotty (aka jim konen  and
drxparamental (aka jeff davis)
www.whiterobotrecords.com

we will be presenting our own music,improvising,looping,and showing off
our computer skills as well.

hope to see you Detroit loopers there.
looking forward to meeting other Detroit loopers.
free admission stop in and say hi.

Zeitgeist Gallery/Performance Venue
www.zeitgeistdetroit.org
2661 Michigan Ave.
Detroit Mi
313 965 9192

thank you =

mrbotty
 =


 =







www.whiterobotrecords.com 

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 14:10:47 2007
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> And I hear now that with mac, no one has these problems because they 
> have their core audio and force everyone to comply to their standards so 
> that users don't have to suffer as a result of so many diverse driving 
> coding standards across the globe.
> 
>  
> 
> Kris

Last time I heard, there was a big problem with FireWire interfaces and Core Audio
having a lot of latency.
Hope that's fixed now.
As I understand it, there are difficulties with syncing audio on Firewire, as it 
has to be the master. Core Audio simply gets round this by using sample rate 
conversion. The result is that it works without glitching, but SRC
brings it's own problems.
(On pc, the Firewire audio is treated as master, but then you can't have multiple audio interfaces)

I guess I've been lucky, my M-Audio interface has run perfectly with 3 different pc motherboards,
and an 8-ch firewire interface worked fine straight away. 


andy butler

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 14:13:21 2007
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Subject: RE: choosing the right laptop for live looping , real time DSP processing and running Video
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Hi Rick, et al

At work, the corp issued laptop is a Thinkpad (Lenovo, PC, WindowsXP).  As
Kris said, these are excellent computers. I recently participated in a
MacBookPro pilot, where I was issued a MacBookPro with WindowsXP running in
Parallels.  With think configuration, I had to boot each OS, logon to the
network twice, shut down both OS's  -  this was a pain.  Also Windows ,
running in Parallels on the Mac OS , does not allow Windows to take
advantage of all the MacBookPro ram or video ram.     At least twice in 5
weeks, Parallel's crashed - simply disappeared without any notice or
messages - resulting in lost work.      This week, I turned in the
MacBookPro to get my old Thinkpad back.    Based on my experience, I would
NOT recommend running Windows XP in Parallels on the MacBookPro.

The Mac has about 3% market share of the laptops, so that's partly why they
cost more.  But they are beautiful, and I especially liked the display and
the keybd backlighting and  the keypads which are large and easy to type on.

For the price of the MacBookPro, there are companies that will custom
configure a PC laptop,  optimized for audio applications,  with multiple
SATA hard drives (separating programs and audio files on different drives
can speed performance),  and excellent support.    The PC laptops are more
likely to get the latest/greatest processors before the Macs.   If I was
buying a laptop for music/video today, I'd have to give these WindowsXP
laptops serious consideration.        

-Qua

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 15:03:46 2007
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From: "Ben" <benoitruelle@yahoo.fr>
To: <Loopers-Delight@loopers-delight.com>
Subject: sampler or looper? (roland sp555)
Date: Fri, 27 Jul 2007 17:03:17 +0200
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the new SP555 roland is announced at NAMM:
"The new LOOP CAPTURE function allows users to sample live audio from =
the 555's inputs, (you can also play loops from the pads of course), =
with real-time effects tweaks. Additionally, artists can connect a =
footswitch to the SP-555 to activate the LOOP CAPTURE allowing them to =
stack individual parts on top of one another. The SP-555 makes it easy =
to build-out phrase loops in real time by simply activating the Overdub =
Mode. "

see http://www.sonicstate.com/news/shownews.cfm?newsid=3D5078

Ben.




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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.6000.16481" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>the new SP555 roland is announced at=20
NAMM:</FONT></DIV>
<DIV>
<P>"The new LOOP CAPTURE function allows users to sample live audio from =
the=20
555=92s inputs, (you can also play loops from the pads of course), with =
real-time=20
effects tweaks. Additionally, artists can connect a footswitch to the =
SP-555 to=20
activate the LOOP CAPTURE allowing them to stack individual parts on top =
of one=20
another. The SP-555 makes it easy to build-out phrase loops in real time =
by=20
simply activating the Overdub Mode. "</P>
<P><FONT face=3DArial size=3D2>see <A=20
href=3D"http://www.sonicstate.com/news/shownews.cfm?newsid=3D5078">http:/=
/www.sonicstate.com/news/shownews.cfm?newsid=3D5078</A></FONT></P><FONT=20
face=3DArial size=3D2></FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Ben.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<P><BR></P></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 15:06:52 2007
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Subject: Re: Small, Hand-Sized Battery Powered Mixers
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Yup, your experience validates the fact that there is no rhyme or reason =
so what you can expect from one pc system to another with varying audio =
software or hardware. A particular audio interface or driver may work =
well with one pc system, using the same HD integrated audio architecure =
and OS, but not on another. It's all over the board. Every pc manuacture =
has their own unique tweaks they perform to their hardware and =
architecture, meeting the minimum requirements to shake hands with =
MicroSoft, Intel, and other partners in the system.  Imagine if mac =
suddently allowed other vendors to make mac clones and alter their =
architecture...in a year you'd have just as many macs with their own set =
of problems.

Kris



----- Original Message -----=20
  From: Mark Sottilaro=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Thursday, July 26, 2007 5:28 PM
  Subject: RE: Small, Hand-Sized Battery Powered Mixers


  Oh oh oh.  Perhaps I've been lucky?  I got a Toshiba, because them and =
Sony seemed to be the only companies that build in Firewire ports =
standard in the XP world.  A friend (who's very good with computers, but =
does not use them for audio) told me I'd be able to do the Firewire to =
PCMCIA card. but I didn't believe it.  I knew there'd be crap.



  Inversely, I think my Toshiba's own audio card using the ASIOFORALL =
driver sounds like crap compared to the cheap M-Audio Firewire Solo =
card.



  In hindsight, I wish I'd gone the Macbook Pro route, even though I'm =
pretty happy with the Toshiba.  Man XP is a clunky, crappy dog compared =
to the Mac. in fact, if Mobius. I'll shut up now. ;)



  M



  -----Original Message-----
  From: Krispen Hartung [mailto:khartung@cableone.net]=20
  Sent: Thursday, July 26, 2007 3:59 PM
  To: Loopers-Delight@loopers-delight.com
  Subject: Re: Small, Hand-Sized Battery Powered Mixers



  Hey Kris,



  I know this may sound crazy, but why not just get an audio interface =
that has built in mixing?  The Focusrite Liquidmix I mentioned looks =
very interesting and if you buy one from Sweetwater they're including an =
additional DSP card for no charge.



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



  I knew someone would ask this. :) =20



  Well, the truth is that until I get a mac, I am utterly frustrated and =
disgusted beyond freakin' belief with compatibility and performance =
issues that I'm experiencing with audio interfaces for my notebook pc. =
If I didn't work for a major company that sells PCs and didn't have to =
work on one 60 hours a week, I'd through them all out the window. I =
can't even begin to think of how many hundreds of hours I've spent in my =
lifetime trying to resolve issues with PCs, tweaking registries, =
changing bootup options, startup programs, settings burried within =
settings inside drivers, etc, etc...it now seems like complete madness =
and quite frankly a sickness.  I demand a refund on my life from Bill =
Gates and IBM.



  I started with the Indigo IO cardbus interface. No complaints except =
that it is line input only and has only a mini plug input/ouput). Still =
a great little unit with very little latency.=20



  I tried an M-Audio firewire unit with cardbus to fireware adaptor. It =
was a total distaster and IRC conflict between the adaptor and anothe =
piece of hardware. Not resolvable.



  I tried the EM-U cardbus interface. Another total disaster and problem =
with their driver and MAX/MSP.=20



  Then I went to the Eidrio UA-25 USB interface. It works great, but =
more latency than I prefer, and again the driver sucks and doesn't give =
me enough buffer and vector size options to run some high powered =
patches in MAX/MSP. =20



  Totally nuts. So, yesterday, I yanked everything out, installed the =
ASIO for All driver and I'm pluging my mandolin and headset mic =
(separately, hence the need of a small mixer) into my notebook's =
soundcard. Wonderfully simple.



  The crazy thing is that using this ASIO for ALL driver and the Intel =
integrated High Definition Audio system inside my ThinkPad sounds better =
than any othe other prior solutions I've used with next to nothing for =
latency.  Imagine that? I'm convinced most of these companies making =
audio interfaces couldn't build a decent audio driver without =
compatibility problems if their lives depended on it.



  And I hear now that with mac, no one has these problems because they =
have their core audio and force everyone to comply to their standards so =
that users don't have to suffer as a result of so many diverse driving =
coding standards across the globe.



  Kris



    ----- Original Message -----=20


    =20

    -----Original Message-----
    From: Krispen Hartung [mailto:khartung@cableone.net]=20
    Sent: Thursday, July 26, 2007 3:15 PM
    To: Loopers-Delight@loopers-delight.com
    Subject: OT: Small, Hand-Sized Battery Powered Mixers



    I am looking for a decent battery powered mixer that is about the =
size of my hand, just to mix line level and mic levels into my laptop =
sound card. I have been investigating options for a day or so and have =
reviewed products from ART, Rolls, Nady, Eiderol, Maplin, Samson S-Mix =
(not battery powered, unforunately), etc.



    Any experience with any of these small type mixers?  I don't need =
EQ, just ability to mix and with clean, low noise results.



    Right now, I have narrowed it down to:



    Maplin 4-Channel Mono Mixer - =
http://www.maplin.co.uk/Module.aspx?ModuleNo=3D31136&&source=3D14&doy=3D2=
6m7

    Edirol M10-MX analog mixer - =
http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html



    Any other suggestions?=20



    Kris



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<DIV><FONT face=3DArial size=3D2>Yup, your experience validates the fact =
that there=20
is no rhyme or reason so what you can expect from one pc system to =
another with=20
varying audio software or hardware. A particular audio interface or =
driver may=20
work well with one pc system, using the same HD integrated audio =
architecure and=20
OS, but not on another. It's all over the board. Every pc manuacture has =
their=20
own unique tweaks they perform to their hardware and architecture, =
meeting the=20
minimum requirements to shake hands with MicroSoft, Intel, and other =
partners in=20
the system.&nbsp; Imagine if mac suddently allowed other vendors to make =
mac=20
clones and alter their architecture...in a year you'd have just as many =
macs=20
with their own set of problems.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dsine@zerocrossing.net =
href=3D"mailto:sine@zerocrossing.net">Mark=20
  Sottilaro</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Thursday, July 26, 2007 =
5:28=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> RE: Small, Hand-Sized =
Battery=20
  Powered Mixers</DIV>
  <DIV><BR></DIV>
  <DIV class=3DSection1>
  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">Oh oh =
oh=85&nbsp;=20
  Perhaps I=92ve been lucky?&nbsp; I got a Toshiba, because them and =
Sony seemed=20
  to be the only companies that build in Firewire ports standard in the =
XP=20
  world.&nbsp; A friend (who=92s very good with computers, but does not =
use them=20
  for audio) told me I=92d be able to do the Firewire to PCMCIA card=85 =
but I didn=92t=20
  believe it.&nbsp; I knew there=92d be crap.</SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT>&nbsp;</P>
  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">Inversely, =
I think my=20
  Toshiba=92s own audio card using the ASIOFORALL driver sounds like =
crap compared=20
  to the cheap M-Audio Firewire Solo card.</SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT>&nbsp;</P>
  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">In =
hindsight, I wish=20
  I=92d gone the Macbook Pro route, even though I=92m pretty happy with =
the=20
  Toshiba.&nbsp; Man XP is a clunky, crappy dog compared to the Mac=85 =
in fact, if=20
  Mobius=85 I=92ll shut up now. ;)</SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT>&nbsp;</P>
  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial">M</SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT>&nbsp;</P>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DTahoma =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Tahoma">-----Original=20
  Message-----<BR><B><SPAN style=3D"FONT-WEIGHT: bold">From:</SPAN></B> =
Krispen=20
  Hartung [mailto:khartung@cableone.net] <BR><B><SPAN=20
  style=3D"FONT-WEIGHT: bold">Sent:</SPAN></B> Thursday, July 26, 2007 =
3:59=20
  PM<BR><B><SPAN style=3D"FONT-WEIGHT: bold">To:</SPAN></B>=20
  Loopers-Delight@loopers-delight.com<BR><B><SPAN=20
  style=3D"FONT-WEIGHT: bold">Subject:</SPAN></B> Re: Small, Hand-Sized =
Battery=20
  Powered Mixers</SPAN></FONT></P>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: 12pt"></SPAN></FONT>&nbsp;</P>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
color=3Dnavy=20
  size=3D2><SPAN style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial">Hey=20
  Kris,</SPAN></FONT></P>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: 12pt"></SPAN></FONT>&nbsp;</P>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
color=3Dnavy=20
  size=3D2><SPAN style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial">I know=20
  this may sound crazy, but why not just get an audio interface that has =
built=20
  in mixing?&nbsp; The Focusrite Liquidmix I mentioned looks very =
interesting=20
  and if you buy one from Sweetwater they=92re including an additional =
DSP card=20
  for no charge.</SPAN></FONT></P>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: 12pt"></SPAN></FONT>&nbsp;</P>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
color=3Dnavy=20
  size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial">*************</SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">I knew someone would ask =
this.=20
  :)&nbsp; </SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Well, the truth is that =
until I=20
  get a mac, I am utterly frustrated and disgusted beyond freakin' =
belief with=20
  compatibility and performance issues that I'm experiencing with audio=20
  interfaces for my notebook pc. If I didn't work for a major company =
that sells=20
  PCs and didn't have to work on one 60 hours a week, I'd through them =
all out=20
  the window. I can't even begin to think of how many hundreds of hours =
I've=20
  spent in my lifetime trying to resolve issues with PCs, tweaking =
registries,=20
  changing bootup options, startup programs, settings burried within =
settings=20
  inside drivers, etc, etc...it now seems like complete madness and =
quite=20
  frankly a sickness.&nbsp; I demand a refund on my life from Bill Gates =
and=20
  IBM.</SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">I started with the =
Indigo IO=20
  cardbus interface. No complaints except that it is line input only and =
has=20
  only a mini plug input/ouput). Still a great little unit with very =
little=20
  latency. </SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">I tried an M-Audio =
firewire unit=20
  with cardbus to fireware adaptor. It was a total distaster and IRC =
conflict=20
  between the adaptor and anothe piece of hardware. Not=20
  resolvable.</SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">I tried the EM-U cardbus =

  interface. Another total disaster and problem with their driver and =
MAX/MSP.=20
  </SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Then&nbsp;I went to the =
Eidrio=20
  UA-25 USB interface. It works great, but more latency than I prefer,=20
  and&nbsp;again the driver sucks and doesn't give me enough buffer and =
vector=20
  size options to run some high powered patches in MAX/MSP.&nbsp;=20
  </SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Totally nuts. So, =
yesterday, I=20
  yanked everything out, installed the ASIO for All driver and I'm =
pluging my=20
  mandolin and headset mic (separately, hence the need of a small mixer) =
into my=20
  notebook's soundcard. Wonderfully simple.</SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">The crazy thing is that =
using this=20
  ASIO for ALL driver and the Intel integrated High Definition Audio =
system=20
  inside my ThinkPad sounds better than any othe other prior solutions =
I've used=20
  with next to nothing for latency.&nbsp; Imagine that? I'm convinced =
most of=20
  these companies making audio interfaces couldn't build a decent audio =
driver=20
  without compatibility problems if their lives depended on=20
  it.</SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">And I hear now that with =
mac, no=20
  one has these problems because they have their core audio and force =
everyone=20
  to comply to their standards so that users don't have to suffer as a =
result of=20
  so many diverse driving coding standards across the=20
  globe.</SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial">Kris</SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
  size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
  <BLOCKQUOTE=20
  style=3D"BORDER-RIGHT: medium none; PADDING-RIGHT: 0in; BORDER-TOP: =
medium none; PADDING-LEFT: 4pt; PADDING-BOTTOM: 0in; MARGIN: 5pt 0in 5pt =
3.75pt; BORDER-LEFT: black 1.5pt solid; PADDING-TOP: 0in; BORDER-BOTTOM: =
medium none">
    <DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3DArial =
size=3D2><SPAN=20
    style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">----- Original Message =
-----=20
    </SPAN></FONT></P></DIV>
    <DIV style=3D"font-color: black">
    <P class=3DMsoNormal style=3D"BACKGROUND: #e4e4e4; MARGIN-LEFT: =
0.5in"><FONT=20
    face=3DArial size=3D2><SPAN=20
    style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial"><BR>&nbsp;</SPAN></FONT></P></DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3DTahoma =
size=3D2><SPAN=20
    style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Tahoma">-----Original=20
    Message-----<BR><B><SPAN style=3D"FONT-WEIGHT: =
bold">From:</SPAN></B> Krispen=20
    Hartung [mailto:khartung@cableone.net] <BR><B><SPAN=20
    style=3D"FONT-WEIGHT: bold">Sent:</SPAN></B> Thursday, July 26, 2007 =
3:15=20
    PM<BR><B><SPAN style=3D"FONT-WEIGHT: bold">To:</SPAN></B>=20
    Loopers-Delight@loopers-delight.com<BR><B><SPAN=20
    style=3D"FONT-WEIGHT: bold">Subject:</SPAN></B> OT: Small, =
Hand-Sized Battery=20
    Powered Mixers</SPAN></FONT></P>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3D"Times =
New Roman"=20
    size=3D3><SPAN style=3D"FONT-SIZE: 12pt"></SPAN></FONT>&nbsp;</P>
    <DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3DArial =
size=3D2><SPAN=20
    style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">I am looking for a =
decent=20
    battery powered mixer that is about the size of my hand, just to mix =
line=20
    level and mic levels into my laptop sound card. I have been =
investigating=20
    options for a day or so and have reviewed products from ART, Rolls, =
Nady,=20
    Eiderol, Maplin, Samson S-Mix (not battery powered, unforunately),=20
    etc.</SPAN></FONT></P></DIV>
    <DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3D"Times =
New Roman"=20
    size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
    <DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3DArial =
size=3D2><SPAN=20
    style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Any experience with =
any of these=20
    small type mixers?&nbsp; I don't need EQ, just ability to mix and =
with=20
    clean, low noise results.</SPAN></FONT></P></DIV>
    <DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3D"Times =
New Roman"=20
    size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
    <DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3DArial =
size=3D2><SPAN=20
    style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Right now, I have =
narrowed it=20
    down to:</SPAN></FONT></P></DIV>
    <DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3D"Times =
New Roman"=20
    size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
    <DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3DArial =
size=3D2><SPAN=20
    style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Maplin 4-Channel Mono =
Mixer - <A=20
    =
href=3D"http://www.maplin.co.uk/Module.aspx?ModuleNo=3D31136&amp;&amp;sou=
rce=3D14&amp;doy=3D26m7">http://www.maplin.co.uk/Module.aspx?ModuleNo=3D3=
1136&amp;&amp;source=3D14&amp;doy=3D26m7</A></SPAN></FONT></P></DIV>
    <DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3D"Times =
New Roman"=20
    size=3D3><SPAN style=3D"FONT-SIZE: 12pt">Edirol M10-MX analog mixer =
- <A=20
    =
href=3D"http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html=
">http://www.midi-store.com/Edirol-M10-MX-analog-mixer-p-16896.html</A></=
SPAN></FONT></P></DIV>
    <DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3D"Times =
New Roman"=20
    size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
    <DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3DArial =
size=3D2><SPAN=20
    style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Any other suggestions? =

    </SPAN></FONT></P></DIV>
    <DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3D"Times =
New Roman"=20
    size=3D3><SPAN style=3D"FONT-SIZE: =
12pt"></SPAN></FONT>&nbsp;</P></DIV>
    <DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3DArial =
size=3D2><SPAN=20
    style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial">Kris</SPAN></FONT></P></DIV>
    <DIV>
    <P class=3DMsoNormal style=3D"MARGIN-LEFT: 1in"><FONT face=3D"Times =
New Roman"=20
    size=3D3><SPAN=20
  style=3D"FONT-SIZE: =
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From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 15:11:16 2007
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Interesting, I have not heard of this issue. I know that Jeff Kaiser is 
using an older mac with a firewire interface (Fireface 400), and he's 
somewhat of a perfectionist when it comes to his sound, with the trumpet 
being his main audio input and all. He's never commented on any latency 
problems. Of course, he's using max, so that could be a factor, but I'm not 
sure.

Kris

----- Original Message ----- 
>
> Last time I heard, there was a big problem with FireWire interfaces and 
> Core Audio
> having a lot of latency.
> Hope that's fixed now.
> As I understand it, there are difficulties with syncing audio on Firewire, 
> as it has to be the master. Core Audio simply gets round this by using 
> sample rate conversion. The result is that it works without glitching, but 
> SRC
> brings it's own problems.
> (On pc, the Firewire audio is treated as master, but then you can't have 
> multiple audio interfaces)
>
> I guess I've been lucky, my M-Audio interface has run perfectly with 3 
> different pc motherboards,
> and an 8-ch firewire interface worked fine straight away.
>
> andy butler
> 

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 15:16:33 2007
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From: Warren Sirota <wsirota@wsdesigns.com>
Subject: RE: choosing the right laptop for live looping ,
 real time DSP processing and running Video
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Qua,

With all due respect:

I use a MacBook (non-pro, 2GHz, 2G ram) running XP for all my work, but I
use Boot Camp, not Parallels. Boot Camp, not Parallels, would be the
recommended configuration for anyone wishing to do music production under XP
on a Mac, and I believe that the computer would be very well-suited for that
mode of use. (that said, what I actually do is to boot into OSX for all my
music, and keep all my work on the - sorry, PC fan-people - far less stable
PC side). I understand the hassles about using Parallels in a corporate
environment, with dual logins, but that's probably an unusual situation for
people's music computers.

I'd love to use Parallels (or the new VMWare Fusion) on the Mac for my
Windows development work, but I need to develop under VMware Workstation
because of the essential snapshot feature, and that only works under Boot
Camp. When VMware release Workstation for OSX, I'll be one of the first
customers.

Running XP with Boot Camp is almost exactly like running XP on any computer
built for XP (I've used quite a few of those). XP isn't running under an
emulator in this configuration; instead, the computer just boots natively
into the XP partition. The *only* difference that I've found so far, after 6
months of intensive use, is that XP backup software can't back up the whole
disk partition as it can do on a non-partitioned disk - instead I have to
run an "all files" backup, which is not quite as good.

As far as cost goes: this is probably no longer true, but when I priced out
Acer and Dell laptops vs. MacBooks back in January, I was surprised to see
that the prices were quite comparable for comparable configurations. And,
when you get a MacBook, you get a computer (at least on the OSX side) where
all the hardware and software is integrated from the ground up, and there
are no nasty surprises with the way the Firewire or USB functions, as there
were on my last Dell Inspiron, making the "multimedia computer" completely
unsuitable for multitrack recording (for which I will never forgive Dell),
nor the overheating and spontaneous system shutdown that the piece-of-shit
Dell was subject to when you filled the memory out to capacity.

And with the Macbook, you get various bonuses that are just part of the way
Apple engineers hardware. I've dropped it onto asphalt from 3 feet with only
a scratch. The power cord easily just pulls out from the computer if you
trip over it (OK, so I'm a klutz). You can use two fingers on the trackpad
to scroll any window - in either OSX or XP - instead using the scroll bars
onscreen. It also goes into Standby and Hibernate well, something that is
frequently a problem with Windows computers.

I am *so* glad I got this computer - I can do my work, and my music system
is insulated from the vagaries of Windows, which (sorry again, Windows
fan-people) seems to trash my audio setup and various other things at random
intervals for no discernable reason. Plus, if you get a new Windows computer
today, you're likely to be stuck with Vista, which, like every new Microsoft
OS, seems designed to soak up more and more CPU power with features I don't
give a crap about. Plus, the MacBook is really light and doesn't seem to
need it's fan very much, so it's pretty quiet.

BTW, I've been making my living from programming under Windows since Windows
3.1 in 1993, but that doesn't mean I don't notice its flaws (au contraire, I
am subjected to them constantly). I don't think the Mac OS is inherently
superior in features or even UI, and most of the newer features in either OS
strike me as marketing fluff that only serves to waste computer power and
drive corporate profits. The early hype that Macs don't crash was nonsense
(though it's more true now), and most of the stuff in those Mac-vs-PC
commercials is distortion, if not outright lies. Nonetheless, I find Macs
(on the OSX side) to be significantly superior and more stable for music,
presumably because of the tight control of the hw platform by Apple and the
less-frequent OS security updates. Didn't Jobs recently quote Alan Kay as
saying "if you want to make great sw, you have to control the hw," or
something like that?

Sorry, I usually hate PC-vs-Mac flame stuff, but I had to cast my vote in
this discussion in support of MacBooks. Mine is the best Windows computer
I've ever had.

Warren



-----Original Message-----
From: Qua Veda [mailto:qua@oregon.com] 
Sent: Friday, July 27, 2007 10:13 AM
To: Loopers-Delight@loopers-delight.com
Subject: RE: choosing the right laptop for live looping , real time DSP
processing and running Video

Hi Rick, et al

At work, the corp issued laptop is a Thinkpad (Lenovo, PC, WindowsXP).  As
Kris said, these are excellent computers. I recently participated in a
MacBookPro pilot, where I was issued a MacBookPro with WindowsXP running in
Parallels.  With think configuration, I had to boot each OS, logon to the
network twice, shut down both OS's  -  this was a pain.  Also Windows ,
running in Parallels on the Mac OS , does not allow Windows to take
advantage of all the MacBookPro ram or video ram.     At least twice in 5
weeks, Parallel's crashed - simply disappeared without any notice or
messages - resulting in lost work.      This week, I turned in the
MacBookPro to get my old Thinkpad back.    Based on my experience, I would
NOT recommend running Windows XP in Parallels on the MacBookPro.

The Mac has about 3% market share of the laptops, so that's partly why they
cost more.  But they are beautiful, and I especially liked the display and
the keybd backlighting and  the keypads which are large and easy to type on.

For the price of the MacBookPro, there are companies that will custom
configure a PC laptop,  optimized for audio applications,  with multiple
SATA hard drives (separating programs and audio files on different drives
can speed performance),  and excellent support.    The PC laptops are more
likely to get the latest/greatest processors before the Macs.   If I was
buying a laptop for music/video today, I'd have to give these WindowsXP
laptops serious consideration.        

-Qua


From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 15:29:48 2007
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Subject: RE: choosing the right laptop for live looping , real time DSP processing and running Video
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>>Based on my experience, I would NOT recommend running Windows XP in
Parallels on the MacBookPro.<<

based on /my/ experience, I would not waste my time with XP. but then
that's my experience. :-)

I have a macbook pro (early version intel duo 1.8, 2 gigs of ram, 80 gig
HD) with parallels & w2k sp4 on it. it's the longest running build of
windows I have used on any machine, principally because it's
relationship with the hardware is abstracted. it has crashed a couple of
times, but way way fewer than would've been the case doing the same jobs
on a "regular" PC. I also have got the same apps on a dual 2GHz dell box
& have used them on any number of dell, HP & toshiba portables....

I think the bottom line is that each of us has so many variables
involved with our computer use & experiences, that it's not easy to give
a reliable answer. also, what you start off with as your list of
requirements is likely to change as you discover things about y'r new
toy. for instance, I thought I was going to be using all mac apps on my
macbook, & give up using the PC altogether. but after a few days of
trying to get anything worthwhile & accurate done in bias-peak or
photoshop, I have returned to using vegas & corel photopaint on the
mac's PC-side, under parallels. I've lived with parallels since april
last year- signed up as a beta tester & I have nothing to complain
about. but then, that's my experience again.

& I'd still rather do this than use the same apps on a decent PC laptop,
because occasionally I need to start or finish a project in final cut &
I can't be arsed carrying two computers around. the memory sharing thing
doesn't bother me. the macbook looks better than any PC I've ever seen,
even though the build-quality of these new machines is a faint shadow of
the old titanium powerbook.=20

if you get a macbook-pro, get some speck polycarbonate shells for it, or
the outside will start to look tatty really quick.

if looks aren't important & you'd rather run windows apps, get a
high-end PC laptop, with a decent warranty on the hardware. once you've
got a stable build on there, ghost the thing onto a replacement drive.
if a PC of any sort is allowed on a public network, it will catch all
sorts of diseases. macs tend to be a bit safer when it comes to this
sort of thing.

d.

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 15:41:22 2007
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Subject: The Axon AX100 MkII 
Date: Fri, 27 Jul 2007 15:41:21 +0000
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Anybody have one of these? I just got one and Im programming it this weekend. This thing is incredible. Tracking is really fast. Editing is really easy as well. I was fooling around with it last night. I figured out how to trigger clips and scenes in Live. It works really well with Reason. The really cool thing is, is that it recognizes picking zones, so not only can I control different synths on different strings and frets, but I can control parameters just by where I pick a note. Very, very hip. 

MFC

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 16:19:13 2007
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Some of the comments are really funny. (well, I thought they were. :-))

Enjoy.

-Rev. Fever


'oooh i gotta get like two of these and a ping pong table'

http://musicthing.blogspot.com/2007/07/hot-expensive-pointless-tape- 
echo-from.html
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<HTML><BODY style="word-wrap: break-word; -khtml-nbsp-mode: space; -khtml-line-break: after-white-space; "><DIV>Some of the comments are really funny. (well, I thought they were. :-))</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>Enjoy.</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>-Rev. Fever</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV><B>'</B><FONT class="Apple-style-span" face="Trebuchet MS"><B>oooh i gotta get like two of these and a ping pong table'</B></FONT></DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV><A href="http://musicthing.blogspot.com/2007/07/hot-expensive-pointless-tape-echo-from.html">http://musicthing.blogspot.com/2007/07/hot-expensive-pointless-tape-echo-from.html</A></DIV></BODY></HTML>
--Apple-Mail-1--1059976694--

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 16:24:06 2007
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From: Mark Hamburg <mark_hamburg@baymoon.com>
Subject: Re: sampler or looper? (roland sp555)
Date: Fri, 27 Jul 2007 09:23:58 -0700
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Cool. Though it has sat idle for quite a while, I really liked my =20
SP-808 and looking at the face plate on this suggests that they've =20
integrated that sort of functionality with a looper.

On the other hand, my confidence in Roland's ability to take a good =20
idea and then screw it up in the final execution is high...

Mark

On 27 Jul 2007, at 8:03 AM, Ben wrote:

> the new SP555 roland is announced at NAMM:
> "The new LOOP CAPTURE function allows users to sample live audio =20
> from the 555=92s inputs, (you can also play loops from the pads of =20
> course), with real-time effects tweaks. Additionally, artists can =20
> connect a footswitch to the SP-555 to activate the LOOP CAPTURE =20
> allowing them to stack individual parts on top of one another. The =20
> SP-555 makes it easy to build-out phrase loops in real time by =20
> simply activating the Overdub Mode. "
>
> see http://www.sonicstate.com/news/shownews.cfm?newsid=3D5078
>
> Ben.
>
>
>
>

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 16:33:56 2007
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I've been ploughing through the archives, but can't find a way to use 
the bypass footswitch to restart a jamman loop from the beginning - 
is this possible? I'm using the Stellon upgrade chip.

Failing this, is there a way to do it through midi? I appreciate the 
RTFM philiosophy, but when there's such a resource as this list, I 
thought I'd just ask.






From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 16:48:18 2007
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Date: Fri, 27 Jul 2007 12:48:15 -0400
From: Warren Sirota <wsirota@wsdesigns.com>
Subject: RE: The Axon AX100 MkII
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I've been curious about them for a while. Where are you located? I'd like to
find a place in the NYC area where I can try one, but I've been unsuccessful
so far.

-----Original Message-----
From: midifriedchicken@comcast.net [mailto:midifriedchicken@comcast.net] 
Sent: Friday, July 27, 2007 11:41 AM
To: Loopers Delight
Subject: The Axon AX100 MkII

Anybody have one of these? I just got one and Im programming it this
weekend. This thing is incredible. Tracking is really fast. Editing is
really easy as well. I was fooling around with it last night. I figured out
how to trigger clips and scenes in Live. It works really well with Reason.
The really cool thing is, is that it recognizes picking zones, so not only
can I control different synths on different strings and frets, but I can
control parameters just by where I pick a note. Very, very hip. 

MFC


From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 16:51:19 2007
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To: Loopers-Delight@loopers-delight.com
From: Paul Sullivan <paulsull@earthlink.net>
Subject: NYC/Brooklyn gig spam: LAMBIC @ Barbes in Park Slope Brooklyn, Saturday July 28th @ 7 pm
Date: Fri, 27 Jul 2007 12:51:17 -0400
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Hi, everyone

just wanted to let you know about this gig at one of Brooklyn's  
premiere music venues. Stephen Moses (Alice Donut) on drums,  
trombone, and loops and Paul Sullivan (guitar, baritone, and effects)  
will be playing two sets starting at 7 pm this Saturday, please come  
by if you can. Looping tools include 2 Boomerangs, DL-4, Digitech  
Echo Plus, and Akai Headrush. For more info:http:// 
barbesbrooklyn.com/ http://www.myspace.com/lambic   http://cdbaby.com/ 
cd/lambic

Thanks,
Paul

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 17:15:38 2007
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References: <200707270720296.SM07036@quahome>
Subject: Re: choosing the right laptop for live looping, ect + PRICING EXPERIMENT
Date: Fri, 27 Jul 2007 11:15:35 -0600
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----- Original Message -----=20
From: "Qua Veda" <

> The Mac has about 3% market share of the laptops, so that's partly why =
they
> cost more. =20

Good point. Some folks forget how little they have of the market share, =
but we should
see this jump up with their adoption of the Intel duo core, right? Maybe =
it has jumped
already.

> For the price of the MacBookPro, there are companies that will custom
> configure a PC laptop,  optimized for audio applications,  with =
multiple
> SATA hard drives (separating programs and audio files on different =
drives
> can speed performance),  and excellent support.  =20

Well, the pricing thing is getting interesting, and there may not be the =
same discrepancy
as there was before.  I just did an experiment for you all. I went to =
the apple, HP, Dell,=20
Toshiba, and Lenovo sites and pretended I was buying a notebook from =
each. I configured each notebook
as I would if I were buying it for myself today for music. The specs are =
exact apples to apples, but it
will give you a general idea of pricing comparisons of really top notch =
notebooks. The result
here could vary quite a bit if I had not have selected business class PC =
notebooks. The PC
prices would probably vary by at least $500, if I had configured a =
consumer model.

Price Summaries:

MacBook Pro - $3748.00 USD
Lenovo ThinkPadT61p - $2942.00 (I would not buy again pesonally, because =
they don't have firewire)
HP Compaq nc8430 - $3655.00
Dell Lattitude D8030 - $2975
Toshiba Tecra M9-ST5511 - $2564.00 (could not configure with 4MB of RAM =
or faster hard drive)


Mac

Model: MacBook Pro
Processor: 2.4GHz Intel Core 2 Duo=20
Monitor/Display: 15" (Widescreen display, not glossy)
Memory: 4GB
Hard Drive: 160GB Serial ATA Drive @ 7200 rpm
Services: AppleCare Protection Plan for MacBook Pro/PowerBook (w/or w/o =
Display) - Auto-enroll

TOTAL: $3748.00 USD

Lenovo (IBM)

Model: ThinkPad T61p Mobile Workstation (follow on to the unit I have =
now)
Processor: Intel=AE CoreT 2 Duo T7700 (2.4GHz 800MHz 4MBL2)=20
Monitor/Display: 15.4 WUXGA TFT =20
Memory: 4 GB PC2-5300 DDR2 SDRAM 667MHz SODIMM Memory (2 DIMM)=20
Hard Drive: 100GB Hard Disk Drive, 7200rpm
Services: 3 year depot 9x5 Next Business Day  & 3 Year Depot Upgrade =
with 3 Year ThinkPad Protection

TOTAL: $2942.00

HP (Under Business Class notebooks)

Model: HP Compaq nc8430
Processor: Intel Core Duo Processor T7600 2.33 GHz, 4MB cache, 667 MHz =
FSB
Monitor/Display: 15.4 inch WXGA
Memory: 4GB
Hard Drive: 100GB, 7200 rpm
Services: 9X5 pickup & return services w/ accidental damage protection, =
3 years

TOTAL: $3655

Dell (large business class notebooks)

Model: Dell Lattitude D8030
Processor: Intel=AE CoreT 2 Duo T7700 (2.40GHz) 4M L2 Cache, 800MHz Dual =
Core=20
Monitor/Display: 15.4 inch Wide Screen WSXGA+ LCD Panel
Memory: 4.0GB, DDR2-667MHz SDRAM, 2 DIMMS
Hard Drive: 160GB Hard Drive, 9.5MM, 7200RPM
Services: 3 Year Business Comprehensive Plan / Gold Technical Support, 3 =
Years

TOTAL: $2975

Toshiba (under business products)

Model: Tecra M9-ST5511
Processor: Intel=AE CoreT2 Duo* Processor T7700 (2.40GHz, 4MB L2 Cache, =
800MHz FSB)
Monitor/Display: 14.1" Diagonal Widescreen XGA display
Memory: 2048MB PC5300 DDR2 667MHz SDRAM (2048MBx1)
Hard Drive: 160GB HDD (5400rpm, Serial-ATA)
Services: 3 Years Standard Limited Warranty=20

TOTAL: $2564.00


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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
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<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff background=3D"">
<DIV><FONT face=3DArial size=3D2>----- Original Message ----- <BR>From: =
"Qua Veda"=20
&lt;<BR><BR>&gt; The Mac has about 3% market share of the laptops, so =
that's=20
partly why they<BR>&gt; cost more.&nbsp; <BR><BR>Good point. Some folks =
forget=20
how little they have of the market share, but we should<BR>see this jump =
up with=20
their adoption of the Intel duo core, right? Maybe it has=20
jumped<BR>already.<BR><BR>&gt; For the price of the MacBookPro, there =
are=20
companies that will custom<BR>&gt; configure a PC laptop,&nbsp; =
optimized for=20
audio applications,&nbsp; with multiple<BR>&gt; SATA hard drives =
(separating=20
programs and audio files on different drives<BR>&gt; can speed=20
performance),&nbsp; and excellent support.&nbsp;&nbsp; <BR><BR>Well, the =
pricing=20
thing is getting interesting, and there may not be the same =
discrepancy<BR>as=20
there was before.&nbsp; I just did an experiment for you all. I went to =
the=20
apple, HP, Dell, <BR>Toshiba, and Lenovo sites and pretended I was =
buying a=20
notebook from each. I configured each notebook<BR>as I would if I were =
buying it=20
for myself today for music. The specs are exact apples to apples, but =
it<BR>will=20
give you a general idea of pricing comparisons of really top notch =
notebooks.=20
The result</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>here could vary quite a bit if I had =
not have=20
selected business class PC notebooks. The PC</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>prices would probably vary by at least =
$500, if I=20
had configured a consumer model.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Price Summaries:</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>MacBook Pro - $3748.00 USD</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Lenovo ThinkPadT61p - $2942.00 (I would =
not buy=20
again pesonally, because they don't have firewire)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>HP Compaq nc8430&nbsp;- =
$3655.00</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Dell Lattitude D8030 - =
$2975</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Toshiba Tecra M9-ST5511 - $2564.00 =
(could not=20
configure with 4MB of RAM or faster hard drive)</FONT></DIV><FONT =
face=3DArial=20
size=3D2>
<DIV><BR><BR><STRONG>Mac</STRONG><BR><BR>Model: MacBook =
Pro<BR>Processor: 2.4GHz=20
Intel Core 2 Duo <BR>Monitor/Display: 15" (Widescreen display, not=20
glossy)<BR>Memory: 4GB<BR>Hard Drive: 160GB Serial ATA Drive @ 7200=20
rpm<BR>Services: AppleCare Protection Plan for MacBook Pro/PowerBook =
(w/or w/o=20
Display) - Auto-enroll<BR><BR>TOTAL: $3748.00 USD<BR><BR><STRONG>Lenovo=20
(IBM)</STRONG><BR><BR>Model: ThinkPad T61p Mobile Workstation (follow on =
to the=20
unit I have now)<BR>Processor: Intel=AE Core=99 2 Duo T7700 (2.4GHz =
800MHz 4MBL2)=20
<BR>Monitor/Display: 15.4 WUXGA TFT&nbsp; <BR>Memory: 4 GB PC2-5300 DDR2 =
SDRAM=20
667MHz SODIMM Memory (2 DIMM) <BR>Hard Drive: 100GB Hard Disk Drive,=20
7200rpm<BR>Services: 3 year depot 9x5 Next Business Day&nbsp; &amp; 3 =
Year Depot=20
Upgrade with 3 Year ThinkPad Protection<BR><BR>TOTAL: =
$2942.00<BR><BR><STRONG>HP=20
(Under Business Class notebooks)</STRONG><BR><BR>Model: HP Compaq=20
nc8430<BR>Processor: Intel Core Duo Processor T7600 2.33 GHz, 4MB cache, =
667 MHz=20
FSB<BR>Monitor/Display: 15.4 inch WXGA<BR>Memory: 4GB<BR>Hard Drive: =
100GB, 7200=20
rpm<BR>Services: 9X5 pickup &amp; return services w/ accidental damage=20
protection, 3 years<BR><BR>TOTAL: $3655</DIV>
<DIV></FONT><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><STRONG>Dell (large business class=20
notebooks)</STRONG></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Model: Dell Lattitude =
D8030</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Processor: Intel=AE Core=99 2 Duo T7700 =
(2.40GHz) 4M L2=20
Cache, 800MHz Dual Core&nbsp;</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Monitor/Display: <FONT size=3D1>15.4 =
inch Wide Screen=20
WSXGA+ LCD Panel</FONT></FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Memory: 4.0GB, DDR2-667MHz SDRAM, 2=20
DIMMS</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Hard Drive: 160GB Hard Drive, 9.5MM,=20
7200RPM</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Services: <FONT size=3D1>3 Year =
Business=20
Comprehensive Plan / </FONT>Gold Technical Support, 3 Years</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>TOTAL: $2975</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT><FONT face=3DArial =
size=3D2></FONT><FONT=20
face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><STRONG>Toshiba (under business=20
products)</STRONG></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Model: Tecra M9-ST5511</FONT></DIV>
<DIV><FONT face=3DArial><FONT size=3D2>Processor: <SPAN>Intel=AE =
Core=992 Duo<A=20
href=3D"javascript:popWindow('disclaimer.to#Core2Duo','yes','yes','500','=
325')">*</A>=20
Processor T7700 (2.40GHz, 4MB L2 Cache, 800MHz =
FSB)</SPAN></FONT></FONT></DIV>
<DIV><SPAN><FONT face=3DArial><FONT size=3D2>Monitor/Display: =
<SPAN>14.1" Diagonal=20
Widescreen XGA display</SPAN></FONT></FONT></SPAN></DIV>
<DIV><SPAN><FONT face=3DArial><FONT size=3D2>Memory: <SPAN>2048MB PC5300 =
DDR2 667MHz=20
SDRAM (2048MBx1)</SPAN></FONT></FONT></SPAN></DIV>
<DIV><SPAN><FONT face=3DArial><FONT size=3D2>Hard Drive: <SPAN>160GB HDD =
(5400rpm,=20
Serial-ATA)</SPAN></FONT></FONT></SPAN></DIV>
<DIV><SPAN><FONT face=3DArial size=3D2>Services: <SPAN>3 Years Standard =
Limited=20
Warranty</SPAN>&nbsp;</FONT></SPAN></DIV>
<DIV><SPAN><FONT face=3DArial size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN><FONT face=3DArial size=3D2>TOTAL: =
$2564.00</FONT></SPAN></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 17:18:52 2007
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
To: <Loopers-Delight@loopers-delight.com>
Subject: AW: sampler or looper? (roland sp555)
Date: Fri, 27 Jul 2007 19:19:12 +0200
Organization: Moinlabs
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What really baffles me in this text is the following statement:
" The SP-555 boasts an expanded internal memory with almost six minutes of
stereo sampling time, or to compact flash cards up to 2 gigabytes in size,
for a total of over 12 hours of sample time."

2GByte for 12 hours means a data rate of roughly 388kbps. So what does that
mean for the "beefed up internal sample memory" for almost six minutes?
16MByte? ;)


________________________________

	Von: Ben [mailto:benoitruelle@yahoo.fr] 
	Gesendet: Freitag, 27. Juli 2007 17:03
	An: Loopers-Delight@loopers-delight.com
	Betreff: sampler or looper? (roland sp555)
	
	
	the new SP555 roland is announced at NAMM:

	"The new LOOP CAPTURE function allows users to sample live audio
from the 555's inputs, (you can also play loops from the pads of course),
with real-time effects tweaks. Additionally, artists can connect a
footswitch to the SP-555 to activate the LOOP CAPTURE allowing them to stack
individual parts on top of one another. The SP-555 makes it easy to
build-out phrase loops in real time by simply activating the Overdub Mode. "

	see http://www.sonicstate.com/news/shownews.cfm?newsid=5078

		Ben.
	 

	
	


From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 17:33:47 2007
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From: "Krispen Hartung" <khartung@cableone.net>
To: Loopers-Delight@loopers-delight.com
Subject: Choosing the right laptop for live looping & PRICING EXPERIMENT
Date: Fri, 27 Jul 2007 11:33:44 -0600
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----- Original Message -----=20
From: "Qua Veda" <

> The Mac has about 3% market share of the laptops, so that's partly why =
they
> cost more. =20

Good point. Some folks forget how little they have of the market share, =
but we should
see this jump up with their adoption of the Intel duo core, right? Maybe =
it has jumped
already.

> For the price of the MacBookPro, there are companies that will custom
> configure a PC laptop,  optimized for audio applications,  with =
multiple
> SATA hard drives (separating programs and audio files on different =
drives
> can speed performance),  and excellent support.  =20

Well, the pricing thing is getting interesting, and there may not be the =
same discrepancy
as there was before.  I just did an experiment for you all. I went to =
the apple, HP, Dell,=20
Toshiba, and Lenovo sites and pretended I was buying a notebook from =
each. I configured each notebook
as I would if I were buying it for myself today for music. The specs are =
exact apples to apples, but it
will give you a general idea of pricing comparisons of really top notch =
notebooks. The result
here could vary quite a bit if I had not have selected business class PC =
notebooks. The PC
prices would probably vary by at least $500, if I had configured a =
consumer model.

Price Summaries:

MacBook Pro - $3748.00 USD
Lenovo ThinkPadT61p - $2942.00 (I would not buy again pesonally, because =
they don't have firewire)
HP Compaq nc8430 - $3655.00
Dell Lattitude D8030 - $2975
Toshiba Tecra M9-ST5511 - $2564.00 (could not configure with 4MB of RAM =
or faster hard drive)


Mac

Model: MacBook Pro
Processor: 2.4GHz Intel Core 2 Duo=20
Monitor/Display: 15" (Widescreen display, not glossy)
Memory: 4GB
Hard Drive: 160GB Serial ATA Drive @ 7200 rpm
Services: AppleCare Protection Plan for MacBook Pro/PowerBook (w/or w/o =
Display) - Auto-enroll

TOTAL: $3748.00 USD

Lenovo (IBM)

Model: ThinkPad T61p Mobile Workstation (follow on to the unit I have =
now)
Processor: Intel=AE CoreT 2 Duo T7700 (2.4GHz 800MHz 4MBL2)=20
Monitor/Display: 15.4 WUXGA TFT =20
Memory: 4 GB PC2-5300 DDR2 SDRAM 667MHz SODIMM Memory (2 DIMM)=20
Hard Drive: 100GB Hard Disk Drive, 7200rpm
Services: 3 year depot 9x5 Next Business Day  & 3 Year Depot Upgrade =
with 3 Year ThinkPad Protection

TOTAL: $2942.00

HP (Under Business Class notebooks)

Model: HP Compaq nc8430
Processor: Intel Core Duo Processor T7600 2.33 GHz, 4MB cache, 667 MHz =
FSB
Monitor/Display: 15.4 inch WXGA
Memory: 4GB
Hard Drive: 100GB, 7200 rpm
Services: 9X5 pickup & return services w/ accidental damage protection, =
3 years

TOTAL: $3655

Dell (large business class notebooks)

Model: Dell Lattitude D8030
Processor: Intel=AE CoreT 2 Duo T7700 (2.40GHz) 4M L2 Cache, 800MHz Dual =
Core=20
Monitor/Display: 15.4 inch Wide Screen WSXGA+ LCD Panel
Memory: 4.0GB, DDR2-667MHz SDRAM, 2 DIMMS
Hard Drive: 160GB Hard Drive, 9.5MM, 7200RPM
Services: 3 Year Business Comprehensive Plan / Gold Technical Support, 3 =
Years

TOTAL: $2975

Toshiba (under business products)

Model: Tecra M9-ST5511
Processor: Intel=AE CoreT2 Duo* Processor T7700 (2.40GHz, 4MB L2 Cache, =
800MHz FSB)
Monitor/Display: 14.1" Diagonal Widescreen XGA display
Memory: 2048MB PC5300 DDR2 667MHz SDRAM (2048MBx1)
Hard Drive: 160GB HDD (5400rpm, Serial-ATA)
Services: 3 Years Standard Limited Warranty=20

TOTAL: $2564.00


------=_NextPart_000_07A8_01C7D041.FD69F5E0
Content-Type: text/html;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2900.3132" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff background=3D"">
<DIV><FONT face=3DArial size=3D2>----- Original Message ----- <BR>From: =
"Qua Veda"=20
&lt;<BR><BR>&gt; The Mac has about 3% market share of the laptops, so =
that's=20
partly why they<BR>&gt; cost more.&nbsp; <BR><BR>Good point. Some folks =
forget=20
how little they have of the market share, but we should<BR>see this jump =
up with=20
their adoption of the Intel duo core, right? Maybe it has=20
jumped<BR>already.<BR><BR>&gt; For the price of the MacBookPro, there =
are=20
companies that will custom<BR>&gt; configure a PC laptop,&nbsp; =
optimized for=20
audio applications,&nbsp; with multiple<BR>&gt; SATA hard drives =
(separating=20
programs and audio files on different drives<BR>&gt; can speed=20
performance),&nbsp; and excellent support.&nbsp;&nbsp; <BR><BR>Well, the =
pricing=20
thing is getting interesting, and there may not be the same =
discrepancy<BR>as=20
there was before.&nbsp; I just did an experiment for you all. I went to =
the=20
apple, HP, Dell, <BR>Toshiba, and Lenovo sites and pretended I was =
buying a=20
notebook from each. I configured each notebook<BR>as I would if I were =
buying it=20
for myself today for music. The specs are exact apples to apples, but =
it<BR>will=20
give you a general idea of pricing comparisons of really top notch =
notebooks.=20
The result</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>here could vary quite a bit if I had =
not have=20
selected business class PC notebooks. The PC</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>prices would probably vary by at least =
$500, if I=20
had configured a consumer model.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Price Summaries:</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>MacBook Pro - $3748.00 USD</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Lenovo ThinkPadT61p - $2942.00 (I would =
not buy=20
again pesonally, because they don't have firewire)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>HP Compaq nc8430&nbsp;- =
$3655.00</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Dell Lattitude D8030 - =
$2975</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Toshiba Tecra M9-ST5511 - $2564.00 =
(could not=20
configure with 4MB of RAM or faster hard drive)</FONT></DIV><FONT =
face=3DArial=20
size=3D2>
<DIV><BR><BR><STRONG>Mac</STRONG><BR><BR>Model: MacBook =
Pro<BR>Processor: 2.4GHz=20
Intel Core 2 Duo <BR>Monitor/Display: 15" (Widescreen display, not=20
glossy)<BR>Memory: 4GB<BR>Hard Drive: 160GB Serial ATA Drive @ 7200=20
rpm<BR>Services: AppleCare Protection Plan for MacBook Pro/PowerBook =
(w/or w/o=20
Display) - Auto-enroll<BR><BR>TOTAL: $3748.00 USD<BR><BR><STRONG>Lenovo=20
(IBM)</STRONG><BR><BR>Model: ThinkPad T61p Mobile Workstation (follow on =
to the=20
unit I have now)<BR>Processor: Intel=AE Core=99 2 Duo T7700 (2.4GHz =
800MHz 4MBL2)=20
<BR>Monitor/Display: 15.4 WUXGA TFT&nbsp; <BR>Memory: 4 GB PC2-5300 DDR2 =
SDRAM=20
667MHz SODIMM Memory (2 DIMM) <BR>Hard Drive: 100GB Hard Disk Drive,=20
7200rpm<BR>Services: 3 year depot 9x5 Next Business Day&nbsp; &amp; 3 =
Year Depot=20
Upgrade with 3 Year ThinkPad Protection<BR><BR>TOTAL: =
$2942.00<BR><BR><STRONG>HP=20
(Under Business Class notebooks)</STRONG><BR><BR>Model: HP Compaq=20
nc8430<BR>Processor: Intel Core Duo Processor T7600 2.33 GHz, 4MB cache, =
667 MHz=20
FSB<BR>Monitor/Display: 15.4 inch WXGA<BR>Memory: 4GB<BR>Hard Drive: =
100GB, 7200=20
rpm<BR>Services: 9X5 pickup &amp; return services w/ accidental damage=20
protection, 3 years<BR><BR>TOTAL: $3655</DIV>
<DIV></FONT><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><STRONG>Dell (large business class=20
notebooks)</STRONG></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Model: Dell Lattitude =
D8030</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Processor: Intel=AE Core=99 2 Duo T7700 =
(2.40GHz) 4M L2=20
Cache, 800MHz Dual Core&nbsp;</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Monitor/Display: <FONT size=3D1>15.4 =
inch Wide Screen=20
WSXGA+ LCD Panel</FONT></FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Memory: 4.0GB, DDR2-667MHz SDRAM, 2=20
DIMMS</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Hard Drive: 160GB Hard Drive, 9.5MM,=20
7200RPM</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Services: <FONT size=3D1>3 Year =
Business=20
Comprehensive Plan / </FONT>Gold Technical Support, 3 Years</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>TOTAL: $2975</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT><FONT face=3DArial =
size=3D2></FONT><FONT=20
face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><STRONG>Toshiba (under business=20
products)</STRONG></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Model: Tecra M9-ST5511</FONT></DIV>
<DIV><FONT face=3DArial><FONT size=3D2>Processor: <SPAN>Intel=AE =
Core=992 Duo<A=20
href=3D"javascript:popWindow('disclaimer.to#Core2Duo','yes','yes','500','=
325')">*</A>=20
Processor T7700 (2.40GHz, 4MB L2 Cache, 800MHz =
FSB)</SPAN></FONT></FONT></DIV>
<DIV><SPAN><FONT face=3DArial><FONT size=3D2>Monitor/Display: =
<SPAN>14.1" Diagonal=20
Widescreen XGA display</SPAN></FONT></FONT></SPAN></DIV>
<DIV><SPAN><FONT face=3DArial><FONT size=3D2>Memory: <SPAN>2048MB PC5300 =
DDR2 667MHz=20
SDRAM (2048MBx1)</SPAN></FONT></FONT></SPAN></DIV>
<DIV><SPAN><FONT face=3DArial><FONT size=3D2>Hard Drive: <SPAN>160GB HDD =
(5400rpm,=20
Serial-ATA)</SPAN></FONT></FONT></SPAN></DIV>
<DIV><SPAN><FONT face=3DArial size=3D2>Services: <SPAN>3 Years Standard =
Limited=20
Warranty</SPAN>&nbsp;</FONT></SPAN></DIV>
<DIV><SPAN><FONT face=3DArial size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN><FONT face=3DArial size=3D2>TOTAL: =
$2564.00</FONT></SPAN></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV></BODY></HTML>

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Subject: Re: Choosing the right laptop for live looping & PRICING EXPERIMENT
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great comparison, but you could save yourself quite a bit by not =20
getting the RAM from apple. they are still gouging for their RAM =20
(methinks it's roughly double the rest of the market.) larger hard =20
drives are priced similarly. i have a macbook pro with 4GB ram and =20
have run protools and logic on it simultaneously for well under $2000.


FWIW






On Jul 27, 2007, at 1:33 PM, Krispen Hartung wrote:

> ----- Original Message -----
> From: "Qua Veda" <
>
> > The Mac has about 3% market share of the laptops, so that's =20
> partly why they
> > cost more.
>
> Good point. Some folks forget how little they have of the market =20
> share, but we should
> see this jump up with their adoption of the Intel duo core, right? =20
> Maybe it has jumped
> already.
>
> > For the price of the MacBookPro, there are companies that will =20
> custom
> > configure a PC laptop,  optimized for audio applications,  with =20
> multiple
> > SATA hard drives (separating programs and audio files on =20
> different drives
> > can speed performance),  and excellent support.
>
> Well, the pricing thing is getting interesting, and there may not =20
> be the same discrepancy
> as there was before.  I just did an experiment for you all. I went =20
> to the apple, HP, Dell,
> Toshiba, and Lenovo sites and pretended I was buying a notebook =20
> from each. I configured each notebook
> as I would if I were buying it for myself today for music. The =20
> specs are exact apples to apples, but it
> will give you a general idea of pricing comparisons of really top =20
> notch notebooks. The result
> here could vary quite a bit if I had not have selected business =20
> class PC notebooks. The PC
> prices would probably vary by at least $500, if I had configured a =20
> consumer model.
>
> Price Summaries:
>
> MacBook Pro - $3748.00 USD
> Lenovo ThinkPadT61p - $2942.00 (I would not buy again pesonally, =20
> because they don't have firewire)
> HP Compaq nc8430 - $3655.00
> Dell Lattitude D8030 - $2975
> Toshiba Tecra M9-ST5511 - $2564.00 (could not configure with 4MB of =20=

> RAM or faster hard drive)
>
>
> Mac
>
> Model: MacBook Pro
> Processor: 2.4GHz Intel Core 2 Duo
> Monitor/Display: 15" (Widescreen display, not glossy)
> Memory: 4GB
> Hard Drive: 160GB Serial ATA Drive @ 7200 rpm
> Services: AppleCare Protection Plan for MacBook Pro/PowerBook (w/or =20=

> w/o Display) - Auto-enroll
>
> TOTAL: $3748.00 USD
>
> Lenovo (IBM)
>
> Model: ThinkPad T61p Mobile Workstation (follow on to the unit I =20
> have now)
> Processor: Intel=AE Core=99 2 Duo T7700 (2.4GHz 800MHz 4MBL2)
> Monitor/Display: 15.4 WUXGA TFT
> Memory: 4 GB PC2-5300 DDR2 SDRAM 667MHz SODIMM Memory (2 DIMM)
> Hard Drive: 100GB Hard Disk Drive, 7200rpm
> Services: 3 year depot 9x5 Next Business Day  & 3 Year Depot =20
> Upgrade with 3 Year ThinkPad Protection
>
> TOTAL: $2942.00
>
> HP (Under Business Class notebooks)
>
> Model: HP Compaq nc8430
> Processor: Intel Core Duo Processor T7600 2.33 GHz, 4MB cache, 667 =20
> MHz FSB
> Monitor/Display: 15.4 inch WXGA
> Memory: 4GB
> Hard Drive: 100GB, 7200 rpm
> Services: 9X5 pickup & return services w/ accidental damage =20
> protection, 3 years
>
> TOTAL: $3655
>
> Dell (large business class notebooks)
>
> Model: Dell Lattitude D8030
> Processor: Intel=AE Core=99 2 Duo T7700 (2.40GHz) 4M L2 Cache, 800MHz =20=

> Dual Core
> Monitor/Display: 15.4 inch Wide Screen WSXGA+ LCD Panel
> Memory: 4.0GB, DDR2-667MHz SDRAM, 2 DIMMS
> Hard Drive: 160GB Hard Drive, 9.5MM, 7200RPM
> Services: 3 Year Business Comprehensive Plan / Gold Technical =20
> Support, 3 Years
>
> TOTAL: $2975
>
> Toshiba (under business products)
>
> Model: Tecra M9-ST5511
> Processor: Intel=AE Core=992 Duo* Processor T7700 (2.40GHz, 4MB L2 =20
> Cache, 800MHz FSB)
> Monitor/Display: 14.1" Diagonal Widescreen XGA display
> Memory: 2048MB PC5300 DDR2 667MHz SDRAM (2048MBx1)
> Hard Drive: 160GB HDD (5400rpm, Serial-ATA)
> Services: 3 Years Standard Limited Warranty
>
> TOTAL: $2564.00
>
>
>

ric hordinski

www.richordinski.com

www.myspace.com/richordinskimusic

www.myspace.com/monasterystudio



--Apple-Mail-9--1055168303
Content-Transfer-Encoding: quoted-printable
Content-Type: text/html;
	charset=WINDOWS-1252

<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">great comparison, but you could =
save yourself quite a bit by not getting the RAM from apple. they are =
still gouging for their RAM (methinks it's roughly double the rest of =
the market.) larger hard drives are priced similarly. i have a macbook =
pro with 4GB ram and have run protools and logic on it simultaneously =
for well under $2000.<DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>FWIW</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR><DIV><DIV>On Jul 27, =
2007, at 1:33 PM, Krispen Hartung wrote:</DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite"><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><DIV><FONT =
face=3D"Arial" size=3D"2"><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">----- Original Message =
----- </SPAN><BR style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">From: "Qua Veda" &lt;</SPAN><BR style=3D"font-family: Arial; =
font-size: 10px; "><BR style=3D"font-family: Arial; font-size: 10px; =
"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">&gt; The Mac has about 3% market share of the =
laptops, so that's partly why they</SPAN><BR style=3D"font-family: =
Arial; font-size: 10px; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">&gt; cost more.=A0 =
</SPAN><BR style=3D"font-family: Arial; font-size: 10px; "><BR =
style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Good point. Some folks forget how little they have of the market =
share, but we should</SPAN><BR style=3D"font-family: Arial; font-size: =
10px; "><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">see this jump up with their adoption of the Intel duo =
core, right? Maybe it has jumped</SPAN><BR style=3D"font-family: Arial; =
font-size: 10px; "><SPAN class=3D"Apple-style-span" style=3D"font-family: =
Arial; font-size: 10px; ">already.</SPAN><BR style=3D"font-family: =
Arial; font-size: 10px; "><BR style=3D"font-family: Arial; font-size: =
10px; "><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">&gt; For the price of the MacBookPro, there are =
companies that will custom</SPAN><BR style=3D"font-family: Arial; =
font-size: 10px; "><SPAN class=3D"Apple-style-span" style=3D"font-family: =
Arial; font-size: 10px; ">&gt; configure a PC laptop,=A0 optimized for =
audio applications,=A0 with multiple</SPAN><BR style=3D"font-family: =
Arial; font-size: 10px; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">&gt; SATA hard drives =
(separating programs and audio files on different drives</SPAN><BR =
style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">&gt; can speed performance),=A0 and excellent support.=A0=A0 =
</SPAN><BR style=3D"font-family: Arial; font-size: 10px; "><BR =
style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Well, the pricing thing is getting interesting, and there may not be =
the same discrepancy</SPAN><BR style=3D"font-family: Arial; font-size: =
10px; "><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">as there was before.=A0 I just did an experiment for =
you all. I went to the apple, HP, Dell, </SPAN><BR style=3D"font-family: =
Arial; font-size: 10px; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Toshiba, and Lenovo =
sites and pretended I was buying a notebook from each. I configured each =
notebook</SPAN><BR style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">as I would if I were buying it for myself today for music. The specs =
are exact apples to apples, but it</SPAN><BR style=3D"font-family: =
Arial; font-size: 10px; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">will give you a general =
idea of pricing comparisons of really top notch notebooks. The =
result</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">here could vary quite a bit if I had not have selected business class =
PC notebooks. The PC</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">prices would probably vary by at least $500, if I had =
configured a consumer model.</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Price Summaries:</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">MacBook Pro - $3748.00 USD</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">Lenovo ThinkPadT61p - $2942.00 (I would not buy again =
pesonally, because they don't have =
firewire)</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">HP Compaq nc8430=A0- $3655.00</SPAN></FONT></DIV><DIV><FONT =
face=3D"Arial" size=3D"2"><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Dell Lattitude D8030 - =
$2975</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Toshiba Tecra M9-ST5511 - $2564.00 (could not configure with 4MB of =
RAM or faster hard drive)</SPAN></FONT></DIV><FONT face=3D"Arial" =
size=3D"2"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; "></SPAN><DIV style=3D"font-family: Arial; font-size: =
10px; "><BR style=3D"font-family: Arial; font-size: 10px; "><BR =
style=3D"font-family: Arial; font-size: 10px; "><STRONG =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
font-weight: bold; ">Mac</SPAN></STRONG><BR style=3D"font-family: Arial; =
font-size: 10px; "><BR style=3D"font-family: Arial; font-size: 10px; =
"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">Model: MacBook Pro</SPAN><BR style=3D"font-family: =
Arial; font-size: 10px; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Processor: 2.4GHz Intel =
Core 2 Duo </SPAN><BR style=3D"font-family: Arial; font-size: 10px; =
"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">Monitor/Display: 15" (Widescreen display, not =
glossy)</SPAN><BR style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Memory: 4GB</SPAN><BR style=3D"font-family: Arial; font-size: 10px; =
"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">Hard Drive: 160GB Serial ATA Drive @ 7200 =
rpm</SPAN><BR style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Services: AppleCare Protection Plan for MacBook Pro/PowerBook (w/or =
w/o Display) - Auto-enroll</SPAN><BR style=3D"font-family: Arial; =
font-size: 10px; "><BR style=3D"font-family: Arial; font-size: 10px; =
"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">TOTAL: $3748.00 USD</SPAN><BR style=3D"font-family: =
Arial; font-size: 10px; "><BR style=3D"font-family: Arial; font-size: =
10px; "><STRONG style=3D"font-family: Arial; font-size: 10px; =
font-weight: bold; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; =
">Lenovo (IBM)</SPAN></STRONG><BR style=3D"font-family: Arial; =
font-size: 10px; "><BR style=3D"font-family: Arial; font-size: 10px; =
"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">Model: ThinkPad T61p Mobile Workstation (follow on to =
the unit I have now)</SPAN><BR style=3D"font-family: Arial; font-size: =
10px; "><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">Processor: Intel=AE Core=99 2 Duo T7700 (2.4GHz =
800MHz 4MBL2) </SPAN><BR style=3D"font-family: Arial; font-size: 10px; =
"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">Monitor/Display: 15.4 WUXGA TFT=A0 </SPAN><BR =
style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Memory: 4 GB PC2-5300 DDR2 SDRAM 667MHz SODIMM Memory (2 DIMM) =
</SPAN><BR style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Hard Drive: 100GB Hard Disk Drive, 7200rpm</SPAN><BR =
style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Services: 3 year depot 9x5 Next Business Day=A0 &amp; 3 Year Depot =
Upgrade with 3 Year ThinkPad Protection</SPAN><BR style=3D"font-family: =
Arial; font-size: 10px; "><BR style=3D"font-family: Arial; font-size: =
10px; "><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">TOTAL: $2942.00</SPAN><BR style=3D"font-family: =
Arial; font-size: 10px; "><BR style=3D"font-family: Arial; font-size: =
10px; "><STRONG style=3D"font-family: Arial; font-size: 10px; =
font-weight: bold; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; ">HP =
(Under Business Class notebooks)</SPAN></STRONG><BR style=3D"font-family: =
Arial; font-size: 10px; "><BR style=3D"font-family: Arial; font-size: =
10px; "><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">Model: HP Compaq nc8430</SPAN><BR style=3D"font-family:=
 Arial; font-size: 10px; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Processor: Intel Core =
Duo Processor T7600 2.33 GHz, 4MB cache, 667 MHz FSB</SPAN><BR =
style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Monitor/Display: 15.4 inch WXGA</SPAN><BR style=3D"font-family: Arial; =
font-size: 10px; "><SPAN class=3D"Apple-style-span" style=3D"font-family: =
Arial; font-size: 10px; ">Memory: 4GB</SPAN><BR style=3D"font-family: =
Arial; font-size: 10px; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Hard Drive: 100GB, 7200 =
rpm</SPAN><BR style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Services: 9X5 pickup &amp; return services w/ accidental damage =
protection, 3 years</SPAN><BR style=3D"font-family: Arial; font-size: =
10px; "><BR style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">TOTAL: $3655</SPAN></DIV></FONT><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT><FONT face=3D"Arial" size=3D"2"></FONT>=A0</DIV><DIV><FO=
NT face=3D"Arial" size=3D"2"><STRONG style=3D"font-family: Arial; =
font-size: 10px; font-weight: bold; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; ">Dell =
(large business class notebooks)</SPAN></STRONG></FONT></DIV><DIV><FONT =
face=3D"Arial" size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" =
size=3D"2"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">Model: Dell Lattitude =
D8030</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Processor: Intel=AE Core=99 2 Duo T7700 (2.40GHz) 4M L2 Cache, 800MHz =
Dual Core=A0</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN=
 class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: =
10px; ">Monitor/Display: </SPAN><FONT size=3D"1"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 9px; =
">15.4 inch Wide Screen WSXGA+ LCD =
Panel</SPAN></FONT></FONT></DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN=
 class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: =
10px; ">Memory: 4.0GB, DDR2-667MHz SDRAM, 2 =
DIMMS</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Hard Drive: 160GB Hard Drive, 9.5MM, =
7200RPM</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Services: </SPAN><FONT size=3D"1"><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 9px; ">3 Year Business =
Comprehensive Plan / </SPAN></FONT><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Gold Technical Support, =
3 Years</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">TOTAL: $2975</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT><FONT face=3D"Arial" size=3D"2"></FONT><FONT =
face=3D"Arial" size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" =
size=3D"2"><STRONG style=3D"font-family: Arial; font-size: 10px; =
font-weight: bold; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; =
">Toshiba (under business =
products)</SPAN></STRONG></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Model: Tecra M9-ST5511</SPAN></FONT></DIV><DIV><FONT =
face=3D"Arial"><FONT size=3D"2"><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Processor: </SPAN><SPAN =
style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Intel=AE Core=992 Duo</SPAN><A =
href=3D"javascript:popWindow('disclaimer.to#Core2Duo','yes','yes','500','3=
25')"><SPAN class=3D"Apple-style-span" style=3D"color: rgb(0, 0, 238); =
font-family: Arial; font-size: 10px; -khtml-text-decorations-in-effect: =
underline; ">*</SPAN></A><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; "> Processor T7700 =
(2.40GHz, 4MB L2 Cache, 800MHz =
FSB)</SPAN></SPAN></FONT></FONT></DIV><DIV><SPAN><FONT =
face=3D"Arial"><FONT size=3D"2"><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Monitor/Display: =
</SPAN><SPAN style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">14.1" Diagonal Widescreen XGA =
display</SPAN></SPAN></FONT></FONT></SPAN></DIV><DIV><SPAN><FONT =
face=3D"Arial"><FONT size=3D"2"><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Memory: </SPAN><SPAN =
style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">2048MB PC5300 DDR2 667MHz SDRAM =
(2048MBx1)</SPAN></SPAN></FONT></FONT></SPAN></DIV><DIV><SPAN><FONT =
face=3D"Arial"><FONT size=3D"2"><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Hard Drive: </SPAN><SPAN =
style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">160GB HDD (5400rpm, =
Serial-ATA)</SPAN></SPAN></FONT></FONT></SPAN></DIV><DIV><SPAN><FONT =
face=3D"Arial" size=3D"2"><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Services: </SPAN><SPAN =
style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">3 Years Standard Limited Warranty</SPAN></SPAN><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">=A0</SPAN></FONT></SPAN></DIV><DIV><SPAN><FONT face=3D"Arial" =
size=3D"2"></FONT></SPAN>=A0</DIV><DIV><SPAN><FONT face=3D"Arial" =
size=3D"2"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">TOTAL: $2564.00</SPAN></FONT></SPAN></DIV><DIV><FONT =
face=3D"Arial" size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><BR =
class=3D"Apple-interchange-newline"></SPAN></BLOCKQUOTE></DIV><BR><DIV> =
<SPAN class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><DIV>ric =
hordinski</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>www.richordinski.com</DIV><DI=
V><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>www.myspace.com/richordinskim=
usic</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>www.myspace.com/monasterystud=
io</DIV><BR class=3D"Apple-interchange-newline"></SPAN> =
</DIV><BR></DIV></BODY></HTML>=

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From: Paul Mimlitsch <pmimlitsch@mac.com>
Subject: Re: Choosing the right laptop for live looping & PRICING EXPERIMENT
Date: Fri, 27 Jul 2007 11:42:40 -0600
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On Jul 27, 2007, at 11:33 AM, Krispen Hartung wrote:

> ----- Original Message -----
> From: "Qua Veda" <
>
> > The Mac has about 3% market share of the laptops, so that's partly=20=

> why they
> > cost more.=A0
>

Market share? Shouldn't the important percentage be - as far as this=20
list/ arts in general is concerned - that which is used in the arts=20
community.  I think the Mac percentage is higher (?) .....=

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On Jul 27, 2007, at 11:33 AM, Krispen Hartung wrote:


<excerpt><fontfamily><param>Arial</param><smaller>----- Original
Message ----- </smaller></fontfamily>

<fontfamily><param>Arial</param><smaller>From: "Qua Veda" =
<<</smaller></fontfamily>


<fontfamily><param>Arial</param><smaller>> The Mac has about 3% market
share of the laptops, so that's partly why they</smaller></fontfamily>

<fontfamily><param>Arial</param><smaller>> cost more.=A0 =
</smaller></fontfamily>


</excerpt>

Market share? Shouldn't the important percentage be - as far as this
list/ arts in general is concerned - that which is used in the arts
community.  I think the Mac percentage is higher (?) .....=

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From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 17:53:59 2007
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Date: Fri, 27 Jul 2007 13:53:54 EDT
Subject: Re: Choosing the right laptop for live looping & PRICING EXPERIMENT
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There are some fairly serious compatibility issues with many hi level name  
brand PC laptops. Many of them don't do well with Firewire audio applications  
and MOST do not have PCMCIA slots. Be careful what you buy.
I recommend either going with a top floor Mac machine or a PC that has been  
configured and supported by the companies that distribute them. MusicXPC, 
Sonica  & Rain are all pretty killer machines.



************************************** Get a sneak peek of the all-new AOL at 
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<META content=3D"MSHTML 6.00.2900.2873" name=3DGENERATOR></HEAD>
<BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY:=20=
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<DIV>There are some fairly serious compatibility issues with many hi level n=
ame=20
brand PC laptops. Many of them don't do well with Firewire audio application=
s=20
and MOST do not have PCMCIA slots. Be careful what you buy.</DIV>
<DIV>I recommend either going with a top floor Mac machine or a PC that has=20=
been=20
configured and supported by the companies that distribute them. MusicXPC, So=
nica=20
&amp; Rain are all pretty killer machines.</DIV></FONT><BR><BR><BR><DIV><FON=
T style=3D"color: black; font: normal 10pt ARIAL, SAN-SERIF;"><HR style=3D"M=
ARGIN-TOP: 10px">Get a sneak peek of the all-new <A title=3D"http://discover=
.aol.com/memed/aolcom30tour/?ncid=3DAOLAOF00020000000982" href=3D"http://dis=
cover.aol.com/memed/aolcom30tour/?ncid=3DAOLAOF00020000000982" target=3D"_bl=
ank">AOL.com</A>.</FONT></DIV></BODY></HTML>

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Date: Fri, 27 Jul 2007 14:11:12 -0400
From: Bill Fox <billyfox@soundscapes.us>
Subject: Galactic Travels Playlist #539 for July 26, 2007
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http://wdiy.org/programs/gt/playlists/2007/070726.html

Galactic Travels is an electronic, ambient, and space music show, that
airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and Bethlehem,
PA, 93.9 FM in Easton, PA and Phillipsburg, NJ, 93.7 FM in Fogelsville
and Trexlertown, and webcasting on the internet.  WDIY also broadcasts
in Digital HD at 88.1 FM.

                Show #539                July 26, 2007

RECAP:
On this show, I concluded the month-long focus on Jim Cole and Spectral
Voices.  The Featured CD at Midnight was "Innertones" by Jim Cole and
Spectral Voices on Spectral Spiral Music.

Jim Cole and Spectral Voices:
http://wdiy.org/programs/gt/playlists/2007/focus.html#jul


PLAYLIST:

11:04 pm
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Free System Projekt  Desolate Landscape   Gent (none)
Frank Klare          Digitalic Three      Digitalic (Groove)
Palancar             May 19, 2007 Part 1  Ambient Train Wreck Series
                                            Volume Four (Blue Water)
Jim Cole and         All Within Your      Innertones (Spectral Spiral)
  Spectral Voices      Heart and Mind
JC & SV              Arches/Far Journey   Innertones (Spectral Spiral)

12:00 am
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Jim Cole and         Spectral Winds,      Innertones (Spectral Spiral)
  Spectral Voices      Inward Voices
JC & SV              Hear Earth           Innertones (Spectral Spiral)
JC & SV              Arches 2             Innertones (Spectral Spiral)
Jim Cole and         Once Upon The        Innertones (Spectral Spiral)
  Spectral Voices      Playground

1:00 am

 * = excerpt
VA = Various Artists (compilation)
++ = Advance CDR from Artist
-- = Background music under interview


NEXT SHOW:
On the next Galactic Travels, I'll begin a month-long focus on Klaus
Schulze.  The Featured CD at Midnight will be "Wahnfried" on Revisited
Records.

Klaus Schulze:
http://wdiy.org/programs/gt/playlists/2007/focus.html#aug

Bill
=======================================================================
Host of Galactic Travels, an electronic, ambient, and space music
show, Thursdays at 11:04 pm EDT (GMT-4:00) on WDIY 88.1 FM in Allentown
and Bethlehem, 93.9 FM in Easton and Phillipsburg, and on 93.7 FM in
Trexlertown and Fogelsville.  WDIY also broadcasts in HD Digital Radio
on 88.1 FM.
Galactic Travels web site - http://galactictravels.info
RSS News Feed: http://wdiy.org/programs/gt/rss/enews.xml
Podcasts: http://wdiy.org/programs/gt/rss/gt.xml
Listen on-line to WDIY at http://wdiy.org and click on the LISTEN link
or go directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm
To subscribe to the galactic-travels mailing list, click on [Join This
Group!] at http://groups.yahoo.com/group/galactic-travels
Playlists are also published at http://billfox.blogspot.com
RSS (2.0) feed from http://billfox.blogspot.com/rss.xml
Atom (0.3) feed from http://billfox.blogspot.com/atom.xml

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 18:09:52 2007
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http://www.roland.co.uk/guitar_room_catdet.asp?id=FC300

smaller than the fcb1010, but 2.5 * the cost ;(

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 18:10:40 2007
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From: "Krispen Hartung" <khartung@cableone.net>
To: Loopers-Delight@loopers-delight.com
References: <07ab01c7d074$48ba4860$83caf40f@americas.hpqcorp.net> <009AB00E-80A2-4848-8DF2-BEC6E58A7D83@fuse.net>
Subject: Re: Choosing the right laptop for live looping & PRICING EXPERIMENT
Date: Fri, 27 Jul 2007 12:10:38 -0600
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Using the examples below...

Apple charges $750 for 4GB (upgrading from 2GB) / average of $375 a GB
Lenovo charges $560 for 4GB upgrading from 512MB / average of $160 a GB
HP charges $1040 for 4GB (upgrading from 1GB) / average of $347 a GB
Dell charges $700 for 4GB (upgrading from 1GB) / average of $233 a GB
Toshiba charges $440 for 2GB (upgrading from 1GB) / average of $440 a GB

So, back to the pricing examples below (which was my premise, not buying =
accessories from other sources), if you buy your memory from another =
source, the price will go down for all the examples, and so the mac is =
still "relatively" more expensive than the business class notebooks.  =
Look at how much Toshiba is charging for just a 1GB upgrade? HP is not =
that far behind than Mac.

Kris

  ----- Original Message -----=20
  From: monk=20



  great comparison, but you could save yourself quite a bit by not =
getting the RAM from apple. they are still gouging for their RAM =
(methinks it's roughly double the rest of the market.) larger hard =
drives are priced similarly. i have a macbook pro with 4GB ram and have =
run protools and logic on it simultaneously for well under $2000.




  FWIW












  On Jul 27, 2007, at 1:33 PM, Krispen Hartung wrote:


    ----- Original Message -----=20
    From: "Qua Veda" <

    > The Mac has about 3% market share of the laptops, so that's partly =
why they
    > cost more. =20

    Good point. Some folks forget how little they have of the market =
share, but we should
    see this jump up with their adoption of the Intel duo core, right? =
Maybe it has jumped
    already.

    > For the price of the MacBookPro, there are companies that will =
custom
    > configure a PC laptop,  optimized for audio applications,  with =
multiple
    > SATA hard drives (separating programs and audio files on different =
drives
    > can speed performance),  and excellent support.  =20

    Well, the pricing thing is getting interesting, and there may not be =
the same discrepancy
    as there was before.  I just did an experiment for you all. I went =
to the apple, HP, Dell,=20
    Toshiba, and Lenovo sites and pretended I was buying a notebook from =
each. I configured each notebook
    as I would if I were buying it for myself today for music. The specs =
are exact apples to apples, but it
    will give you a general idea of pricing comparisons of really top =
notch notebooks. The result
    here could vary quite a bit if I had not have selected business =
class PC notebooks. The PC
    prices would probably vary by at least $500, if I had configured a =
consumer model.

    Price Summaries:

    MacBook Pro - $3748.00 USD
    Lenovo ThinkPadT61p - $2942.00 (I would not buy again pesonally, =
because they don't have firewire)
    HP Compaq nc8430 - $3655.00
    Dell Lattitude D8030 - $2975
    Toshiba Tecra M9-ST5511 - $2564.00 (could not configure with 4MB of =
RAM or faster hard drive)


    Mac

    Model: MacBook Pro
    Processor: 2.4GHz Intel Core 2 Duo=20
    Monitor/Display: 15" (Widescreen display, not glossy)
    Memory: 4GB
    Hard Drive: 160GB Serial ATA Drive @ 7200 rpm
    Services: AppleCare Protection Plan for MacBook Pro/PowerBook (w/or =
w/o Display) - Auto-enroll

    TOTAL: $3748.00 USD

    Lenovo (IBM)

    Model: ThinkPad T61p Mobile Workstation (follow on to the unit I =
have now)
    Processor: Intel=AE Core=99 2 Duo T7700 (2.4GHz 800MHz 4MBL2)=20
    Monitor/Display: 15.4 WUXGA TFT =20
    Memory: 4 GB PC2-5300 DDR2 SDRAM 667MHz SODIMM Memory (2 DIMM)=20
    Hard Drive: 100GB Hard Disk Drive, 7200rpm
    Services: 3 year depot 9x5 Next Business Day  & 3 Year Depot Upgrade =
with 3 Year ThinkPad Protection

    TOTAL: $2942.00

    HP (Under Business Class notebooks)

    Model: HP Compaq nc8430
    Processor: Intel Core Duo Processor T7600 2.33 GHz, 4MB cache, 667 =
MHz FSB
    Monitor/Display: 15.4 inch WXGA
    Memory: 4GB
    Hard Drive: 100GB, 7200 rpm
    Services: 9X5 pickup & return services w/ accidental damage =
protection, 3 years

    TOTAL: $3655

    Dell (large business class notebooks)

    Model: Dell Lattitude D8030
    Processor: Intel=AE Core=99 2 Duo T7700 (2.40GHz) 4M L2 Cache, =
800MHz Dual Core=20
    Monitor/Display: 15.4 inch Wide Screen WSXGA+ LCD Panel
    Memory: 4.0GB, DDR2-667MHz SDRAM, 2 DIMMS
    Hard Drive: 160GB Hard Drive, 9.5MM, 7200RPM
    Services: 3 Year Business Comprehensive Plan / Gold Technical =
Support, 3 Years

    TOTAL: $2975

    Toshiba (under business products)

    Model: Tecra M9-ST5511
    Processor: Intel=AE Core=992 Duo* Processor T7700 (2.40GHz, 4MB L2 =
Cache, 800MHz FSB)
    Monitor/Display: 14.1" Diagonal Widescreen XGA display
    Memory: 2048MB PC5300 DDR2 667MHz SDRAM (2048MBx1)
    Hard Drive: 160GB HDD (5400rpm, Serial-ATA)
    Services: 3 Years Standard Limited Warranty=20

    TOTAL: $2564.00






  ric hordinski


  www.richordinski.com


  www.myspace.com/richordinskimusic


  www.myspace.com/monasterystudio




------=_NextPart_000_07CD_01C7D047.24C0D0A0
Content-Type: text/html;
	charset="Windows-1252"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Dwindows-1252">
<META content=3D"MSHTML 6.00.2900.3132" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY=20
style=3D"WORD-WRAP: break-word; khtml-nbsp-mode: space; =
khtml-line-break: after-white-space"=20
bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Using the examples =
below...</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Apple charges $750 for 4GB (upgrading =
from 2GB) /=20
average of $375 a GB</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Lenovo charges $560 for 4GB upgrading =
from 512MB /=20
average of $160 a GB</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>HP charges $1040 =
for&nbsp;4GB&nbsp;(upgrading from=20
1GB) / average of $347 a GB</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Dell charges $700 for 4GB (upgrading =
from 1GB) /=20
average of $233 a GB</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Toshiba charges $440 for 2GB (upgrading =
from 1GB) /=20
average of $440 a GB</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>So, back to the pricing examples below =
(which was=20
my premise, not buying accessories from other sources), if you buy your =
memory=20
from another source, the price will go down for all the examples, and so =
the mac=20
is still "relatively" more expensive than the business class =
notebooks.&nbsp;=20
Look at how much Toshiba is charging for just a 1GB upgrade? HP is not =
that far=20
behind than Mac.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dmonk@fuse.net href=3D"mailto:monk@fuse.net">monk</A> </DIV>
  <DIV style=3D"FONT: 10pt arial">&nbsp;</DIV>
  <DIV><BR></DIV>great comparison, but you could save yourself quite a =
bit by=20
  not getting the RAM from apple. they are still gouging for their RAM =
(methinks=20
  it's roughly double the rest of the market.) larger hard drives are =
priced=20
  similarly. i have a macbook pro with 4GB ram and have run protools and =
logic=20
  on it simultaneously for well under $2000.
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>FWIW</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV><BR>
  <DIV>
  <DIV>On Jul 27, 2007, at 1:33 PM, Krispen Hartung wrote:</DIV><BR=20
  class=3DApple-interchange-newline>
  <BLOCKQUOTE type=3D"cite"><SPAN class=3DApple-style-span=20
    style=3D"WORD-SPACING: 0px; FONT: 12px Helvetica; TEXT-TRANSFORM: =
none; COLOR: rgb(0,0,0); TEXT-INDENT: 0px; WHITE-SPACE: normal; =
LETTER-SPACING: normal; BORDER-COLLAPSE: separate; border-spacing: 0px =
0px; khtml-text-decorations-in-effect: none; apple-text-size-adjust: =
auto; orphans: 2; widows: 2">
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">----- Original Message =
-----=20
    </SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">From:=20
    "Qua Veda" &lt;</SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">&gt; The Mac has about =
3% market=20
    share of the laptops, so that's partly why they</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">&gt; cost more.&nbsp; =
</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Good point. Some folks =
forget=20
    how little they have of the market share, but we should</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">see this jump up with =
their=20
    adoption of the Intel duo core, right? Maybe it has jumped</SPAN><BR =

    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">already.</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">&gt; For the price of =
the=20
    MacBookPro, there are companies that will custom</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">&gt; configure a PC=20
    laptop,&nbsp; optimized for audio applications,&nbsp; with=20
    multiple</SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">&gt; SATA=20
    hard drives (separating programs and audio files on different=20
    drives</SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =

    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">&gt; can=20
    speed performance),&nbsp; and excellent support.&nbsp;&nbsp; =
</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Well, the pricing =
thing is=20
    getting interesting, and there may not be the same =
discrepancy</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">as there was =
before.&nbsp; I=20
    just did an experiment for you all. I went to the apple, HP, Dell,=20
    </SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">Toshiba,=20
    and Lenovo sites and pretended I was buying a notebook from each. I=20
    configured each notebook</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">as I would if I were =
buying it=20
    for myself today for music. The specs are exact apples to apples, =
but=20
    it</SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">will give=20
    you a general idea of pricing comparisons of really top notch =
notebooks. The=20
    result</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">here could vary quite =
a bit if I=20
    had not have selected business class PC notebooks. The=20
PC</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">prices would probably =
vary by at=20
    least $500, if I had configured a consumer =
model.</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Price=20
    Summaries:</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">MacBook Pro - $3748.00 =

    USD</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Lenovo ThinkPadT61p - =
$2942.00=20
    (I would not buy again pesonally, because they don't have=20
    firewire)</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">HP Compaq =
nc8430&nbsp;-=20
    $3655.00</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Dell Lattitude D8030 - =

    $2975</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Toshiba Tecra =
M9-ST5511 -=20
    $2564.00 (could not configure with 4MB of RAM or faster hard=20
    drive)</SPAN></FONT></DIV><FONT face=3DArial size=3D2><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial"></SPAN>
    <DIV style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial">Mac</SPAN></STRONG><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Model: MacBook =
Pro</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Processor: 2.4GHz =
Intel Core 2=20
    Duo </SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Monitor/Display: 15" =
(Widescreen=20
    display, not glossy)</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Memory: 4GB</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Hard Drive: 160GB =
Serial ATA=20
    Drive @ 7200 rpm</SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">Services:=20
    AppleCare Protection Plan for MacBook Pro/PowerBook (w/or w/o =
Display) -=20
    Auto-enroll</SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">TOTAL: $3748.00 =
USD</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial">Lenovo=20
    (IBM)</SPAN></STRONG><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Model: ThinkPad T61p =
Mobile=20
    Workstation (follow on to the unit I have now)</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Processor: Intel=AE =
Core=99 2 Duo=20
    T7700 (2.4GHz 800MHz 4MBL2) </SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Monitor/Display: 15.4 =
WUXGA=20
    TFT&nbsp; </SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">Memory: 4=20
    GB PC2-5300 DDR2 SDRAM 667MHz SODIMM Memory (2 DIMM) </SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Hard Drive: 100GB Hard =
Disk=20
    Drive, 7200rpm</SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">Services:=20
    3 year depot 9x5 Next Business Day&nbsp; &amp; 3 Year Depot Upgrade =
with 3=20
    Year ThinkPad Protection</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">TOTAL: =
$2942.00</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: Arial">HP =
(Under=20
    Business Class notebooks)</SPAN></STRONG><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Model: HP Compaq=20
    nc8430</SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =

    class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Processor: Intel Core =
Duo=20
    Processor T7600 2.33 GHz, 4MB cache, 667 MHz FSB</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Monitor/Display: 15.4 =
inch=20
    WXGA</SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">Memory:=20
    4GB</SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">Hard=20
    Drive: 100GB, 7200 rpm</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Services: 9X5 pickup =
&amp;=20
    return services w/ accidental damage protection, 3 years</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">TOTAL: =
$3655</SPAN></DIV></FONT>
    <DIV><FONT face=3DArial size=3D2></FONT><FONT face=3DArial=20
    size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial">Dell (large=20
    business class notebooks)</SPAN></STRONG></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Model: Dell Lattitude=20
    D8030</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Processor: Intel=AE =
Core=99 2 Duo=20
    T7700 (2.40GHz) 4M L2 Cache, 800MHz Dual =
Core&nbsp;</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Monitor/Display: =
</SPAN><FONT=20
    size=3D1><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 9px; FONT-FAMILY: Arial">15.4 inch Wide Screen =
WSXGA+ LCD=20
    Panel</SPAN></FONT></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Memory: 4.0GB, =
DDR2-667MHz=20
    SDRAM, 2 DIMMS</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Hard Drive: 160GB Hard =
Drive,=20
    9.5MM, 7200RPM</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Services: </SPAN><FONT =

    size=3D1><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 9px; FONT-FAMILY: Arial">3 Year Business =
Comprehensive=20
    Plan / </SPAN></FONT><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Gold Technical =
Support, 3=20
    Years</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">TOTAL: =
$2975</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT><FONT face=3DArial =
size=3D2></FONT><FONT=20
    face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial">Toshiba=20
    (under business products)</SPAN></STRONG></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Model: Tecra=20
    M9-ST5511</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial><FONT size=3D2><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Processor: =
</SPAN><SPAN=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Intel=AE Core=992 =
Duo</SPAN><A=20
    =
href=3D"javascript:popWindow('disclaimer.to#Core2Duo','yes','yes','500','=
325')"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; COLOR: rgb(0,0,238); FONT-FAMILY: Arial; =
khtml-text-decorations-in-effect: underline">*</SPAN></A><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">=20
    Processor T7700 (2.40GHz, 4MB L2 Cache, 800MHz=20
    FSB)</SPAN></SPAN></FONT></FONT></DIV>
    <DIV><SPAN><FONT face=3DArial><FONT size=3D2><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Monitor/Display: =
</SPAN><SPAN=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">14.1" Diagonal =
Widescreen XGA=20
    display</SPAN></SPAN></FONT></FONT></SPAN></DIV>
    <DIV><SPAN><FONT face=3DArial><FONT size=3D2><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Memory: </SPAN><SPAN=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">2048MB PC5300 DDR2 =
667MHz SDRAM=20
    (2048MBx1)</SPAN></SPAN></FONT></FONT></SPAN></DIV>
    <DIV><SPAN><FONT face=3DArial><FONT size=3D2><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Hard Drive: =
</SPAN><SPAN=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">160GB HDD (5400rpm,=20
    Serial-ATA)</SPAN></SPAN></FONT></FONT></SPAN></DIV>
    <DIV><SPAN><FONT face=3DArial size=3D2><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Services: </SPAN><SPAN =

    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">3 Years Standard =
Limited=20
    Warranty</SPAN></SPAN><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">&nbsp;</SPAN></FONT></SPAN></DIV>
    <DIV><SPAN><FONT face=3DArial size=3D2></FONT></SPAN>&nbsp;</DIV>
    <DIV><SPAN><FONT face=3DArial size=3D2><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">TOTAL:=20
    $2564.00</SPAN></FONT></SPAN></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV><BR=20
    class=3DApple-interchange-newline></SPAN></BLOCKQUOTE></DIV><BR>
  <DIV><SPAN class=3DApple-style-span=20
  style=3D"WORD-SPACING: 0px; FONT: 12px Helvetica; TEXT-TRANSFORM: =
none; COLOR: rgb(0,0,0); TEXT-INDENT: 0px; WHITE-SPACE: normal; =
LETTER-SPACING: normal; BORDER-COLLAPSE: separate; border-spacing: 0px =
0px; khtml-text-decorations-in-effect: none; apple-text-size-adjust: =
auto; orphans: 2; widows: 2">
  <DIV>ric hordinski</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>www.richordinski.com</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>www.myspace.com/richordinskimusic</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>www.myspace.com/monasterystudio</DIV><BR=20
  =
class=3DApple-interchange-newline></SPAN></DIV><BR></DIV></BLOCKQUOTE></B=
ODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 18:14:47 2007
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From: "Krispen Hartung" <khartung@cableone.net>
To: Loopers-Delight@loopers-delight.com
References: <07ab01c7d074$48ba4860$83caf40f@americas.hpqcorp.net> <ab65ff18067bd188d1078e138aefbcce@mac.com>
Subject: Re: Choosing the right laptop for live looping & PRICING EXPERIMENT
Date: Fri, 27 Jul 2007 12:14:46 -0600
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They are talking total available market share and only for notebooks, =
not a subset of it...frankly, most pc notebook manufacturers could give =
a rats ass about musicians and artists. They don't make any money off of =
them, especially when they make ~$15-25 a notebook, and you have big =
businesses buying hundreds of thousands of notebooks for their =
employees. If apple competed in the fortune 500 business area in light =
of laptops, then the market share would be higher.

It would be interesting to see the market share mac and pc notebooks =
have just for musicians, however. Any guesses? I'd say 75% mac.

Kris

  ----- Original Message -----=20


  On Jul 27, 2007, at 11:33 AM, Krispen Hartung wrote:


    ----- Original Message -----=20
    From: "Qua Veda" <

    > The Mac has about 3% market share of the laptops, so that's partly =
why they
    > cost more. =20



  Market share? Shouldn't the important percentage be - as far as this =
list/ arts in general is concerned - that which is used in the arts =
community. I think the Mac percentage is higher (?) .....
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2900.3132" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>They are talking total available market =
share and=20
only for notebooks, not a subset of it...frankly, most pc notebook =
manufacturers=20
could give a rats ass about musicians and artists. They don't make any =
money off=20
of them, especially when they make ~$15-25 a notebook, and you have big=20
businesses buying hundreds of thousands of notebooks for their =
employees. If=20
apple competed in the fortune 500 business area in light of laptops, =
then the=20
market share would be higher.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>It would be interesting to see the =
market share mac=20
and pc notebooks have just for musicians, however. Any guesses? I'd say =
75%=20
mac.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><BR>&nbsp;</DIV>On=20
  Jul 27, 2007, at 11:33 AM, Krispen Hartung wrote:<BR><BR>
  <BLOCKQUOTE><?fontfamily><?param Arial><?smaller>----- Original =
Message=20
    -----=20
    <?/smaller><?/fontfamily><BR><?fontfamily><?param =
Arial><?smaller>From: "Qua=20
    Veda" &lt;<?/smaller><?/fontfamily><BR><BR><?fontfamily><?param =
Arial><?smaller>&gt;=20
    The Mac has about 3% market share of the laptops, so that's partly =
why they<?/smaller><?/fontfamily><BR><?fontfamily><?param =
Arial><?smaller>&gt;=20
    cost more.&nbsp; =
<?/smaller><?/fontfamily><BR><BR></BLOCKQUOTE><BR>Market=20
  share? Shouldn't the important percentage be - as far as this list/ =
arts in=20
  general is concerned - that which is used in the arts community. I =
think the=20
  Mac percentage is higher (?) .....</BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 18:17:15 2007
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To: Loopers-Delight@loopers-delight.com
References: <46AA42D5.7103.2345099@nick.12testing.net>
Subject: Re: new midi pedal from roland
Date: Fri, 27 Jul 2007 12:17:14 -0600
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Nice...too bad they offer only half the of bank of presets on the board. 
Now, if someone would make a board with all 10 program buttons, two 
expression pedals, and still half the size of the FCB, or even 2/3 the size, 
I'd be excited.  I may buy this one nonethess.

Kris

----- Original Message ----- 



> http://www.roland.co.uk/guitar_room_catdet.asp?id=FC300
>
> smaller than the fcb1010, but 2.5 * the cost ;(
> 

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 18:18:32 2007
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From: "Mark Sottilaro" <sine@zerocrossing.net>
To: <Loopers-Delight@loopers-delight.com>
Subject: RE: Small, Hand-Sized Battery Powered Mixers
Date: Fri, 27 Jul 2007 11:18:17 -0700
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We have this conversation every now and then.  Andy sites this problem =
and
then I offer my personal experience showing no such latency problem at =
all.
It's one of our loops.

-----Original Message-----
From: Krispen Hartung [mailto:khartung@cableone.net]=20
Sent: Friday, July 27, 2007 8:11 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Small, Hand-Sized Battery Powered Mixers

Interesting, I have not heard of this issue. I know that Jeff Kaiser is=20
using an older mac with a firewire interface (Fireface 400), and he's=20
somewhat of a perfectionist when it comes to his sound, with the trumpet =

being his main audio input and all. He's never commented on any latency=20
problems. Of course, he's using max, so that could be a factor, but I'm =
not=20
sure.

Kris

----- Original Message -----=20
>
> Last time I heard, there was a big problem with FireWire interfaces =
and=20
> Core Audio
> having a lot of latency.
> Hope that's fixed now.
> As I understand it, there are difficulties with syncing audio on =
Firewire,

> as it has to be the master. Core Audio simply gets round this by using =

> sample rate conversion. The result is that it works without glitching, =
but

> SRC
> brings it's own problems.
> (On pc, the Firewire audio is treated as master, but then you can't =
have=20
> multiple audio interfaces)
>
> I guess I've been lucky, my M-Audio interface has run perfectly with 3 =

> different pc motherboards,
> and an 8-ch firewire interface worked fine straight away.
>
> andy butler
>=20



From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 18:33:09 2007
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Subject: Re: Small, Hand-Sized Battery Powered Mixers
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Is there a reset button for this loop? :)


----- Original Message ----- 
From: "Mark Sottilaro" <sine@zerocrossing.net>

We have this conversation every now and then.  Andy sites this problem and
then I offer my personal experience showing no such latency problem at all.
It's one of our loops.

-----Original Message-----
From: Krispen Hartung [mailto:khartung@cableone.net]
Sent: Friday, July 27, 2007 8:11 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Small, Hand-Sized Battery Powered Mixers

Interesting, I have not heard of this issue. I know that Jeff Kaiser is
using an older mac with a firewire interface (Fireface 400), and he's
somewhat of a perfectionist when it comes to his sound, with the trumpet
being his main audio input and all. He's never commented on any latency
problems. Of course, he's using max, so that could be a factor, but I'm not
sure.

Kris

----- Original Message ----- 
>
> Last time I heard, there was a big problem with FireWire interfaces and
> Core Audio
> having a lot of latency.
> Hope that's fixed now.
> As I understand it, there are difficulties with syncing audio on Firewire,

> as it has to be the master. Core Audio simply gets round this by using
> sample rate conversion. The result is that it works without glitching, but

> SRC
> brings it's own problems.
> (On pc, the Firewire audio is treated as master, but then you can't have
> multiple audio interfaces)
>
> I guess I've been lucky, my M-Audio interface has run perfectly with 3
> different pc motherboards,
> and an 8-ch firewire interface worked fine straight away.
>
> andy butler
>



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Krispen Hartung wrote:
> Is there a reset button for this loop? :)
> 
> 

yes, but Apple have to press it
(actually, the SRC thing is an overdub)

From Loopers-Delight-request@loopers-delight.com  Fri Jul 27 20:27:26 2007
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------=_Part_11487_15771760.1185568044851
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Agreed with Warren about the MacBook. Only reason to get the MBPro is for
the larger screen, cardbus slot, or separate graphics card. For
Haven't messed much with it yet (I still loop with EDPs) but in fact using
Parallels with Win XP I can run Mobius and route the audio I/O into my
wonderful Metric Halo ULN-2. The Metric Halo drivers are OSX only BTW...

Neil

------=_Part_11487_15771760.1185568044851
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Agreed with Warren about the MacBook. Only reason to get the MBPro is for the larger screen, cardbus slot, or separate graphics card. For<div><br class="webkit-block-placeholder"></div><div>Haven&#39;t messed much with it yet (I still loop with EDPs) but in fact using Parallels with Win XP I can run Mobius and route the audio I/O into my wonderful Metric Halo ULN-2. The Metric Halo drivers are OSX only BTW...
</div><div><br class="webkit-block-placeholder"></div><div>Neil</div><div><br class="webkit-block-placeholder"></div>

------=_Part_11487_15771760.1185568044851--

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--------------020707030001050007060601--


From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 01:57:53 2007
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Date: Fri, 27 Jul 2007 18:57:51 -0700 (PDT)
From: bill bigrig <billbigrig@yahoo.com>
Subject: battery powered mixers
To: loopers-Delight@loopers-delight.com
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Howdy,

 i have an old Fostex 4 channel around here somewhere.
It's battery or wall wart powered, has 4 inputs and
includes a limiter. About the size of a large guitar
tuner, i can't recall the model number. It has been a
handy little device though, back when I used it. When
it turns up, I'm sure i'll be using it again.
Rig


      ____________________________________________________________________________________
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From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 08:13:18 2007
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Date: Sat, 28 Jul 2007 04:15:43 -0400
From: Bill Fox <billyfox@soundscapes.us>
Subject: Listen to The AM/FM Show
To: undisclosed-recipients: ;
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THE AM/FM SHOW ON WMUH:                      http://soundscapes.us/amfm
=======================================================================
My next stint on the AM/FM Show will be less than two hours from now on
Saturday, July 28 at 6:00 am. (EDT / GMT-4).  I will continue the
special on E-dition Electronic Music Magazine's sampler CDs.

Tune in to WMUH Allentown at 91.7 FM, broadcasting from the campus of
Muhlenberg College.  I alternate hosting the show with Bruce.  When I
am at the helm, the show features electronic, ambient, and spacemusic
at the beginning, an eclectic mix of genres in the middle, and winds
up with Progressive Rock.  WMUH's web site is
http://muhlenberg.edu/wmuh

Listen on-line to WMUH at http://www.muhlenberg.edu/wmuh and click the
REAL AUDIO link or go directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm

From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 11:02:49 2007
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Date: Sat, 28 Jul 2007 12:01:52 +0100
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Subject: 3 mode footswitch?
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Does anyone have a circuit diagram for the Sellon chip 3 switch 
jamman pedal? Such as

http://www.stecrecords.com/gear/jamman/Footswitches.html

From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 11:16:09 2007
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Oops - found the circuit diagram on Bobs page. I'm now confused! A 
page on the site says the 3 button support offers in Loop Mode

1 = Reset
2 = Tap
3 = Stop/Start Loop (new)

my user guide says  it's

Footswitch 1: 
- Tap 
- Bypass/Reset 
- Fade Main* 

Is button 3 stop/start or fade? I'm hoping the first one....

From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 11:27:37 2007
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Date: Sat, 28 Jul 2007 04:27:34 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: minimizing gear with-laptop or floor harware?
To: Loopers-Delight@loopers-delight.com
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Hi gang,
i had a gig yesterday just my self doing acoustic
songs with guitar looping and singing,by the way i
used the new digitech vocalist for the first time
yesterday to do harmonies and i love this little
baby!a breeze to use,i got it a day before the gig,i
tried it by playing some good ol
CSN,,beatles,Zeppelin,Neil Young,Richard
Ashcroft,Elliot Smith etc.all with 2 of its presets
and it sound so cool finally i got a partner that can
sing without having to rehearse much!;-)
but settin up the P.A.,my rack,doing the mixing myself
etc.took me about an hour and after driving home i
said to myself thats it, i gotta minimize this shit
for this type of gigs,i am gettin to old for it.
so to replace my rack is either: 
getting a laptop to replace my,edps,and mpc1000
sampler with mobius and (x?) software to replace the
MPC1000(please recomend me something similar),though i
would still have to have a mixer and soundcard.
or going all floor harware,no racks or mixer by using
floor efx and something like the boss RC-50 it has a
looper,simple drum loops, guitar and mic in,and stereo
outs straight into the 2 speakers.Now since i havent
use any of these 2 variables which in your opinion
would be more reliable,advantages,drawbacks?
thanx!
Luis


--- Krispen Hartung <khartung@cableone.net> wrote:

> Nice...too bad they offer only half the of bank of
> presets on the board. 
> Now, if someone would make a board with all 10
> program buttons, two 
> expression pedals, and still half the size of the
> FCB, or even 2/3 the size, 
> I'd be excited.  I may buy this one nonethess.
> 
> Kris
> 
> ----- Original Message ----- 
> 
> 
> 
> >
>
http://www.roland.co.uk/guitar_room_catdet.asp?id=FC300
> >
> > smaller than the fcb1010, but 2.5 * the cost ;(
> > 
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Shape Yahoo! in your own image.  Join our Network Research Panel today!   http://surveylink.yahoo.com/gmrs/yahoo_panel_invite.asp?a=7 


From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 11:51:04 2007
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Subject: AW: minimizing gear with-laptop or floor harware?
Date: Sat, 28 Jul 2007 13:51:19 +0200
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> getting a laptop to replace my,edps,and mpc1000 sampler with 
> mobius and (x?) software to replace the MPC1000(please 
> recomend me something similar),though i would still have to 
> have a mixer and soundcard.
> or going all floor harware,no racks or mixer by using floor 
> efx and something like the boss RC-50 it has a looper,simple 
> drum loops, guitar and mic in,and stereo outs straight into 
> the 2 speakers.Now since i havent use any of these 2 
> variables which in your opinion would be more 
> reliable,advantages,drawbacks?

Option "Laptop plus":
Using Mobius will give you all the (looping) power you have now, only times
sixteen and script language and...note that there are some special (esp.
loop4) functions that still have to be implemented in Mobius.

As for the MPC1000: I'd suggest Kontakt, then suggest Ableton Live as a
host. Depending on the way you're working with your MPC, you can then even
skip using Kontakt or just use Battery instead.

I don't understand why you'd still need a mixer. Using an interface which is
powerful enough should solve this (think fireface400 with its standalone
mixer function).

What you'll need however is at least a foot controller (FCB1010 etc.) and
perhaps a fader box.

Advantages: very flexible, only one pass of A/D-D/A conversions, the setup
topology can be changed by simply loading a new file into your application.

Option "all floor":
Floor setups tend to lack when it comes to signal routing flexibility. Also,
if you normally use a MPC to do your drums, I doubt that you'll be happy
with the RC50's internal drums (and with its looping if you're coming from
the EDP for that matter). Which effects were you looking at? One before the
RC50 (which would then only affect guitar) and one after the RC50? Or
something else? You see, flexibility of routing is greatly reduced here...

Advantages: you could just mount everything onto a wooden board with two
cables going in on one side and two cables coming out on the other side and
a power strip at the top. Setup essentially boils down to putting the thing
onto the floor and connecting five cables.

	Rainer

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: AW: minimizing gear with-laptop or floor harware?
Date: Sat, 28 Jul 2007 14:04:34 +0200
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>> software to replace the MPC1000(please
>> recomend me something similar)


Many people replace their MPC's with Ableton Live. Live was designed  
with the MPC in mind.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 12:23:35 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: AW: minimizing gear with-laptop or floor harware?
Date: Sat, 28 Jul 2007 14:23:30 +0200
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>>> software to replace the MPC1000(please
>>> recomend me something similar)


On 28 jul 2007, at 14.04, Per Boysen wrote:
> Many people replace their MPC's with Ableton Live. Live was  
> designed with the MPC in mind.

Short addition: The MPC1000 is a rather complete workstation and  
since you didn't specify how you use it this might be a shot in the  
dark; but if you want something in software that comes refers to  
using a MPC for drum beats you may find this in GURU from FX-pansion.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 12:28:06 2007
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--Apple-Mail-2--987430762
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I need a good soundcard so I can use my laptop running LIVE with  
Clips to play with and use Mobius to loop over etc. I've got a  
Macbook Pro but will use Live in Windows and I'd like the sound card  
to have at least 4 outs. Any suggestions? Looking for somethig solid  
with low latency. Thanks!

Sean Mormelo
sean@seanmormelo.com
www.seanmormelo.com
www.myspace.com/seanmormelo





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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">I need a good soundcard so I can =
use my laptop running LIVE with Clips to play with and use Mobius to =
loop over etc. I've got a Macbook Pro but will use Live in Windows and =
I'd like the sound card to have at least 4 outs. Any suggestions? =
Looking for somethig solid with low latency. Thanks!<DIV><BR><DIV> <SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
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class=3D"khtml-block-placeholder"></DIV><DIV><BR =
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class=3D"Apple-interchange-newline"></SPAN> =
</DIV><BR></DIV></BODY></HTML>=

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From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 12:31:55 2007
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Date: Sat, 28 Jul 2007 05:31:53 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: AW: minimizing gear with-laptop or floor harware?
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> As for the MPC1000: I'd suggest Kontakt, then
> suggest Ableton Live as a
> host. Depending on the way you're working with your
> MPC, you can then even
> skip using Kontakt or just use Battery instead.
how do they work being synced with mobius?
I work with the mpc1000 in both modes, using it as
master and slaving it ot the EDPs
> 
> I don't understand why you'd still need a mixer.
> Using an interface which is
> powerful enough should solve this (think fireface400
> with its standalone
> mixer function)

cool!
> 
> What you'll need however is at least a foot
> controller (FCB1010 etc.) and
> perhaps a fader box.

Soory,what is a fader box?
> 
> Advantages: very flexible, only one pass of A/D-D/A
> conversions, the setup
> topology can be changed by simply loading a new file
> into your application.
> 
> Option "all floor":
> Floor setups tend to lack when it comes to signal
> routing flexibility. Also,
> if you normally use a MPC to do your drums, I doubt
> that you'll be happy
> with the RC50's internal drums (and with its looping
> if you're coming from
> the EDP for that matter). Which effects were you
> looking at? One before the
> RC50 (which would then only affect guitar) and one
> after the RC50? Or
> something else? You see, flexibility of routing is
> greatly reduced here...
yes i hear you this is the big sacrifice,ive been
using the EDP for so long that nay other looper bores
me! 
as far as fx I would be using something like the T.C.
electronics G-natural flor unit to use for my acoustic
before the RC-50,and for my voice efx ill use
something like the vocal live 4,for after fx ive been
using the Mofx but i guess i could live without it

> 
> Advantages: you could just mount everything onto a
> wooden board with two
> cables going in on one side and two cables coming
> out on the other side and
> a power strip at the top. Setup essentially boils
> down to putting the thing
> onto the floor and connecting five cables.
> 
> 	Rainer

Thanx Rainer!
Luis


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Park yourself in front of a world of choices in alternative vehicles. Visit the Yahoo! Auto Green Center.
http://autos.yahoo.com/green_center/ 

From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 12:34:51 2007
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Date: Sat, 28 Jul 2007 05:34:49 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: AW: minimizing gear with-laptop or floor harware?
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Per thanx man i wasnt aware of this!
cheers
Luis





--- Per Boysen <perboysen@gmail.com> wrote:

> >>> software to replace the MPC1000(please
> >>> recomend me something similar)
> 
> 
> On 28 jul 2007, at 14.04, Per Boysen wrote:
> > Many people replace their MPC's with Ableton Live.
> Live was  
> > designed with the MPC in mind.
> 
> Short addition: The MPC1000 is a rather complete
> workstation and  
> since you didn't specify how you use it this might
> be a shot in the  
> dark; but if you want something in software that
> comes refers to  
> using a MPC for drum beats you may find this in GURU
> from FX-pansion.
> 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> 
> 
> 
> 
> 


www.myspace.com/luisangulocom


       
____________________________________________________________________________________
Choose the right car based on your needs.  Check out Yahoo! Autos new Car Finder tool.
http://autos.yahoo.com/carfinder/

From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 12:42:47 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Low Lantecy Soundcard for Laptop Gig
Date: Sat, 28 Jul 2007 14:42:43 +0200
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On 28 jul 2007, at 14.28, Sean Mormelo wrote:

> I need a good soundcard so I can use my laptop running LIVE with  
> Clips to play with and use Mobius to loop over etc. I've got a  
> Macbook Pro but will use Live in Windows and I'd like the sound  
> card to have at least 4 outs. Any suggestions? Looking for somethig  
> solid with low latency. Thanks!
>
> Sean Mormelo


Hi Sean,

I have a RME FireFace 400 that works well under both OS X and Windows  
XP. This unit offers the best mic pre amps within that price range.  
Its big brother, the FireFace 800, has actually not that good built- 
in mic pre amps, but better AD convertors. That's because that  
product target a more pro oriented user type that typically has  
dedicated external mic pre amp that offers even better fidelity for  
analog input. I also have an Echo AudioFire2 that is about the  
cheapest you can go without buying crap. This also sounds good but  
doesn't offer good mic pre amps. I use mine for digital input. I can  
verify that it runs well with OS X but I have not used it with  
Windows (might be good there as well). I have another, older PCMCIA  
card from Echo, the Indigo i/o, but I would not like to recommend it  
because it doesn't sound as good as the other two (you said you need  
"a good soundcard" ;-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 12:49:30 2007
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At 12:17 PM -0600 7/27/07, Krispen Hartung wrote:
>> http://www.roland.co.uk/guitar_room_catdet.asp?id=FC300
>>
>> smaller than the fcb1010, but 2.5 * the cost ;(
>
> Nice...too bad they offer only half the of bank of presets on the
> board. Now, if someone would make a board with all 10 program
> buttons, two expression pedals, and still half the size of the FCB, > or even
2/3 the size, I'd be excited.  I may buy this one nonethess.

Saw one today, as a matter of fact.  Nice form factor, but this is really
marketed at being the foot controller for the new VG-99.  I guess it'll do some
other MIDI stuff (might still be worth looking into turning it to other
purposes) but it's really designed to be mated with the VG.

	--m.


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From: Per Boysen <perboysen@gmail.com>
Subject: Re: AW: minimizing gear with-laptop or floor harware?
Date: Sat, 28 Jul 2007 14:54:43 +0200
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>
>> As for the MPC1000: I'd suggest Kontakt, then
>> suggest Ableton Live as a
>> host. Depending on the way you're working with your
>> MPC, you can then even
>> skip using Kontakt or just use Battery instead.


On 28 jul 2007, at 14.31, L.A. Angulo wrote:

> how do they work being synced with mobius?
> I work with the mpc1000 in both modes, using it as
> master and slaving it ot the EDPs

They don't. As plug-ins to Ableton Live they all sync with Ableton  
Live. But with the MIDI-OX trick you can make Live sync to Mobius.  
This is not stable though. But it's stable to set a tempo in Live and  
have all plug-ins sync (Mobius, Kontakt, Battery und alles).

If you want to use Mobius as the sync master you should know that  
Bidule offers a special kind of internal sync system that works very  
well with VST plug-ins under Windows XP (seems to not work with AU  
plug-ins under OSX). But regarding GURU I'm not quite sure it's  
compatible with Bidules internal sync system. If you seriously are  
interested in running GURU as a software MPC hosted in Bidule, please  
send me a note and I will try out if it works, since I have GURU  
available here and have now become as used to Bidule as a VST host as  
I am with Ableton Live.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 13:03:00 2007
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From: "RICK WALKER" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: Where is Warren's Post    was:   Choosing the right laptop for live looping & PRICING EXPERIMENT
Date: Sat, 28 Jul 2007 06:02:47 -0700
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Twice,  a reply in this thread has referred to a posting by 
Warren Sirota about the Macbook and the Macbook Pro.

I have not gotten it in any of my digests and when I just went 
to the archive, is it not listed in this thread.

Can someone direct me to his post please?

yours,  Rick

From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 13:28:00 2007
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Subject: cme midi pedal?
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Has anynoe tried this?

http://www.bananas.com/productdetail.asp/pid_10214/productname_CME-
GPP-3-Programmable-Grand-Piano-Pedal

pedals look a bit clunky, but it's a 3 switch programmable midi pedal 
and quite cheap.


From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 13:32:20 2007
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On Sunday, Jim Goodin and I (that is, Chinapainting) will be doing an
interview and performance (w/cassette loops) on WVKR-FM, in
Poughkeepsie, NY. It'll run from 10-11 EST. There will be a live stream
available on WVKR.org (click on "LISTEN" on the front page).

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.com



From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 13:35:49 2007
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On Sunday, Jim Goodin and I (that is, Chinapainting) will be doing an
interview and performance (w/cassette loops) on WVKR-FM, in
Poughkeepsie, NY. It'll run from 10-11 EST. There will be a live stream
available on WVKR.org (click on "LISTEN" on the front page).

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.com



From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 13:36:20 2007
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Date: Sat, 28 Jul 2007 06:36:18 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: Low Lantecy Soundcard for Laptop Gig
To: Loopers-Delight@loopers-delight.com
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Wow, really?shit i bought the RME fireface 800
thinking it had the best preamps out there,and also
recently the card all of the sudden stopped working,i
just sent it to get it repair and i havent even done
any projects with it!
I dont know in the U.S. but the RME support here in
germany sucks and this card aint cheap! 
Luis

> Its big brother, the FireFace 800, has actually not
> that good built- 
> in mic pre amps, but better AD convertors. That's
> because that  
> product target a more pro oriented user type that
> typically has  
> dedicated external mic pre amp that offers even
> better fidelity for  
> analog input. I also have an Echo AudioFire2 that is
> about the  
> cheapest you can go without buying crap. This also
> sounds good but  
> doesn't offer good mic pre amps. I use mine for
> digital input. I can  
> verify that it runs well with OS X but I have not
> used it with  
> Windows (might be good there as well). I have
> another, older PCMCIA  
> card from Echo, the Indigo i/o, but I would not like
> to recommend it  
> because it doesn't sound as good as the other two
> (you said you need  
> "a good soundcard" ;-)
> 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> 
> 
> 
> 
> 


www.myspace.com/luisangulocom


       
____________________________________________________________________________________Ready for the edge of your seat? 
Check out tonight's top picks on Yahoo! TV. 
http://tv.yahoo.com/

From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 13:37:06 2007
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On Sunday, Jim Goodin and I (that is, Chinapainting) will be doing an
interview and performance (w/cassette loops) on WVKR-FM, in
Poughkeepsie, NY. It'll run from 10-11 EST. There will be a live stream
available on WVKR.org (click on "LISTEN" on the front page).

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.com




From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 13:59:55 2007
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I would second the recommendation for the Fireface 400. Allaround good 
choice for preamps and IO route.

Kris

----- Original Message ----- 



> On 28 jul 2007, at 14.28, Sean Mormelo wrote:
>
>> I need a good soundcard so I can use my laptop running LIVE with  Clips 
>> to play with and use Mobius to loop over etc. I've got a  Macbook Pro but 
>> will use Live in Windows and I'd like the sound  card to have at least 4 
>> outs. Any suggestions? Looking for somethig  solid with low latency. 
>> Thanks!
>>
>> Sean Mormelo
>
>
> Hi Sean,
>
> I have a RME FireFace 400 that works well under both OS X and Windows  XP. 
> This unit offers the best mic pre amps within that price range.  Its big 
> brother, the FireFace 800, has actually not that good built- in mic pre 
> amps, but better AD convertors. That's because that  product target a more 
> pro oriented user type that typically has  dedicated external mic pre amp 
> that offers even better fidelity for  analog input. I also have an Echo 
> AudioFire2 that is about the  cheapest you can go without buying crap. 
> This also sounds good but  doesn't offer good mic pre amps. I use mine for 
> digital input. I can  verify that it runs well with OS X but I have not 
> used it with  Windows (might be good there as well). I have another, older 
> PCMCIA  card from Echo, the Indigo i/o, but I would not like to recommend 
> it  because it doesn't sound as good as the other two (you said you need 
> "a good soundcard" ;-)
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>
>
>
> 

From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 14:01:50 2007
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Here you go, far below.

----- Original Message ----- 

> Twice,  a reply in this thread has referred to a posting by Warren Sirota 
> about the Macbook and the Macbook Pro.
>
> I have not gotten it in any of my digests and when I just went to the 
> archive, is it not listed in this thread.
>
> Can someone direct me to his post please?
>
> yours,  Rick


Qua,

With all due respect:

I use a MacBook (non-pro, 2GHz, 2G ram) running XP for all my work, but I
use Boot Camp, not Parallels. Boot Camp, not Parallels, would be the
recommended configuration for anyone wishing to do music production under XP
on a Mac, and I believe that the computer would be very well-suited for that
mode of use. (that said, what I actually do is to boot into OSX for all my
music, and keep all my work on the - sorry, PC fan-people - far less stable
PC side). I understand the hassles about using Parallels in a corporate
environment, with dual logins, but that's probably an unusual situation for
people's music computers.

I'd love to use Parallels (or the new VMWare Fusion) on the Mac for my
Windows development work, but I need to develop under VMware Workstation
because of the essential snapshot feature, and that only works under Boot
Camp. When VMware release Workstation for OSX, I'll be one of the first
customers.

Running XP with Boot Camp is almost exactly like running XP on any computer
built for XP (I've used quite a few of those). XP isn't running under an
emulator in this configuration; instead, the computer just boots natively
into the XP partition. The *only* difference that I've found so far, after 6
months of intensive use, is that XP backup software can't back up the whole
disk partition as it can do on a non-partitioned disk - instead I have to
run an "all files" backup, which is not quite as good.

As far as cost goes: this is probably no longer true, but when I priced out
Acer and Dell laptops vs. MacBooks back in January, I was surprised to see
that the prices were quite comparable for comparable configurations. And,
when you get a MacBook, you get a computer (at least on the OSX side) where
all the hardware and software is integrated from the ground up, and there
are no nasty surprises with the way the Firewire or USB functions, as there
were on my last Dell Inspiron, making the "multimedia computer" completely
unsuitable for multitrack recording (for which I will never forgive Dell),
nor the overheating and spontaneous system shutdown that the piece-of-shit
Dell was subject to when you filled the memory out to capacity.

And with the Macbook, you get various bonuses that are just part of the way
Apple engineers hardware. I've dropped it onto asphalt from 3 feet with only
a scratch. The power cord easily just pulls out from the computer if you
trip over it (OK, so I'm a klutz). You can use two fingers on the trackpad
to scroll any window - in either OSX or XP - instead using the scroll bars
onscreen. It also goes into Standby and Hibernate well, something that is
frequently a problem with Windows computers.

I am *so* glad I got this computer - I can do my work, and my music system
is insulated from the vagaries of Windows, which (sorry again, Windows
fan-people) seems to trash my audio setup and various other things at random
intervals for no discernable reason. Plus, if you get a new Windows computer
today, you're likely to be stuck with Vista, which, like every new Microsoft
OS, seems designed to soak up more and more CPU power with features I don't
give a crap about. Plus, the MacBook is really light and doesn't seem to
need it's fan very much, so it's pretty quiet.

BTW, I've been making my living from programming under Windows since Windows
3.1 in 1993, but that doesn't mean I don't notice its flaws (au contraire, I
am subjected to them constantly). I don't think the Mac OS is inherently
superior in features or even UI, and most of the newer features in either OS
strike me as marketing fluff that only serves to waste computer power and
drive corporate profits. The early hype that Macs don't crash was nonsense
(though it's more true now), and most of the stuff in those Mac-vs-PC
commercials is distortion, if not outright lies. Nonetheless, I find Macs
(on the OSX side) to be significantly superior and more stable for music,
presumably because of the tight control of the hw platform by Apple and the
less-frequent OS security updates. Didn't Jobs recently quote Alan Kay as
saying "if you want to make great sw, you have to control the hw," or
something like that?

Sorry, I usually hate PC-vs-Mac flame stuff, but I had to cast my vote in
this discussion in support of MacBooks. Mine is the best Windows computer
I've ever had.

Warren

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Subject: Re: Low Lantecy Soundcard for Laptop Gig
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Quoting Per Boysen <perboysen@gmail.com>:
>
> I have a RME FireFace 400 that works well under both OS X and Windows
> XP. This unit offers the best mic pre amps within that price range. Its
> big brother, the FireFace 800, has actually not that good built-in mic
> pre amps, but better AD convertors.

I own an RME FireFace 800 and it works very well.   I haven't utilized  
the 800's mic preamps, since my work is all electronic/instrumental.

Indeed, it has very low latency -- around 8ms.  I have been very  
satisfied with the RME Fireface.

-- Kevin

From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 14:17:06 2007
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I didn't realize you had another Echo, per. In fact, I totally neglected the 
fact that they had other options besides the IO. Check this one out, 
AudioFire 4, with actual mic pre's:

http://www.echoaudio.com/Products/FireWire/AudioFire4/index.php

Check out the specs.

Kris



----- Original Message ----- 
From: "Per Boysen" <perboysen@gmail.com> I also have an Echo AudioFire2 that 
is about the
> cheapest you can go without buying crap. This also sounds good but 
> doesn't offer good mic pre amps. I use mine for digital input. >

From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 14:46:22 2007
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The drum sounds in the RC50 do indeed suck. I drop wav files created in Stylus into it. These range from basic percussion to more advanced parts. The loop is then defined by the length of the wav file. This does away with the split second of silence you get when going from record to play on the RC. You do give up a certian amount of freedom, but you can store a bunch of patches with preset lengths, 1 bar, 2 bars etc. and use them as needed.  This also really helps when playing with other musicians. The loops are locked in and drummers wont drift. Yet it still feels natural. 
Get the new really tiny POD for effects. Peavey PR10 powered speakers and a very small mixer and your good to go. My rig fits in a Miata, sets up in 5 minutes, tears down in 3. The announce last call and I can have a few before the bar closes. 
Your setlist sounds cool, can you send it to me?

MFC




-------------- Original message -------------- 
From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de> 

> 
> 
> > getting a laptop to replace my,edps,and mpc1000 sampler with 
> > mobius and (x?) software to replace the MPC1000(please 
> > recomend me something similar),though i would still have to 
> > have a mixer and soundcard. 
> > or going all floor harware,no racks or mixer by using floor 
> > efx and something like the boss RC-50 it has a looper,simple 
> > drum loops, guitar and mic in,and stereo outs straight into 
> > the 2 speakers.Now since i havent use any of these 2 
> > variables which in your opinion would be more 
> > reliable,advantages,drawbacks? 
> 
> Option "Laptop plus": 
> Using Mobius will give you all the (looping) power you have now, only times 
> sixteen and script language and...note that there are some special (esp. 
> loop4) functions that still have to be implemented in Mobius. 
> 
> As for the MPC1000: I'd suggest Kontakt, then suggest Ableton Live as a 
> host. Depending on the way you're working with your MPC, you can then even 
> skip using Kontakt or just use Battery instead. 
> 
> I don't understand why you'd still need a mixer. Using an interface which is 
> powerful enough should solve this (think fireface400 with its standalone 
> mixer function). 
> 
> What you'll need however is at least a foot controller (FCB1010 etc.) and 
> perhaps a fader box. 
> 
> Advantages: very flexible, only one pass of A/D-D/A conversions, the setup 
> topology can be changed by simply loading a new file into your application. 
> 
> Option "all floor": 
> Floor setups tend to lack when it comes to signal routing flexibility. Also, 
> if you normally use a MPC to do your drums, I doubt that you'll be happy 
> with the RC50's internal drums (and with its looping if you're coming from 
> the EDP for that matter). Which effects were you looking at? One before the 
> RC50 (which would then only affect guitar) and one after the RC50? Or 
> something else? You see, flexibility of routing is greatly reduced here... 
> 
> Advantages: you could just mount everything onto a wooden board with two 
> cables going in on one side and two cables coming out on the other side and 
> a power strip at the top. Setup essentially boils down to putting the thing 
> onto the floor and connecting five cables. 
> 
> Rainer 
> 
--NextPart_Webmail_9m3u9jl4l_5906_1185633980_0
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<html><body>
<DIV>The drum sounds in the RC50 do indeed suck. I drop wav files created in Stylus into it. These range from basic percussion to more advanced parts. The loop is then defined by the length of the wav file. This does away with the split second of silence you get when going from record to play on the RC. You do give up a certian amount of freedom, but you can store a bunch of patches with preset lengths, 1 bar, 2 bars etc. and use them as needed. &nbsp;This also really helps when playing with other musicians. The loops are locked in and drummers wont drift. Yet it still feels natural. </DIV>
<DIV>Get the new really tiny POD for effects. Peavey PR10 powered speakers and a very small mixer and your good to go. My rig fits in a Miata, sets up in 5 minutes, tears down in 3. The announce last call and I can have a few before the bar closes. </DIV>
<DIV>Your setlist sounds cool, can you send it to me?</DIV>
<DIV>&nbsp;</DIV>
<DIV>MFC</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>-------------- Original message -------------- <BR>From: "Rainer Thelonius Balthasar Straschill" &lt;rs@moinlabs.de&gt; <BR><BR>&gt; <BR>&gt; <BR>&gt; &gt; getting a laptop to replace my,edps,and mpc1000 sampler with <BR>&gt; &gt; mobius and (x?) software to replace the MPC1000(please <BR>&gt; &gt; recomend me something similar),though i would still have to <BR>&gt; &gt; have a mixer and soundcard. <BR>&gt; &gt; or going all floor harware,no racks or mixer by using floor <BR>&gt; &gt; efx and something like the boss RC-50 it has a looper,simple <BR>&gt; &gt; drum loops, guitar and mic in,and stereo outs straight into <BR>&gt; &gt; the 2 speakers.Now since i havent use any of these 2 <BR>&gt; &gt; variables which in your opinion would be more <BR>&gt; &gt; reliable,advantages,drawbacks? <BR>&gt; <BR>&gt; Option "Laptop plus": <BR>&gt; Using Mobius will give you all the (looping) power you have now, only times <BR>&gt; sixteen and script language and...note that there are some s
pecial (esp. <BR>&gt; loop4) functions that still have to be implemented in Mobius. <BR>&gt; <BR>&gt; As for the MPC1000: I'd suggest Kontakt, then suggest Ableton Live as a <BR>&gt; host. Depending on the way you're working with your MPC, you can then even <BR>&gt; skip using Kontakt or just use Battery instead. <BR>&gt; <BR>&gt; I don't understand why you'd still need a mixer. Using an interface which is <BR>&gt; powerful enough should solve this (think fireface400 with its standalone <BR>&gt; mixer function). <BR>&gt; <BR>&gt; What you'll need however is at least a foot controller (FCB1010 etc.) and <BR>&gt; perhaps a fader box. <BR>&gt; <BR>&gt; Advantages: very flexible, only one pass of A/D-D/A conversions, the setup <BR>&gt; topology can be changed by simply loading a new file into your application. <BR>&gt; <BR>&gt; Option "all floor": <BR>&gt; Floor setups tend to lack when it comes to signal routing flexibility. Also, <BR>&gt; if you normally use a MPC to do your drums, I
 doubt that you'll be happy <BR>&gt; with the RC50's internal drums (and with its looping if you're coming from <BR>&gt; the EDP for that matter). Which effects were you looking at? One before the <BR>&gt; RC50 (which would then only affect guitar) and one after the RC50? Or <BR>&gt; something else? You see, flexibility of routing is greatly reduced here... <BR>&gt; <BR>&gt; Advantages: you could just mount everything onto a wooden board with two <BR>&gt; cables going in on one side and two cables coming out on the other side and <BR>&gt; a power strip at the top. Setup essentially boils down to putting the thing <BR>&gt; onto the floor and connecting five cables. <BR>&gt; <BR>&gt; Rainer <BR>&gt; </DIV></body></html>

--NextPart_Webmail_9m3u9jl4l_5906_1185633980_0--

From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 16:45:23 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Low Lantecy Soundcard for Laptop Gig
Date: Sat, 28 Jul 2007 18:45:19 +0200
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On 28 jul 2007, at 16.17, Krispen Hartung wrote:

> I didn't realize you had another Echo, per. In fact, I totally  
> neglected the fact that they had other options besides the IO.  
> Check this one out, AudioFire 4, with actual mic pre's:
>
> http://www.echoaudio.com/Products/FireWire/AudioFire4/index.php
> Check out the specs.


Yes, that's a nice one. I have checked it out before, but since I  
need analog inputs for my live mic I went with the RME FF400 that  
gives me a better live sound for flute and sax. I don't need or use  
built-in mic pre amps for studio recording because I have an  
excellent old external box for that. Specifications that I don't need  
means nothing to me.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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Yeah, it's pretty amazing when a company releases an item like this.   
It's one thing to go out and buy an Edsel... it's another to start  
manufacturing them again.  I bet there are a few purists who'll be  
first in line for it though.  I'll keep my Augustus Loop and  
Elottronix software any day.


On Jul 27, 2007, at 9:18 AM, Rev Fever wrote:

> Some of the comments are really funny. (well, I thought they  
> were. :-))
>
> Enjoy.
>
> -Rev. Fever
>
>
> 'oooh i gotta get like two of these and a ping pong table'
>
> http://musicthing.blogspot.com/2007/07/hot-expensive-pointless-tape- 
> echo-from.html


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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">Yeah, it's pretty amazing when a =
company releases an item like this.=A0 It's one thing to go out and buy =
an Edsel... it's another to start manufacturing them again.=A0 I bet =
there are a few purists who'll be first in line for it though.=A0 I'll =
keep my Augustus Loop and Elottronix software any day.<DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR><DIV><DIV>On Jul 27, =
2007, at 9:18 AM, Rev Fever wrote:</DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite"><DIV>Some =
of the comments are really funny. (well, I thought they were. =
:-))</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Enjoy.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>-Rev. Fever</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><B>'</B><FONT =
class=3D"Apple-style-span" face=3D"Trebuchet MS"><B>oooh i gotta get =
like two of these and a ping pong table'</B></FONT></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><A =
href=3D"http://musicthing.blogspot.com/2007/07/hot-expensive-pointless-tap=
e-echo-from.html">http://musicthing.blogspot.com/2007/07/hot-expensive-poi=
ntless-tape-echo-from.html</A></DIV></BLOCKQUOTE></DIV><BR></DIV></BODY></=
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From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 16:56:32 2007
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From: Mark Sottilaro <sine@zerocrossing.net>
Subject: Re: choosing the right laptop for live looping , real time DSP processing and running Video
Date: Sat, 28 Jul 2007 09:50:37 -0700
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On Jul 27, 2007, at 8:29 AM, Goddard, Duncan wrote:

>
> if you get a macbook-pro, get some speck polycarbonate shells for  
> it, or
> the outside will start to look tatty really quick.

Don't you mean Macbook?  My old company had the aluminum macs and  
they seemed to hold up fine.  I imagine the plastic shelled units get  
crappy pretty quick though.

>
> if looks aren't important & you'd rather run windows apps, get a
> high-end PC laptop, with a decent warranty on the hardware. once  
> you've
> got a stable build on there, ghost the thing onto a replacement drive.
> if a PC of any sort is allowed on a public network, it will catch all
> sorts of diseases. macs tend to be a bit safer when it comes to this
> sort of thing.

Good advise.  My Toshiba's been running perfectly but I've removed  
any software that would allow it to connect to the web or network in  
any way.

M

From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 16:58:05 2007
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-------f20fd8c428dc7b2e5f7b8ef9a91ce4d1
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I have a 800 and use it mostly with line level
inputs. 

Question>

If I were to buy another FW interface w/ ADAT, which
had better mic preamps what would I look for? 

or

Would I better off keeping the 800 and getting an
outboard mic pre-amp to feed the 800?

Ron

---- Original message ----

  Date: Sat, 28 Jul 2007 18:45:19 +0200
  From: Per Boysen <perboysen@gmail.com>
  Subject: Re: Low Lantecy Soundcard for Laptop Gig
  To: Loopers-Delight@loopers-delight.com

  >On 28 jul 2007, at 16.17, Krispen Hartung wrote:
  >
  >> I didn't realize you had another Echo, per. In
  fact, I totally
  >> neglected the fact that they had other options
  besides the IO.
  >> Check this one out, AudioFire 4, with actual
  mic pre's:
  >>
  >>
  http://www.echoaudio.com/Products/FireWire/AudioFire4/index.php
  >> Check out the specs.
  >
  >
  >Yes, that's a nice one. I have checked it out
  before, but since I
  >need analog inputs for my live mic I went with
  the RME FF400 that
  >gives me a better live sound for flute and sax. I
  don't need or use
  >built-in mic pre amps for studio recording
  because I have an
  >excellent old external box for that.
  Specifications that I don't need
  >means nothing to me.
  >
  >Greetings from Sweden
  >
  >Per Boysen
  >www.boysen.se (Swedish)
  >www.looproom.com (international)
  >
  >
  >

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<HTML><BODY>I have a 800 and use it mostly with line level inputs.&nbsp; <br>
<br>
Question&gt; <br>
<br>
If I were to buy another FW interface w/ ADAT, which had better mic preamps what would I look for?&nbsp; <br>
<br>
or<br>
<br>
Would I better off keeping the 800 and getting an outboard mic pre-amp to feed the 800?<br>
<br>
Ron<br>

<br>
---- Original message ----<br>
<blockquote style="border-left: 2px solid rgb(0, 0, 255); padding-left: 5px; margin-left: 5px;"><b>Date:</b> Sat, 28 Jul 2007 18:45:19 +0200<br>
<b>From:</b> Per Boysen &lt;perboysen@gmail.com&gt;<br>
<b>Subject:</b> Re: Low Lantecy Soundcard for Laptop Gig<br>
<b>To:</b> Loopers-Delight@loopers-delight.com<br>
<br>
&gt;On 28 jul 2007, at 16.17, Krispen Hartung wrote:<br>
&gt;<br>
&gt;&gt; I didn't realize you had another Echo, per. In fact, I totally  <br>
&gt;&gt; neglected the fact that they had other options besides the IO.  <br>
&gt;&gt; Check this one out, AudioFire 4, with actual mic pre's:<br>
&gt;&gt;<br>
&gt;&gt; http://www.echoaudio.com/Products/FireWire/AudioFire4/index.php<br>
&gt;&gt; Check out the specs.<br>
&gt;<br>
&gt;<br>
&gt;Yes, that's a nice one. I have checked it out before, but since I  <br>
&gt;need analog inputs for my live mic I went with the RME FF400 that  <br>
&gt;gives me a better live sound for flute and sax. I don't need or use  <br>
&gt;built-in mic pre amps for studio recording because I have an  <br>
&gt;excellent old external box for that. Specifications that I don't need  <br>
&gt;means nothing to me.<br>
&gt;<br>
&gt;Greetings from Sweden<br>
&gt;<br>
&gt;Per Boysen<br>
&gt;www.boysen.se (Swedish)<br>
&gt;www.looproom.com (international)<br>
&gt;<br>
&gt;<br>
&gt;<br>
</blockquote></BODY></HTML>

-------f20fd8c428dc7b2e5f7b8ef9a91ce4d1--

From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 17:03:35 2007
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Subject: Re: amusing
Date: Sat, 28 Jul 2007 12:05:20 -0500
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On Jul 28, 2007, at 11:45 AM, Mark Sottilaro wrote:

> Yeah, it's pretty amazing when a company releases an item like  
> this.  It's one thing to go out and buy an Edsel... it's another to  
> start manufacturing them again.

Every play guitar through a Fulltone Tube Tape Echo? Worth every  
penny, imo.

Jeff

From Loopers-Delight-request@loopers-delight.com  Sat Jul 28 21:05:49 2007
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Honestly, if money is an issue at all, get a decent xp running laptop  
with built in FireWire. Apple makes damn fine hardware, and it isn't  
that much more expensive, but what really makes it great is its os. If  
you'll mostly be in xp (which you have to factor into the mac's price)  
there's not really a point, unless there's a mac only app like Logic  
you want to use.

Mark

Sent from my iPhone

On Jul 27, 2007, at 4:16 AM, "RICK WALKER" <looppool@cruzio.com> wrote:

> Kris wrote:
>
> "And I hear now that with mac, no one has these problems because  
> they have their core audio and force everyone to comply to their  
> standards so that users don't have to suffer as a result of so many  
> diverse driving coding standards across the globe."
>
>
> I have to admit.    I've been a real skeptic about the whole Mac  
> world for a long time.
>
> Now,  hear me out before you make any judgements here about what I"m  
> saying...................
> To preface what I'm saying,  I'm actually seriously considering  
> investing in a Macbook pro.
> Please help me out with my fears if you don't mind:
>
> To my mind, Macs have always seemed unnecessarily overpriced  
> (especially for peripherals)
> and surrounded by almost fetishistic devotees who could never admit  
> that valid music making was possible on a PC.
>
> Also,  frankly,   I was a little jealous because I just couldn't  
> afford one and it seemed like they become obsolete every three years  
> without the ability to upgrade as is possible,  $100 at a time in  
> the PC world.   For a long time I just couldn't afford to be in that  
> world so I learned how to overcome IRQ conflicts,   edit my  
> registry,  install new drivers and fight off the myriad spyware/ 
> adware/malware and viruses that plague the Microsoft world.
>
> That said and done,  this is the first sentence (by Kris stated  
> above) that I've read that is making me reconsider my next purchase  
> of a laptop for making music (and video).
>
> Now one last thing fills me with a little fear and it is here where  
> I truly need your advice all you experts (Mac and Windows alike):
>
> I honestly love a whole suite of programs that are PC only (and a  
> zillion VST and VSTi plugings the either don't run on a Mac or don't  
> run well).
> These are FlStudio Producers Edition for which there is no single  
> program in the Mac domain that will do, specifically, what this  
> incredible program
> will do............Sony ACID,  Sony Sound Forge,  Sony Vegas Video,   
> Tuareg 2,  Granulab and a bunch of simple proprietary sound design  
> progams too numberous
> to mention.
>
> I have heard it said by some that running Windows XP on on the Intel  
> Macs is exactly the same as running it on a specific Windows maching
> and I've heard it said that Win XP does NOT run as effeciently on an  
> Intel Mac as on a high powered Windows desktop or laptop.
>
> Which is it you guys?
>
> Can anyone who has truly deep experience running Windows XP on an  
> Intel Mac tell me whether I'm safe running all my favorite programs
> on the WIN XP side of an Intel Macbook Pro?     I don't want to hear  
> theoreticals just because I have heard way too many Mac enthusiasts  
> who've had no experience whatsoever
> with a lighting fast dual processor WinXP machine make critiques of  
> it that are ludicrously innaccurate.
>
> Assuming I have the money,   and if the Intel Macbook Pro is truly  
> just as good as a fast Win XP machine then I'd be a fool not to buy  
> one
> if for no other reason than doing all of my browsing and e-mail on  
> the much safer OS-X side of the machine, whilst using my favorite  
> programs on
> the WinXP side of the machine.
>
> Thanks in advance for any advice people have to give me.
>
> yours,
> Rick Walker

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 02:44:14 2007
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Ah jeez, I sent the same message thrice...my email was hanging during 
each send, so I thought it didn't go out. If it was twice I'd have let 
it slide, but three times is bloody embarrassing....if you choose to NOT 
listen to the show in protest, I certainly understand.

grovels & kowtows,

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.com

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From: Per Boysen <perboysen@gmail.com>
Subject: Re: choosing the right laptop for live looping , real time DSP processing and running Video
Date: Sun, 29 Jul 2007 10:09:14 +0200
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On 28 jul 2007, at 23.05, Mark Sottilaro wrote:

> If you'll mostly be in xp (which you have to factor into the mac's  
> price) there's not really a point, unless there's a mac only app  
> like Logic you want to use.

...or MetaSynth, or Numerology. To name my other big Mac Magnets  
beside Logic.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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 </TR>  <TR>  <TD><IMG height=4 src="http://pics.ebaystatic.com/aw/pics/s.gif" width=1></TD></TR>  <TR>  <TD><I><FONT face="verdana, sans-serif" color=gray size=1>This will confirm to eBay that your email is working.</FONT></I></TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE></TD>  <TD><IMG height=10 src="http://pics.ebaystatic.com/aw/pics/s.gif"></TD></TR>  <TR>  <TD width="100%" bgColor=#ffffff colSpan=2><IMG height=20 src="http://pics.ebaystatic.com/aw/pics/s.gif"></TD></TR>  <TR>  <TD width="100%" bgColor=#cecee3 colSpan=2><IMG height=1 src="http://pics.ebaystatic.com/aw/pics/s.gif"></TD></TR>  <TR>  <TD width="100%"
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      <hr size=1>

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 09:17:19 2007
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On 7/29/07, Per Boysen <perboysen@gmail.com> wrote:
>
>
> ...or MetaSynth, or Numerology. To name my other big Mac Magnets
> beside Logic.


Right on!

NG

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<br><br><div><span class="gmail_quote">On 7/29/07, <b class="gmail_sendername">Per Boysen</b> &lt;<a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="margin:0;margin-left:0.8ex;border-left:1px #ccc solid;padding-left:1ex">
<br>...or MetaSynth, or Numerology. To name my other big Mac Magnets<br>beside Logic.</blockquote><div><br class="webkit-block-placeholder"></div><div>Right on!</div><div><br class="webkit-block-placeholder"></div><div>NG&nbsp;
</div><br>&nbsp;</div><br>

------=_Part_22990_23830302.1185700635505--

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 09:38:02 2007
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From: "RICK WALKER" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: Re: Low Lantecy Soundcard for Laptop Gig
Date: Sun, 29 Jul 2007 02:37:48 -0700
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You guys keep mentioning the
RME Fireface 400 and RME Fireface 800.

They look incredible but, man,  it takes my breath away to see
what these things cost!  $700 and $1200, 
respectively.................argggggghhh!

This starving artist shit sucks!!!!!

I own an M-Audio Firewire 410.

Is this just a worthless piece of crap in terms of looping live with a 
laptop setup?

And, damn,  I just heard that Creative Labs has just ended EMU for good.
That means they'll probably blow some of their audio breakout boxes
for really cheap I imagine.

Are any of those going to be decent for use with a MacBook or MaBook Pro
as everyone seems to be in consensus about (except for Qua.........all 
kudos, my friend)?

Any other alternatives besides the really pricey soundcards? 

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 09:55:58 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Low Lantecy Soundcard for Laptop Gig
Date: Sun, 29 Jul 2007 11:55:53 +0200
To: Loopers-Delight@loopers-delight.com
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On 29 jul 2007, at 11.37, RICK WALKER wrote:

> I own an M-Audio Firewire 410.

Yes.

> Is this just a worthless piece of crap in terms of looping live  
> with a laptop setup?

No.

> And, damn,  I just heard that Creative Labs has just ended EMU for  
> good.
> That means they'll probably blow some of their audio breakout boxes
> for really cheap I imagine.
>
> Are any of those going to be decent for use with a MacBook or  
> MaBook Pro
> as everyone seems to be in consensus about (except for  
> Qua.........all kudos, my friend)?

Why don't you just keep the M-Audio? Plug it in, make noise and  
listen. It will reveal its inner qualities. If it sounds good - use it!

Brian May recorded all "expensive sounding" guitar orchestrations on  
the Queen albums on a piece of crap home-built guitar amp his buddy  
built from junk he found in a garbage can 1971. Here's a link to the  
history of the Decay Amp:
http://www.brianmay.com/brian/briannews/briannewsjun05.html#32

per


From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 11:58:33 2007
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Date: Sun, 29 Jul 2007 04:58:31 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: Low Lantecy Soundcard for Laptop Gig
To: Loopers-Delight@loopers-delight.com
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Just curious Per, what excellent old external box do u
have?


 I
> don't need or use  
> built-in mic pre amps for studio recording because I
> have an  
> excellent old external box for that. Specifications
> that I don't need  
> means nothing to me.
> 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> 
> 
> 
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Shape Yahoo! in your own image.  Join our Network Research Panel today!   http://surveylink.yahoo.com/gmrs/yahoo_panel_invite.asp?a=7 


From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 12:22:26 2007
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Date: Sun, 29 Jul 2007 13:22:23 +0100 (BST)
From: MATTHEW STEVENS <mattstevensguitar@btinternet.com>
Subject: Help
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Hello

I need your help!

My 2nd DL4 Has Just died on me and I'm sick of the
bloody things breaking down!!!

Can anyone recommend a pedal that does the same stuff
but more reliable?  I had a look at the boss ones but
I don't want any auto quantize crap as I do some songs
in 15/8 etc (do you have to play to a click?)

Thanks

Matt 

www.myspace.com/mattstevensguitar

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 12:28:05 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Low Lantecy Soundcard for Laptop Gig
Date: Sun, 29 Jul 2007 14:28:00 +0200
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Hmm... reading on the front plate here: "PreSonus VXP Dual Servo Mic  
Preamp Voice Processor". I found a web site here with spec's:
http://www.kellyindustries.com/signalprocessors/presonus_vxp.html

per

On 29 jul 2007, at 13.58, L.A. Angulo wrote:

> Just curious Per, what excellent old external box do u
> have?
>
>
>> don't need or use
>> built-in mic pre amps for studio recording because I
>> have an
>> excellent old external box for that. Specifications
>> that I don't need
>> means nothing to me.
>>
>> Greetings from Sweden
>>
>> Per Boysen
>> www.boysen.se (Swedish)
>> www.looproom.com (international)
>>

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 13:16:59 2007
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Date: Sun, 29 Jul 2007 06:16:58 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: AW: minimizing gear with-laptop or floor harware?
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The tiny POD seems cool but i need 2 inputs for my
stereo out acoustic guitar. 
i am also still hunting for the smallest high quality
12 ch.mixer,about the size of the mackies VLZ1202/1204
with at least 6 xlr ins, at least 3 band EQ per
channel, 2 aux sends,alt 3/4 (for after efxs),XLR outs
and good sounding integrated FXs,i can´t believe all
of the ones ive seen are missing something,i have the
Mackie CFX1202 but is just too bulky.

so far this are the ones ive come across:

http://www.thomann.de/de/mackie_dfx_12.htm

http://www.thomann.de/de/samson_mdr_10.htm

offcourse i havent even bother to look at
behringer,phonic or anything low quality but please
feel free to suggest.
Thanx!
Luis

P.S.for such gigs my setlist varies depending on the
mood and where i am playing,i dont do looping in every
song, sometimes i just play and sing and play harp,
but for looping i try to pick songs that dont have a
lot of chord changes and distract the mood of the song
so i can build up things and improvise seemesly,or
where i can simulate mandolin riffs intros or melody
phrases that appear throughout a song, middle
segments,or endings and play around them,things like
going to california,friends, when the leeve
breaks,from Led Zeppelin,Helpless Neil young,
guinnevere,deja vu from CSN,running away,sweet
symphony for Richard ashcroft "walk on the wild
side",looser,"how many more years" from Howling
wolf,Pigs,as you said form cream,dogs from floyd
Scattered Black And Whites from elbow,some fink,
elliot smith, etc. i also use different open tunnigs
to simulate bass and give the songs a different
color,my dream will come ture when trans performance
comes up with an open tuning floor system for acoustic
guitars!
http://transperformance.com/video/video.html
	





--- midifriedchicken@comcast.net wrote:

> The drum sounds in the RC50 do indeed suck. I drop
> wav files created in Stylus into it. These range
> from basic percussion to more advanced parts. The
> loop is then defined by the length of the wav file.
> This does away with the split second of silence you
> get when going from record to play on the RC. You do
> give up a certian amount of freedom, but you can
> store a bunch of patches with preset lengths, 1 bar,
> 2 bars etc. and use them as needed.  This also
> really helps when playing with other musicians. The
> loops are locked in and drummers wont drift. Yet it
> still feels natural. 
> Get the new really tiny POD for effects. Peavey PR10
> powered speakers and a very small mixer and your
> good to go. My rig fits in a Miata, sets up in 5
> minutes, tears down in 3. The announce last call and
> I can have a few before the bar closes. 
> Your setlist sounds cool, can you send it to me?
> 
> MFC
> 
> 
> 
> 

www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Luggage? GPS? Comic books? 
Check out fitting gifts for grads at Yahoo! Search
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From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 13:31:37 2007
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Date: Sun, 29 Jul 2007 06:31:34 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: TransPerformance project
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I wonder what happened to this project:

http://www.kleinguitars.com/KleinGuitarLinks/transperformance.htm

i can´t find any more info on it,then again that price
tag probably explains it!
Luis

www.myspace.com/luisangulocom


       
____________________________________________________________________________________Ready for the edge of your seat? 
Check out tonight's top picks on Yahoo! TV. 
http://tv.yahoo.com/

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 13:33:05 2007
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Two weeks ago I flipped on the main power switch to the rig and all the 
pedals were making their own noise. No performer. Not even an instrument 
plugged into the rig. Yesterday morning I flipped on the main power switch 
and an entirely different tone generated itself from the assemblage. Again, 
not even an instrument was plugged in.

Admittedly, both times I'd left the Moog MF-101 lowpass filter on a high 
enough resonance that it is self-oscillating. The indeterminate nature in 
the system is that most of the seven Moog pedals switch from bypassed to 
on and vice versa when the power cycles, so which pedals are active when 
you flip the power on is like the other player in a poker game showing 
their hand of cards.

So as I do when I hear something I find interesting, I press Record. 
Here's listening to my gear without me:

All In - a short 1.5 minute or so sine-wavy electronic pulsation with 
Doppler-esque falling squeals caused by my plugging or removing a cable 
from the input.

http://www.subscapeannex.com/other/all_in.mp3

All In Two - thirty-one minutes of dual-delay burbling resonance, left 
entirely alone by me during the recording thereof. No input. No cable 
plugging or unplugging. Nice bass pulsations in the lower register if you 
turn it up a bit.

http://www.subscapeannex.com/other/all_in_two.mp3

Free to use as you wish, if you wish. Let me know if you do use these in 
something.

best,
Steve Burnett   Subscape Annex  http://www.subscapeannex.com/

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 13:45:09 2007
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Date: Sun, 29 Jul 2007 06:45:07 -0700 (PDT)
From: Stephen Scott <stevoj@yahoo.com>
Subject: Re: Help
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Hi Matt,

The Boss RC20XL or RC2 should do all you need to do, although it does lack some of the sound tweaking features of the DL4.  Boss pedals seem pretty robust to me and should last well (I'm sure my RC20XL will outlast me).  Both these pedals default to auto-quantize off (in fact I don't actually know how to turn it on!).

Stephen

MATTHEW STEVENS <mattstevensguitar@btinternet.com> wrote: Hello

I need your help!

My 2nd DL4 Has Just died on me and I'm sick of the
bloody things breaking down!!!

Can anyone recommend a pedal that does the same stuff
but more reliable?  I had a look at the boss ones but
I don't want any auto quantize crap as I do some songs
in 15/8 etc (do you have to play to a click?)

Thanks

Matt 

www.myspace.com/mattstevensguitar



       
---------------------------------
Got a little couch potato? 
Check out fun summer activities for kids.
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Hi Matt,<br><br>The Boss RC20XL or RC2 should do all you need to do, although it does lack some of the sound tweaking features of the DL4.&nbsp; Boss pedals seem pretty robust to me and should last well (I'm sure my RC20XL will outlast me).&nbsp; Both these pedals default to auto-quantize off (in fact I don't actually know how to turn it on!).<br><br>Stephen<br><br><b><i>MATTHEW STEVENS &lt;mattstevensguitar@btinternet.com&gt;</i></b> wrote:<blockquote class="replbq" style="border-left: 2px solid rgb(16, 16, 255); margin-left: 5px; padding-left: 5px;"> Hello<br><br>I need your help!<br><br>My 2nd DL4 Has Just died on me and I'm sick of the<br>bloody things breaking down!!!<br><br>Can anyone recommend a pedal that does the same stuff<br>but more reliable?  I had a look at the boss ones but<br>I don't want any auto quantize crap as I do some songs<br>in 15/8 etc (do you have to play to a click?)<br><br>Thanks<br><br>Matt
 <br><br>www.myspace.com/mattstevensguitar<br><br></blockquote><br><p>&#32;
      <hr size=1>Got a little couch potato? <br>
Check out fun <a href="http://us.rd.yahoo.com/evt=48248/*http://search.yahoo.com/search?fr=oni_on_mail&p=summer+activities+for+kids&cs=bz">summer activities for kids.</a>
--0-1857954954-1185716707=:54288--

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 15:14:07 2007
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Subject: Re: Low Lantecy Soundcard for Laptop Gig
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I think you are fine with what you have, Rick, if it works with your new 
laptop and has a latency that is acceptable to your own ears....all this 
talk on the list about the ideal audio interface is great, but then we have 
folks still creating nice CDs and recordings on inexpensive audio 
interfaces. Heck...I did all of my prior laptop CDs with the IO Indigo with 
only two mini plugs...no fancy mic preamps, preamp, digital io, etc.  They 
didn't sound like crap, right?

This thread of us recommending expensive audio interfaces but going back to 
our basic setups, reminds me of a quote from Kierkegaard:

"A thinker erects an immense building, a system, a system which embraces the 
whole of existence and world-history, etc - and if we contemplate his 
personal life, we discover to our astonishment this terrible and ludicrous 
fact, that he himself personally does not live in this immense high-vaulted 
palace, but in a barn alongside of it, or in a dog kennel, or at the most in 
the porter's lodge."

Kris


----- Original Message ----- 
From: "RICK WALKER" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Sent: Sunday, July 29, 2007 3:37 AM
Subject: Re: Low Lantecy Soundcard for Laptop Gig


> You guys keep mentioning the
> RME Fireface 400 and RME Fireface 800.
>
> They look incredible but, man,  it takes my breath away to see
> what these things cost!  $700 and $1200, 
> respectively.................argggggghhh!
>
> This starving artist shit sucks!!!!!
>
> I own an M-Audio Firewire 410.
>
> Is this just a worthless piece of crap in terms of looping live with a 
> laptop setup?
>
> And, damn,  I just heard that Creative Labs has just ended EMU for good.
> That means they'll probably blow some of their audio breakout boxes
> for really cheap I imagine.
>
> Are any of those going to be decent for use with a MacBook or MaBook Pro
> as everyone seems to be in consensus about (except for Qua.........all 
> kudos, my friend)?
>
> Any other alternatives besides the really pricey soundcards? 

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 15:47:15 2007
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Subject: 07.31.07 . JULY PiNG > DARK SUMMER NiGHTS 2 with mara's torment + AKUMU
Date: Sun, 29 Jul 2007 11:47:12 -0400
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. THiS TUESDAY JULY 31ST @ THE PiNG . DARK SUMMER NiGHTS 2
  Featuring the deep dark ambience of mara's torment + AKUMU
  LiVE iN THE UNDERGROUND @ the DRAKE HOTEL
  TUESDAY JULY 31ST . 8PM . PWYC (5$ suggested)

. COMiNG iN AUGUST . THE AMBiENT PiNG's 8th ANNiVERSARY
  Featuring dreamSTATE . NAW . NOiNO . SYLKEN and=20
  GENERAL CHAOS VISUALS + more to be announced soon=20
  -> watch the PiNG SiTE and PiNG EMAiLS for details=20
  LiVE iN THE UNDERGROUND @ the DRAKE HOTEL
  TUESDAY AUGUST 28TH . 8PM . PWYC (5$ suggested)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


07.31.07 . The PiNG Presents DARK SUMMER NiGHTS 2
Featuring the deep dark ambience of mara's torment + AKUMU
@ the UNDERGROUND downstairs @ the DRAKE HOTEL
1150 Queen St. W @ Beaconsfield . W of Ossington . E of Dufferin
TUESDAY JULY 31ST . 8PM . PWYC (5$ suggested)

. 8.30 . mara's torment . rik and Sovaak return to the PiNG
stage to celebrate the release of the mara's torment compilation
set "mt96061". Featuring old favourites, new music and rare tracks
from the last ten years, this collection finally proves just how an
integral a force the sock monkey has been all this time. In keeping
with the idea of the comp, rik looks forward to playing re-imagined
work that will appeal to new and old fans alike. This performance=20
will also be accompanied by video by the brilliant and talented=20
Sarah Grant who has created work for a number of previous=20
mara's torment performances. If you can only see one mara's=20
torment show this year, this is surely the one you want to see.

. 9.30 . Akumu . After a recent break from live performances,
Toronto's Akumu (aka Deane Hughes) returns to THE AMBiENT PiNG=20
bringing his brand of atmospheric ambience, shadowy beats and=20
minimal electronic manipulations.

Formed as a solo project in 2000, Akumu has released three=20
full-length albums on his own Spider Records label, a split CD=20
with Andrew Duke on Cohort Records as well as various=20
compilations and net tracks.

Akumu has performed live across Ontario and Quebec, including=20
2005=92s Mutek festival in Montr=E9al, and features projections of=20
his distorted photography, animated collages and 2D/3D=20
video experiments.

For this performance at the PiNG, Akumu will be creating an eerie,
flowing soundscape that draws on new material from his upcoming
solo EP and from 2006's Cohort release.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


THE AMBiENT PiNG is a Toronto based creative community of
audio artists, performers, musicians and visual artists. The PiNG
presents live multimedia performances featuring ambient, electronic,
soundscape, chillout, trip hop, dream pop, downtempo, space,
darkwave, drone and experimental artists from around the world.
http://www.theambientping.com

Tune in anytime to AMBiENT PING RADiO at
http://www.ambientpingradio.com

ViSiT ping things for ambient, electronic and chill things:
http://www.pingthings.com

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Please forward this e-mail to any interested friends or
appropriate newsgroups. Thanks.

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 16:19:50 2007
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Date: Sun, 29 Jul 2007 17:19:47 +0100
From: Os <os@collective.co.uk>
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To: Loopers-Delight@loopers-delight.com
Subject: Re: Low Lantecy Soundcard for Laptop Gig
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I swear by my Mobile I/O 2882

http://www.mhlabs.com/metric_halo/products/mio/2882/

not sure if they ever did windows drivers yet though.


os.


On 28/07/07, Sean Mormelo <sean@seanmormelo.com> wrote:
> I need a good soundcard so I can use my laptop running LIVE with Clips to
> play with and use Mobius to loop over etc. I've got a Macbook Pro but will
> use Live in Windows and I'd like the sound card to have at least 4 outs. Any
> suggestions? Looking for somethig solid with low latency. Thanks!
>
>
> Sean Mormelo
> sean@seanmormelo.com
> www.seanmormelo.com
> www.myspace.com/seanmormelo
>
>
>
>
>


-- 
os@collective.co.uk
http://www.collective.co.uk/
http://www.myspace.com/darkroomtheband

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 18:05:31 2007
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Subject: Re: Help
Date: Sun, 29 Jul 2007 20:05:27 +0200
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my problem with the boss loopers (as well as electro harmonix 2880) was 
their inability to sample short things.
any thing under a second (rough estimation) will have a gap at the end to 
fill up one bar
of a tempo the looper has made up.

if you loop longer things, you will not encounter this problem. simply turn 
down the metronome and you are fine.

smooth looping - tilmann


----- Original Message ----- 
From: "MATTHEW STEVENS" <mattstevensguitar@btinternet.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Sunday, July 29, 2007 2:22 PM
Subject: Help


> Hello
>
> I need your help!
>
> My 2nd DL4 Has Just died on me and I'm sick of the
> bloody things breaking down!!!
>
> Can anyone recommend a pedal that does the same stuff
> but more reliable?  I had a look at the boss ones but
> I don't want any auto quantize crap as I do some songs
> in 15/8 etc (do you have to play to a click?)
>
> Thanks
>
> Matt
>
> www.myspace.com/mattstevensguitar
> 

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 18:36:41 2007
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Subject: Re: AW: minimizing gear with-laptop or floor harware?
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Check out Tapco. http://www.tapcoworld.com/products/index.html#mixers

Also Soundcraft (supposedly competes with Mackie) - 
http://www.soundcraft.com/product_list.asp

Kris


----- Original Message ----- 
From: "L.A. Angulo" <labaloops@yahoo.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Sunday, July 29, 2007 7:16 AM
Subject: Re: AW: minimizing gear with-laptop or floor harware?


> The tiny POD seems cool but i need 2 inputs for my
> stereo out acoustic guitar.
> i am also still hunting for the smallest high quality
> 12 ch.mixer,about the size of the mackies VLZ1202/1204
> with at least 6 xlr ins, at least 3 band EQ per
> channel, 2 aux sends,alt 3/4 (for after efxs),XLR outs
> and good sounding integrated FXs,i can´t believe all
> of the ones ive seen are missing something,i have the
> Mackie CFX1202 but is just too bulky.
>
> so far this are the ones ive come across:
>
> http://www.thomann.de/de/mackie_dfx_12.htm
>
> http://www.thomann.de/de/samson_mdr_10.htm
>
> offcourse i havent even bother to look at
> behringer,phonic or anything low quality but please
> feel free to suggest.
> Thanx!
> Luis
>
> P.S.for such gigs my setlist varies depending on the
> mood and where i am playing,i dont do looping in every
> song, sometimes i just play and sing and play harp,
> but for looping i try to pick songs that dont have a
> lot of chord changes and distract the mood of the song
> so i can build up things and improvise seemesly,or
> where i can simulate mandolin riffs intros or melody
> phrases that appear throughout a song, middle
> segments,or endings and play around them,things like
> going to california,friends, when the leeve
> breaks,from Led Zeppelin,Helpless Neil young,
> guinnevere,deja vu from CSN,running away,sweet
> symphony for Richard ashcroft "walk on the wild
> side",looser,"how many more years" from Howling
> wolf,Pigs,as you said form cream,dogs from floyd
> Scattered Black And Whites from elbow,some fink,
> elliot smith, etc. i also use different open tunnigs
> to simulate bass and give the songs a different
> color,my dream will come ture when trans performance
> comes up with an open tuning floor system for acoustic
> guitars!
> http://transperformance.com/video/video.html
>
>
>
>
>
>
> --- midifriedchicken@comcast.net wrote:
>
>> The drum sounds in the RC50 do indeed suck. I drop
>> wav files created in Stylus into it. These range
>> from basic percussion to more advanced parts. The
>> loop is then defined by the length of the wav file.
>> This does away with the split second of silence you
>> get when going from record to play on the RC. You do
>> give up a certian amount of freedom, but you can
>> store a bunch of patches with preset lengths, 1 bar,
>> 2 bars etc. and use them as needed.  This also
>> really helps when playing with other musicians. The
>> loops are locked in and drummers wont drift. Yet it
>> still feels natural.
>> Get the new really tiny POD for effects. Peavey PR10
>> powered speakers and a very small mixer and your
>> good to go. My rig fits in a Miata, sets up in 5
>> minutes, tears down in 3. The announce last call and
>> I can have a few before the bar closes.
>> Your setlist sounds cool, can you send it to me?
>>
>> MFC
>>
>>
>>
>>
>
> www.myspace.com/luisangulocom
>
>
> 
> ____________________________________________________________________________________
> Luggage? GPS? Comic books?
> Check out fitting gifts for grads at Yahoo! Search
> http://search.yahoo.com/search?fr=oni_on_mail&p=graduation+gifts&cs=bz
> 

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 19:28:13 2007
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Date: Sun, 29 Jul 2007 12:28:04 -0700 (PDT)
Subject: Re: Low Lantecy Soundcard for Laptop Gig
From: swirlee@vcn.bc.ca
To: "RICK WALKER" <looppool@cruzio.com>
Cc: "LOOPERS DELIGHT" <loopers-delight@loopers-delight.com>
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> You guys keep mentioning the
> RME Fireface 400 and RME Fireface 800.
>
> They look incredible but, man,  it takes my breath away to see
> what these things cost!  $700 and $1200,
> respectively.................argggggghhh!

...

> Any other alternatives besides the really pricey soundcards?
>

Yup..

Echo Indigo IO is a good option, if you're comfortable with only 2-ins
2-outs and if you have a CardBus slot on your laptop. You also get a lower
latency than is possible with Firewire bus (I run at 64 sample latency, 32
is possible). The downside with the Indigo IO is the poor 1/8" jacks that
tend to become finnicky after some wear. I've already had 2 replacements
shipped out from Echo.

For live instrumental work, I really feel that 1-2 ms latency is about the
upper limit of what I'm willing to accept. Companies these days are saying
5-10 ms is fine, but as a piano player I can feel the difference even with
a couple milliseconds of delay. So I have shyed away from Macbook with its
lack of CardBus support. Firewire just doesn't seem to be built for
ultra-low latency performance (that's my opinion).

Another CardBus option that looks good is the Digigram VX Pocket series
(V2 or V440, at around $400-500).

I'd be interested to hear what RME Fireface users are getting in terms of
real-world latencies (in-out).

You can get cheaper firewire and USB audio interfaces, but my impression
is that the low latency performance is not as good. RME is known for
having great latency performance.

Cheers,
-Mercury


From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 20:51:55 2007
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Subject: Re: Low Lantecy Soundcard for Laptop Gig
Date: Sun, 29 Jul 2007 14:51:53 -0600
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----- Original Message ----- >

> Echo Indigo IO is a good option, if you're comfortable with only 2-ins
> 2-outs and if you have a CardBus slot on your laptop. You also get a lower
> latency than is possible with Firewire bus (I run at 64 sample latency, 32
> is possible). The downside with the Indigo IO is the poor 1/8" jacks that
> tend to become finnicky after some wear. I've already had 2 replacements
> shipped out from Echo.

The only thing  I don't like about the Indigo IO is that its input is only 
line level.
There is no mic vs. line level setting, so if you have a fairly low output 
device
going into it, then you have to boost the level in your software and thus 
create
more noise. But the IO is indeed a robust little card. I have taken it a 
step
further recently. I yanked the Indigo from my cardbus and tried the built in
sound card of my ThinkPad...which interfaces directly with the Intel 
integrated
High Definition audio (built into the mother board not a separate sound 
card).
I installed the ASIO for All driver, and it works like a charm...less 
latency than the
Indigo, can't tell any difference in quality, and I have a mic level 
setting. But eventually
those little mini plugs will take a beating.

> So I have shyed away from Macbook with its
> lack of CardBus support. Firewire just doesn't seem to be built for
> ultra-low latency performance (that's my opinion).

Really? Is this because of the speed of firewire? I thought the newer
firewire was a lot faster than cardbus.

> Another CardBus option that looks good is the Digigram VX Pocket series
> (V2 or V440, at around $400-500).

I'll have to check these out. Thanks. I like the fact that it comes with xlr 
connectors
that plug into the card, so no wear and tear on the card itself.

Kris


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From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 21:29:08 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Low Lantecy Soundcard for Laptop Gig
Date: Sun, 29 Jul 2007 23:29:05 +0200
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On 29 jul 2007, at 22.51, Krispen Hartung wrote:

> The only thing  I don't like about the Indigo IO is that its input  
> is only line level.

I too have an old Indigo IO, almost worn out today, the jacks have  
become glitchy... I agree that it's nice and convenient to bring for  
gigs. Never the less I only used it for rehearsing because the output  
sound is not at all as good as I had with my RME Multiface (and now  
with the FireFace400). For electric guitar that doesn't matter IMO  
but when playing flute it really sucks with some fidelity trade-off.

>> So I have shyed away from Macbook with its
>> lack of CardBus support. Firewire just doesn't seem to be built for
>> ultra-low latency performance (that's my opinion).
>
> Really? Is this because of the speed of firewire?

Yes, Kris. PCI and PCMCIA are a little faster than FireWire. Not much  
though.

But you, Mercury, is a keyboard and piano player. Myself I can take  
some latency because the instrument I have played the most is  
electric guitar and then you always have latency depending on the  
distance to your amp and speaker. As long as a delayed signal is not  
merged with a not delayed signal, creating phasing errors, I can  
accept a little latency. And with laptops you don't have a problem at  
concerts with the audience hearing a different latency than you hear.  
That problem is what you get on stage if playing electric guitar at a  
distance from your amp/speaker if the speaker is amplified through a  
PA system by closely positioned microphones. This might also create  
problems for live experienced guitarists when recording in a studio  
with headphones monitoring.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 21:39:27 2007
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: OREGON LOOPING GIG SPAM
Date: Sun, 29 Jul 2007 14:39:25 -0700
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--Apple-Mail-7--867948538
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	charset=ISO-8859-1;
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Hi all,

A week from tomorrow, August 6th,  the inimitable Lucio Menegon and I =20=

will be looping up a storm in Ashland, Oregon, USA.

A wee poster/graphic with pertinent details is posted online at: =20
<www.kingtone.com/images/aug_6_poster.pdf>

International travelers should make their plans early . . . especially =20=

at this time of year, when airports are more congested.

Ahem . . . that last part of it was a joke boys and girls . . . just a =20=

joke.

If you happen to find yourself in the area . . . and are favorably =20
inclined . . . please come.

Best regards,

tEd =AE KiLLiAn

Different is not always better, but better is always different"

Flux Aeterna:
http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?=20
playListId=3D6378076

Also check out the 1st set of BEMF (Boise Experimental Music Festival) =20=

CDs at:
http://www.boisemusicians.com/experimental/cd.htm

http://www.pfmentum.com/flux.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.garageband.com/artist/ArsOcarina
http://www.towerrecords.com/product.aspx?pfid=3D2845073
http://www.netmusic.com/web/album.aspx?a_id=3DCBNM_17314
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://www.loopers-delight.com/cgi-bin/profiles.cgi?=20
step=3Dview_profile&id=3D1211970
00042

Ted Killian's "Flux Aeterna" is also available at: Apple iTunes,
BuyMusic, Rhapsody, MusicMatch, MusicNet, DiscLogic, Napster,
AudioLunchbox, Lindows, QTRnote, Music4Cents, Etherstream,
RuleRadio, EMEPE3, Sony Connect, CatchMusic, Puretracks,
and Viztas. Yadda, yadda, yadda. Blah, blah, blah. So???


--Apple-Mail-7--867948538
Content-Transfer-Encoding: quoted-printable
Content-Type: text/enriched;
	charset=ISO-8859-1

Hi all,


A week from tomorrow, August 6th,  the inimitable Lucio Menegon and I
will be looping up a storm in Ashland, Oregon, USA.


A wee poster/graphic with pertinent details is posted online at:
<<www.kingtone.com/images/aug_6_poster.pdf>


International travelers should make their plans early . . . especially
at this time of year, when airports are more congested.


Ahem . . . that last part of it was a joke boys and girls . . . just a
joke.


If you happen to find yourself in the area . . . and are favorably
inclined . . . please come.


Best regards,


tEd =AE KiLLiAn


<fontfamily><param>Courier</param>Different is not always better, but
better is always different"=20

=20

Flux Aeterna:=20

=
http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?playListId=3D6=
378076=20


Also check out the 1st set of BEMF (Boise Experimental Music Festival)
CDs at:=20

http://www.boisemusicians.com/experimental/cd.htm=20

=20

http://www.pfmentum.com/flux.html=20

http://www.CDbaby.com/cd/tedkillian=20

http://www.guitar9.com/fluxaeterna.html=20

http://www.garageband.com/artist/ArsOcarina=20

http://www.towerrecords.com/product.aspx?pfid=3D2845073=20

http://www.netmusic.com/web/album.aspx?a_id=3DCBNM_17314=20

http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193=20

=
http://www.loopers-delight.com/cgi-bin/profiles.cgi?step=3Dview_profile&id=
=3D1211970

00042=20

=20

Ted Killian's "Flux Aeterna" is also available at: Apple iTunes,=20

BuyMusic, Rhapsody, MusicMatch, MusicNet, DiscLogic, Napster,=20

AudioLunchbox, Lindows, QTRnote, Music4Cents, Etherstream,=20

RuleRadio, EMEPE3, Sony Connect, CatchMusic, Puretracks,=20

and Viztas. Yadda, yadda, yadda. Blah, blah, blah. So??? </fontfamily>



--Apple-Mail-7--867948538--

From Loopers-Delight-request@loopers-delight.com  Sun Jul 29 22:31:07 2007
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Date: Sun, 29 Jul 2007 15:30:52 -0700
To: Loopers-Delight@loopers-delight.com
From: David Gans <david@trufun.com>
Subject: David Gans to teach looping at Fur Peace Ranch
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Gans to teach looping at Fur Peace Ranch
July 26th, 2007

FOR IMMEDIATE RELEASE

Fur Peace Ranch Hosts Multi-Faceted Performer David Gans for Intimate 
Instructional Sessions

39495 St. Clair Rd. Pomeroy, Ohio | Friday, Sept. 28 - Monday, Oct. 1

Pomeroy, OH - Jorma Kaukonen's Fur Peace Ranch will host 
multi-faceted performer, guitarist, and songwriter David Gans Friday, 
September 28 through Monday, October 1 for a series of intimate 
instructional sessions on electric and acoustic guitar looping 
techniques.

"I got the loop device as a way of enriching my solo performances," 
Gans explains. "I wanted to be able to record the chord changes of 
the song so I could play a guitar solo over top. But once I had that 
thing on the floor in front of me, I began to explore the creative 
possibilities. Now I'm able to improvise multi-layered musical 
structures onstage - and some of them become compositions after I get 
them into the studio for editing and analysis."

This first-hand workshop provides instruction in the use of a loop 
device as both an accompaniment for singer-songwriters and for the 
creation of multi-layered improvisations. Participating students need 
to bring a guitar that plugs in (acoustic or electric), and a Boss 
RC-20XL or RC-2 Loop Station.

For his live performances, Gans equips himself only with his sturdy 
baritone, a guitar and a pedal-controlled looping setup, the sum of 
which sounds anything but unaccompanied. Aside from these "solo" 
performances, Gans has performed with such legendary artists as Phil 
Lesh, Railroad Earth, Donna the Buffalo, New Riders of the Purple 
Sage, The String Cheese Incident, moe. and dozens of others. He has 
also written songs with a host of others, including Jim Page, Lorin 
Rowan, and Grateful Dead lyricist Robert Hunter.

Conceived in 1989 by Jorma & Vanessa Kaukonen, The Fur Peace Ranch is 
nestled in the rolling foothills of southeast Ohio. Over time it has 
evolved into an idyllic landscape of neatly arrayed cabins, workshop 
space, library, store, dining hall, plus a theater that hosts 
concerts performed by world-class musicians.

For class registration, please visit http://www.furpeaceranch.com



-- 


David Gans - david@trufun.com or david@gdhour.com
Truth and Fun, Inc., 484 Lake Park Ave. #102, Oakland CA 94610-2730
Blog:  http://logblog.gdhour.com
Web site: http://www.dgans.com


From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 00:01:02 2007
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Date: Mon, 30 Jul 2007 09:00:54 +0900
To: Loopers-Delight@loopers-delight.com
From: Mech <mech@m3ch.net>
Subject: Re: Low Lantecy Soundcard for Laptop Gig
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At 2:51 PM -0600 7/29/07, Krispen Hartung wrote:
>>Another CardBus option that looks good is the Digigram VX Pocket series
>>(V2 or V440, at around $400-500).
>
>I'll have to check these out. Thanks. I like the fact that it comes 
>with xlr connectors
>that plug into the card, so no wear and tear on the card itself.

No, no, & no.  And at the risk of cutting my own virtual throat here, 
let me explain.

I grabbed a V2 not too long ago, since it appears to be the *only* 
self-contained cardbus solution which incorporates S/PDIF.  (I 
figured if I've got a good Mic Preamp with digital I/O, why wouldn't 
I just keep everything in the digital domain at that point.)

First problem, drivers.  Rather than using CoreAudio, DigiGram did 
write drivers over on the Mac side.  Unfortunately, they only wrote 
them up as far as Panther, MacOSX 10.3 (current version is 10.4, with 
10.5 set to release in a couple of months).

Second problem, latency(!).  I've never been able to get less than 
15-20 ms (!!!) of latency out of it.

I talked to their tech support about both these issues.  To the 
driver issue, they replied that there would be no more forthcoming 
OSX driver updates, because they said the one for 10.3 was optimized 
about as much as they could do so.  For the latency problem, they 
reminded me that the VX Pocket series was released around 2000, and 
that the technology is a half-decade old.  Evidently those latencies 
are typical for the product.

I dunno if it performs any better on the PC side (hey, if anybody 
wants to try, I'll let you have mine merely for what I paid -- about 
$270).  Otherwise, I'd stay away from this one!

	--m.
-- 
_____
"I want to keep you alive so there is always the possibility of 
murder... later"

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 00:49:41 2007
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From: "RICK WALKER" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: TIME PERCEPTION and LOOPING
Date: Sun, 29 Jul 2007 17:49:28 -0700
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I've been avidly following discussions of the relative latency of
various soundcard/laptop configurations and have also been
a serious practical student of different  feels and approaches to
time in rhythmic and phrase performance,    from experimenting a lot
with various methods of playing behind and ahead of the beat
when playing with metronomes, sequencers or even human beings
to trying to be able to fill the smallest intervals of time with all the 
polyrhythms
from 1 - 12 for odd time, polyrhthm and rhythmic stretching concepts.

Years ago I remember reading that human beings cannot distinquish between
hearing a transient sound that is less than 20 or 30 milliseconds but I've 
heard
discussions of people claiming to be sensitive to the difference between
2 and 5 milliseconds with regard to latency issues between remore keyboards
and laptops.

It got me to thinking that I haven't really read any Western causal studies 
of
time perception since I studied with Gregory Bateson back in 1975 so
I got on the computer and started googling to see what I could find.

1)   I came up with a really interesting lay article on time and time 
perception
http://www.skidmore.edu/~hfoley/Time.htm   that may interest people
and I would be fascinated to hear from anyone who knows about this subject
and can direct me to good written or online resources so that I can come up
to speed on what's been going on in time perception in the last 30 years.

2)  I wonder if , not unlike   wattage specifications in tube amps in the 
60s
that varied wildly (Macintosh was notoriously conservative,  many of the
Japanese amplifier manufacturers obviously inflated their wattage 
statistics),
that claims of low latency by different manufacturers are frequently not
accurate at all.      As an example,  M-Audio boasts of very low latency 
values
(but oddly enough they don't print what they are on their website that I can 
find)
but I'm definitely experiencing considerable performance altering latency 
when
I use it on my desktop PC (that'll be the subject of another thread because 
I realize there
are many different reasons why I may be experiencing that.).

Sooooooo,    what about the perception of time?      as it relates to live 
looping.
Read that article which is only a page long and we'll have a lot to discuss 
I think.

cheers,  Rick 

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Ranier had a very nice essay on our last, um, loop through this topic.
Perhaps he could re-link it.

>
> Sooooooo,    what about the perception of time?      as it relates to live
> looping.
> Read that article which is only a page long and we'll have a lot to discuss
> I think.
>
> cheers,  Rick
>
>

---
http://quotidianme.kellycoyle.net
http://organicguitar.kellycoyle.net

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 01:29:51 2007
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My suggestion is to take one's instrument and plug into a digital
delay set to 100%, no repeats, and dial in 5ms, then play a bit.  To
me it's very noticeable and very undesirable.

TH

On 7/29/07, RICK WALKER <looppool@cruzio.com> wrote:

> Years ago I remember reading that human beings cannot distinquish between
> hearing a transient sound that is less than 20 or 30 milliseconds but I've
> heard
> discussions of people claiming to be sensitive to the difference between
> 2 and 5 milliseconds with regard to latency issues between remore keyboards
> and laptops.
>

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 02:00:17 2007
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The statistics that I see most often are that most people can
"compensate" for latencies of 10ms or below.  Note that this is not
the same as "detect".  Some people can certainly detect latencies
below 10ms, but they are able to mentally compensate for this and play
without distraction.  Above 10ms and the delay is enough to be =
distracting.
You may still be able to compensate but it starts to "feel funny".

People are also sensitive to varying latency.  If the latency in a =
system
is kept constant at say 5ms many people would find this tolerable.  But
if it jumps around from 1ms to 5ms randomly, this becomes intolerable,
probably because the compensation "auto pilot" in your brain no longer =
works.
Every note you play feels different.

I saw the results of a study awhile ago that claimed we are far more
sensitive to varying latency than we are to the amount of latency.

Jeff



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Subject: Re: Low Lantecy Soundcard for Laptop Gig
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----- Original Message -----=20
From: "Per Boysen" <perboysen@gmail.com>
>>
>> Really? Is this because of the speed of firewire?
>=20
> Yes, Kris. PCI and PCMCIA are a little faster than FireWire. Not much  =

> though.

That's right. But you mean firewire 400, I take it? I think it is a bit =
more than "a little" right? I'm reading
that the spec for CardBus is 132 Mbps, vs 393 Mbps of FireWire 400. See =
below. Is anyone making an audio interface that utilizes firewire 800 =
specs?


Original USB - 12 Mbps
USB 2.0  - 480 Mbps
FireWire 400   - 393.216 Mbps
FireWire 800 - 786.432 Mbps
PCMCIA (PC Card) / CardBus, Type I or Type II (32 bit PCMCIA) - 132 Mbps

Kris



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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2900.3132" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY>
<DIV><FONT face=3DArial size=3D2>----- Original Message ----- =
</FONT></DIV>
<DIV>
<DIV><FONT face=3DArial size=3D2>From: "Per Boysen" &lt;</FONT><A=20
href=3D"mailto:perboysen@gmail.com"><FONT face=3DArial=20
size=3D2>perboysen@gmail.com</FONT></A><FONT face=3DArial=20
size=3D2>&gt;</FONT></DIV></DIV>
<DIV><FONT face=3DArial size=3D2>&gt;&gt;<BR>&gt;&gt; Really? Is this =
because of the=20
speed of firewire?<BR>&gt; <BR>&gt; Yes, Kris. PCI and PCMCIA are a =
little=20
faster than FireWire. Not much&nbsp; <BR>&gt; though.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>That's right. But you mean firewire =
400, I take=20
it?&nbsp;I think it is a bit more than "a little" right? I'm=20
reading</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>that the spec for CardBus is 132 Mbps, =
vs 393 Mbps=20
of FireWire 400. See below. Is anyone making an audio interface that =
utilizes=20
firewire 800 specs?</FONT><FONT></DIV>
<DIV><FONT face=3DArial><BR><FONT size=3D2></FONT></FONT></DIV></FONT>
<DIV><FONT face=3DArial size=3D2>Original USB - 12 Mbps</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>USB 2.0&nbsp; - 480 Mbps</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>FireWire 400&nbsp;&nbsp; -=20
393.216&nbsp;Mbps<BR>FireWire 800&nbsp;- 786.432&nbsp;Mbps</FONT></DIV>
<DIV><A name=3DidPrompt_bus_pcmcia_cardbus><FONT face=3DArial =
size=3D2>PCMCIA (PC=20
Card) / CardBus</FONT></A><FONT face=3DArial size=3D2>, Type I or Type =
II&nbsp;(32=20
bit PCMCIA) - 132 Mbps</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 03:44:57 2007
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Date: Sun, 29 Jul 2007 20:44:56 -0700
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Subject: Re: Low Lantecy Soundcard for Laptop Gig
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Those are interesting numbers, but there might be something else that
effects latency. I could be wrong, but I think there is something
still superior to PCI and PCMCIA interfaces. For instance, the new
WaveRT drivers will (initially at least) only be available to PCI and
PCMCIA interfaces. Maybe somebody more knowledgeable can correct me,
but I think PCI and PCMCIA interfaces will usually give you the lowest
latency.

On 7/29/07, Krispen Hartung <khartung@cableone.net> wrote:
>
>
> ----- Original Message -----
>
> From: "Per Boysen" <perboysen@gmail.com>
> >>
> >> Really? Is this because of the speed of firewire?
> >
> > Yes, Kris. PCI and PCMCIA are a little faster than FireWire. Not much
> > though.
>
> That's right. But you mean firewire 400, I take it? I think it is a bit more
> than "a little" right? I'm reading
> that the spec for CardBus is 132 Mbps, vs 393 Mbps of FireWire 400. See
> below. Is anyone making an audio interface that utilizes firewire 800 specs?
>
>
> Original USB - 12 Mbps
> USB 2.0  - 480 Mbps
> FireWire 400   - 393.216 Mbps
> FireWire 800 - 786.432 Mbps
> PCMCIA (PC Card) / CardBus, Type I or Type II (32 bit PCMCIA) - 132 Mbps
>
> Kris
>
>
>


-- 
Art Simon
simart@null.net
http://art.simon.tripod.com
http://www.myspace.com/artsimon

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 03:55:19 2007
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Date: Sun, 29 Jul 2007 20:55:16 -0700 (PDT)
Subject: Re: Low Lantecy Soundcard for Laptop Gig
From: swirlee@vcn.bc.ca
To: "Krispen Hartung" <khartung@cableone.net>
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Hi Kris,

> The only thing  I don't like about the Indigo IO is that its input is only
> line level.
> There is no mic vs. line level setting, so if you have a fairly low output
> device
> going into it, then you have to boost the level in your software and thus
> create
> more noise. But the IO is indeed a robust little card. I have taken it a
> step
> further recently. I yanked the Indigo from my cardbus and tried the built
> in
> sound card of my ThinkPad...which interfaces directly with the Intel
> integrated
> High Definition audio (built into the mother board not a separate sound
> card).
> I installed the ASIO for All driver, and it works like a charm...less
> latency than the
> Indigo, can't tell any difference in quality, and I have a mic level
> setting. But eventually
> those little mini plugs will take a beating.

It's true about the line level. I have a dual channel mic pre that is
pretty quiet that I use. But I'm surprised that you find the internal
sound of your ThinkPad to be on par with the Indigo-- my feeling is that
the A/D and amps in the Indigo are far cleaner than anything you can find
in a stock laptop. .. maybe your ThinkPad is an unusual creature?

> Really? Is this because of the speed of firewire? I thought the newer
> firewire was a lot faster than cardbus.

Faster in terms of bandwidth, yes. More data can fly down that new
firewire pipe. But as I recall, firewire sends things in packets, and
there are interrupts and delivery mechanisms within the hardware and
software that add a translation layer so that the data has to jump through
more hoops before it reaches the audio application. So, more bandwidth but
lower latency. CardBus is a more direct connection with the processor.

> I'll have to check these out. Thanks. I like the fact that it comes with
> xlr
> connectors
> that plug into the card, so no wear and tear on the card itself.

Yeah, I like that too.

All the best,
-Mercury


From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 04:14:46 2007
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Date: Sun, 29 Jul 2007 21:14:43 -0700 (PDT)
Subject: Re: Low Lantecy Soundcard for Laptop Gig
From: swirlee@vcn.bc.ca
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Hi Per,

> I too have an old Indigo IO, almost worn out today, the jacks have
> become glitchy... I agree that it's nice and convenient to bring for

PS You can send that Indigo back to Echo for a replacement. They've sent
me a replacement twice now, both free (although the second time they
charged me for the shipping).

> But you, Mercury, is a keyboard and piano player. Myself I can take
> some latency because the instrument I have played the most is
> electric guitar and then you always have latency depending on the
> distance to your amp and speaker. As long as a delayed signal is not
> merged with a not delayed signal, creating phasing errors, I can
> accept a little latency. And with laptops you don't have a problem at
> concerts with the audience hearing a different latency than you hear.
> That problem is what you get on stage if playing electric guitar at a
> distance from your amp/speaker if the speaker is amplified through a
> PA system by closely positioned microphones. This might also create
> problems for live experienced guitarists when recording in a studio
> with headphones monitoring.

Wow, I hear that! ! !

I've never run into those problems. Then again, I've never worked with
large PAs or big stages! I like to close my eyes, caress my keys and have
that feeling that the sound is right there, intimate, in front of me.

Interesting to hear the range of places people make music in.

I just came back from a wilderness trip to a volcanic glacial area. I was
singing with the glacier. Talk about an audience Most Sublime!

;-)

Hope You're Well,
-Mercury


From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 04:27:31 2007
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----- Original Message ----- 

> It's true about the line level. I have a dual channel mic pre that is
> pretty quiet that I use. But I'm surprised that you find the internal
> sound of your ThinkPad to be on par with the Indigo-- my feeling is that
> the A/D and amps in the Indigo are far cleaner than anything you can find
> in a stock laptop. .. maybe your ThinkPad is an unusual creature?

All I can think of is that most all the PC notebooks out today with Intel 
duo core
processors have the sound integrated into their motherboard with the 
chipset,
rather than a separate "sound card". It's their integrated HD (high 
definition)
audio, and I can say at least that the output is superior to other prior, 
stock
sound cards in PC laptops. I'm not sure about the input, but in my case it
sounds pretty damn good with the "ASIO for All" driver.  The standard driver
sounds like crap, but this is no reflection on the hardware. I think this is 
where
there is a lot of confusion. A poor driver can make just about any piece of
hardware (external or internal) sound bad. That being said, theoretically, I
can't tell any difference between the small cardbus Indigo unit and the 
integrated
HD audio of the ThinkPad...it's all just hardware and software, and the 
advantage
of the integrated audio is that there is no intermediate device (the cardbus 
and its
transfer rate)...I have to believe that the speed of the transference of 
data on the
motherboard for the HD audio is much faster than the cardbus.

>> Really? Is this because of the speed of firewire? I thought the newer
>> firewire was a lot faster than cardbus.
>
> Faster in terms of bandwidth, yes. More data can fly down that new
> firewire pipe. But as I recall, firewire sends things in packets, and
> there are interrupts and delivery mechanisms within the hardware and
> software that add a translation layer so that the data has to jump through
> more hoops before it reaches the audio application. So, more bandwidth but
> lower latency. CardBus is a more direct connection with the processor.

Gotch ya.

Kris

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Subject: RE: TIME PERCEPTION and LOOPING
Date: Sun, 29 Jul 2007 23:28:28 -0500
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From: "Jeff Larson" <jeff.larson@sailpoint.com>
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> My suggestion is to take one's instrument and plug into a digital
> delay set to 100%, no repeats, and dial in 5ms, then play a bit.  To
> me it's very noticeable and very undesirable.

A factor to consider in this experiment is whether you are playing an
instrument that makes a clearly audible sound as you play.  If you are
playing an acoustic guitar through a 5ms delay this is easily
detectable as a phase shift because you can hear both the live and
delayed signals.

If you were playing a synth or an electric guitar with an amp loud
enough to mask the acoustic sound the guitar is making, this effect is
much more difficult to detect.

When discussing latency and looping it is also  important to distinguish
between real-time audio and looped audio.  Latency is critical if you
are playing a soft synth or using an amp simulator, where the sound of
your "instrument" is being delayed as you play.  With looping, we're
usually talking about a device that records real-time audio and plays
it back many milliseconds in the future.  It is possible for this
device to shift the playback of recorded audio backwards to compensate
for latency so that overdubs happen exactly where you expect them.

As an extreme example, let's say the latency of a particular computer=20
and sound card is 1 second.  If the software can properly compensate
for latency, as long as your loops are longer than 1 second you will
hear absolutely no effects of this latency. =20

If however you like to make bee noises by recording and overdubbing
into a loop of 10 milliseconds, then latency will be a problem,
at least for the other bees.

Jeff

=20


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From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 04:40:15 2007
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Subject: Re: choosing the right laptop for live looping , real time DSP processing and running Video
Date: Sun, 29 Jul 2007 21:40:09 -0700
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Don't forget Augustusloop!

Mark

Sent from my iPhone

On Jul 29, 2007, at 2:17 AM, "Neil Goldstein" <ngold@mac.com> wrote:

>
>
> On 7/29/07, Per Boysen <perboysen@gmail.com> wrote:
>
> ...or MetaSynth, or Numerology. To name my other big Mac Magnets
> beside Logic.
>
> Right on!
>
> NG
>
>
>

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<html><body bgcolor="#FFFFFF"><div>Don't forget Augustusloop!</div><div><br class="webkit-block-placeholder"></div><div>Mark<br><br>Sent from my iPhone</div><div><br>On Jul 29, 2007, at 2:17 AM, "Neil Goldstein" &lt;<a href="mailto:ngold@mac.com">ngold@mac.com</a>&gt; wrote:<br><br></div><div></div><blockquote type="cite"><div><br><br><div><span class="gmail_quote">On 7/29/07, <b class="gmail_sendername">Per Boysen</b> &lt;<a href="mailto:perboysen@gmail.com"><a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a></a>&gt; wrote:</span><blockquote class="gmail_quote" style="margin:0;margin-left:0.8ex;border-left:1px #ccc solid;padding-left:1ex">
<br>...or MetaSynth, or Numerology. To name my other big Mac Magnets<br>beside Logic.</blockquote><div><br class="webkit-block-placeholder"></div><div>Right on!</div><div><br class="webkit-block-placeholder"></div><div>NG&nbsp;
</div><br>&nbsp;</div><br>
</div></blockquote></body></html>
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From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 04:45:34 2007
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No, it's a fine interface. Make great music with it and try not to  
look at what you don't have. I have a similar interface and it sounds  
great to me.

Sent from my iPhone

On Jul 29, 2007, at 2:37 AM, "RICK WALKER" <looppool@cruzio.com> wrote:

> You guys keep mentioning the
> RME Fireface 400 and RME Fireface 800.
>
> They look incredible but, man,  it takes my breath away to see
> what these things cost!  $700 and $1200,  
> respectively.................argggggghhh!
>
> This starving artist shit sucks!!!!!
>
> I own an M-Audio Firewire 410.
>
> Is this just a worthless piece of crap in terms of looping live with  
> a laptop setup?
>
> And, damn,  I just heard that Creative Labs has just ended EMU for  
> good.
> That means they'll probably blow some of their audio breakout boxes
> for really cheap I imagine.
>
> Are any of those going to be decent for use with a MacBook or MaBook  
> Pro
> as everyone seems to be in consensus about (except for  
> Qua.........all kudos, my friend)?
>
> Any other alternatives besides the really pricey soundcards?

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 05:40:20 2007
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From: Richard Sales <richard@glasswing.com>
Subject: Fulltone Tube Tape Echo and Amusing
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You like the Fulltone?  I LOVE IT!  My only problem is the tape itself 
makes so much noise, so for recording I'd have to have it in a separate 
room from the amp.  I don't play that loud that it would drown out the 
noise.  But tone wise it's majestic.

For live I've bought a T Rex Replica which is no slouch either.  The 
brown tone switch is holy.

I tried taking the Tape Echo out to local gigs but, for one thing, I 
can't figure out flying with it.  Plus it takes a while to set upon 
stage, so when doing bigger shows with a band following it just 
wouldn't work time wise.  And it's bulky and would create 'added 
luggage' - circa $130 per flight from here in Canada.

And the T Rex does a really nice job anyhow.

Have you found a solution for the tape noise?

What kind of stuff are you doing with the TTE?

I wouldn't consider it an Edsel... more like a new fiberglass bodied 34 
Ford with a 454 c.i. Chevy motor in it.

richard sales
glassWing farm and studio
vancouver island, b.c.
800.545.6846
250.752.4816
www.glassWing.com
www.richardsales.com
www.hayleysales.com
www.blueberryfieldsfarm.com
On 28-Jul-07, at 10:05 AM, Jeff Shirkey wrote:

>
> On Jul 28, 2007, at 11:45 AM, Mark Sottilaro wrote:
>
>> Yeah, it's pretty amazing when a company releases an item like this.  
>> It's one thing to go out and buy an Edsel... it's another to start 
>> manufacturing them again.
>
> Every play guitar through a Fulltone Tube Tape Echo? Worth every 
> penny, imo.
>
> Jeff
>

--Apple-Mail-2--839096670
Content-Transfer-Encoding: 7bit
Content-Type: text/enriched;
	charset=US-ASCII

You like the Fulltone?  I LOVE IT!  My only problem is the tape itself
makes so much noise, so for recording I'd have to have it in a
separate room from the amp.  I don't play that loud that it would
drown out the noise.  But tone wise it's majestic. 


For live I've bought a T Rex Replica which is no slouch either.  The
brown tone switch is holy.  


I tried taking the Tape Echo out to local gigs but, for one thing, I
can't figure out flying with it.  Plus it takes a while to set upon
stage, so when doing bigger shows with a band following it just
wouldn't work time wise.  And it's bulky and would create 'added
luggage' - circa $130 per flight from here in Canada.


And the T Rex does a really nice job anyhow. 


Have you found a solution for the tape noise?


What kind of stuff are you doing with the TTE?


I wouldn't consider it an Edsel... more like a new fiberglass bodied
34 Ford with a 454 c.i. Chevy motor in it.


<fontfamily><param>Gadget</param>richard sales

<color><param>7373,7F7F,C5C5</param>glassWing farm and studio</color>

vancouver island, b.c.

800.545.6846

250.752.4816<color><param>C3C3,9696,1C1C</param>

www.glassWing.com

www.richardsales.com

www.hayleysales.com

www.blueberryfieldsfarm.com</color></fontfamily>

On 28-Jul-07, at 10:05 AM, Jeff Shirkey wrote:


<excerpt>

On Jul 28, 2007, at 11:45 AM, Mark Sottilaro wrote:


<excerpt>Yeah, it's pretty amazing when a company releases an item
like this.  It's one thing to go out and buy an Edsel... it's another
to start manufacturing them again.

</excerpt>

Every play guitar through a Fulltone Tube Tape Echo? Worth every
penny, imo.


Jeff


</excerpt>
--Apple-Mail-2--839096670--

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 07:10:41 2007
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From: Randolf Arriola <randolf@embryosongs.com>
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Matt, have you tried using batteries instead of the dc power input? 

Randolf Arriola 
http://www.soundclick.com/bands/5/theembryo.htm
http://www.myspace.com/the_embryo
----- Original Message ----- 
From: "MATTHEW STEVENS" <mattstevensguitar@btinternet.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Sunday, July 29, 2007 8:22 PM
Subject: Help


> Hello
> 
> I need your help!
> 
> My 2nd DL4 Has Just died on me and I'm sick of the
> bloody things breaking down!!!
> 
> Can anyone recommend a pedal that does the same stuff
> but more reliable?  I had a look at the boss ones but
> I don't want any auto quantize crap as I do some songs
> in 15/8 etc (do you have to play to a click?)
> 
> Thanks
> 
> Matt 
> 
> www.myspace.com/mattstevensguitar
> 
>

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 07:22:18 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Low Lantecy Soundcard for Laptop Gig
Date: Mon, 30 Jul 2007 09:22:13 +0200
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On 30 jul 2007, at 05.20, Krispen Hartung wrote:

> That's right. But you mean firewire 400, I take it? I think it is a  
> bit more than "a little" right? I'm reading
> that the spec for CardBus is 132 Mbps, vs 393 Mbps of FireWire 400.  
> See below. Is anyone making an audio interface that utilizes  
> firewire 800 specs?

Oh, yes. It should go that FireWire 400 is "a little" faster compared  
to USB2. Before getting the RME FireFace400 I have always worked with  
FireWire 800, because that is what Mac's run on, but I can't detect  
any bad side of the 400 protocol for the work I put it to. All my  
hard drives are still FW800 though, but I have colleges that do multi  
track recordings to FW400 drives and they can definitely handle 20 -  
30 audio tracks without choking the streams. For live looping you  
rarely use more than two streams, one input and one output, so the  
headroom should be big enough.

The only bad side of FW 400 I have seen is the crappy jacks used on  
Window's PC's. You have to use a little converter cable instead of  
plugging it into a real FireWire jack, as you do on a Mac. And of  
course, Window's machines don't power up FireWire units by the  
FireWire cable. I don't regard that a big problem either, as long as  
you remember to bring the converter cable and the power supply for  
the interface. At my working place I constantly keep the converter  
cable plugged into the Mobius PC and the power supply plugged into  
the FireFace, so I only need to swap the FW cable between the Macs  
and the PC to use the FireFace with a different system.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




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will this help?
--- Randolf Arriola <randolf@embryosongs.com> wrote:

> Matt, have you tried using batteries instead of the
> dc power input? 
> 
> Randolf Arriola 
> http://www.soundclick.com/bands/5/theembryo.htm
> http://www.myspace.com/the_embryo
> ----- Original Message ----- 
> From: "MATTHEW STEVENS"
> <mattstevensguitar@btinternet.com>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Sunday, July 29, 2007 8:22 PM
> Subject: Help
> 
> 
> > Hello
> > 
> > I need your help!
> > 
> > My 2nd DL4 Has Just died on me and I'm sick of the
> > bloody things breaking down!!!
> > 
> > Can anyone recommend a pedal that does the same
> stuff
> > but more reliable?  I had a look at the boss ones
> but
> > I don't want any auto quantize crap as I do some
> songs
> > in 15/8 etc (do you have to play to a click?)
> > 
> > Thanks
> > 
> > Matt 
> > 
> > www.myspace.com/mattstevensguitar
> > 
> >
> 
> 

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 07:41:42 2007
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Subject: Re: Low Lantecy Soundcard for Laptop Gig
Date: Mon, 30 Jul 2007 09:41:37 +0200
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hi krispen, my thinkpad makes little chirping noises on the headphone 
output.
seems to come from the harddisc. is audible silence.
that's why i never even considered using it for music.

tilmann

----- Original Message ----- 
From: "Krispen Hartung" <khartung@cableone.net>
To: <Loopers-Delight@loopers-delight.com>
Sent: Monday, July 30, 2007 6:27 AM
Subject: Re: Low Lantecy Soundcard for Laptop Gig


> ----- Original Message ----- 
>
>> It's true about the line level. I have a dual channel mic pre that is
>> pretty quiet that I use. But I'm surprised that you find the internal
>> sound of your ThinkPad to be on par with the Indigo-- my feeling is that
>> the A/D and amps in the Indigo are far cleaner than anything you can find
>> in a stock laptop. .. maybe your ThinkPad is an unusual creature?
>
> All I can think of is that most all the PC notebooks out today with Intel 
> duo core
> processors have the sound integrated into their motherboard with the 
> chipset,
> rather than a separate "sound card". It's their integrated HD (high 
> definition)
> audio, and I can say at least that the output is superior to other prior, 
> stock
> sound cards in PC laptops. I'm not sure about the input, but in my case it
> sounds pretty damn good with the "ASIO for All" driver.  The standard 
> driver
> sounds like crap, but this is no reflection on the hardware. I think this 
> is where
> there is a lot of confusion. A poor driver can make just about any piece 
> of
> hardware (external or internal) sound bad. That being said, theoretically, 
> I
> can't tell any difference between the small cardbus Indigo unit and the 
> integrated
> HD audio of the ThinkPad...it's all just hardware and software, and the 
> advantage
> of the integrated audio is that there is no intermediate device (the 
> cardbus and its
> transfer rate)...I have to believe that the speed of the transference of 
> data on the
> motherboard for the HD audio is much faster than the cardbus.
>
>>> Really? Is this because of the speed of firewire? I thought the newer
>>> firewire was a lot faster than cardbus.
>>
>> Faster in terms of bandwidth, yes. More data can fly down that new
>> firewire pipe. But as I recall, firewire sends things in packets, and
>> there are interrupts and delivery mechanisms within the hardware and
>> software that add a translation layer so that the data has to jump 
>> through
>> more hoops before it reaches the audio application. So, more bandwidth 
>> but
>> lower latency. CardBus is a more direct connection with the processor.
>
> Gotch ya.
>
> Kris
> 

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 10:02:22 2007
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> 
> Original USB - 12 Mbps
> USB 2.0  - 480 Mbps
> FireWire 400   - 393.216 Mbps
> FireWire 800 - 786.432 Mbps
> PCMCIA (PC Card) / CardBus, Type I or Type II (32 bit PCMCIA) - 132 Mbps
>  
> Kris
>  

16 bit duplex stereo sound at 44100Hz works out at  3Mbps.

So I don't this this particular spec is telling us where the latency
comes from.

andy butler

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> 
> As an extreme example, let's say the latency of a particular computer 
> and sound card is 1 second.  If the software can properly compensate
> for latency, as long as your loops are longer than 1 second you will
> hear absolutely no effects of this latency.  
> 
> 
> Jeff
> 

While Jeff is certainly the ultimate expert on latency compensated looping
I think it's worth not forgetting that 
you'd notice as soon as you hit Reverse, or triggered a loop from start.
(or any other of the functions that can't be compensated)


Interestingly, when I last played with Mobius I was hearing the output from the
pc, so was compensating for latency myself. Closing the loop was
quite shockingly out of time because we'd left Jeff's latency compensation on.

andy butler

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 12:13:51 2007
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maybe you damaged the AC adaptor ...

-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra

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maybe you damaged the AC adaptor ...<br><br>-- <br>The Playing Orchestra: <a href="http://www.telefonica.net/web2/tpo">http://www.telefonica.net/web2/tpo</a><br>Chain Tape Collective: <a href="http://www.ct-collective.com">
http://www.ct-collective.com</a><br>TPO at myspace: <a href="http://www.myspace.com/theplayingorchestra">http://www.myspace.com/theplayingorchestra</a>

------=_Part_24659_14976555.1185797627954--

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 12:20:19 2007
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Subject: soundball
Date: Mon, 30 Jul 2007 14:20:14 +0200
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http://www.alekstevens.com/soundball

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 14:04:30 2007
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Date: Mon, 30 Jul 2007 16:04:23 +0200
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I think Michael's has an special antenna for the newest toys... ;-)

2007/7/30, Michael Peters <mp@mpeters.de>:
>
> http://www.alekstevens.com/soundball
>
>
-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra

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I think Michael&#39;s has an special antenna for the newest toys... ;-)<br><br><div><span class="gmail_quote">2007/7/30, Michael Peters &lt;<a href="mailto:mp@mpeters.de">mp@mpeters.de</a>&gt;:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<a href="http://www.alekstevens.com/soundball">http://www.alekstevens.com/soundball</a><br><br clear="all"></blockquote></div><br>-- <br>The Playing Orchestra: <a href="http://www.telefonica.net/web2/tpo">http://www.telefonica.net/web2/tpo
</a><br>Chain Tape Collective: <a href="http://www.ct-collective.com">http://www.ct-collective.com</a><br>TPO at myspace: <a href="http://www.myspace.com/theplayingorchestra">http://www.myspace.com/theplayingorchestra</a>


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From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 14:19:41 2007
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From: "Krispen Hartung" <khartung@cableone.net>
To: Loopers-Delight@loopers-delight.com
References: <00ec01c7d1c4$202b91f0$64ddfea9@DAYGLOGREEN> <54383.64.59.144.88.1185737284.squirrel@mail.vcn.bc.ca> <0ac201c7d222$4bc37450$83caf40f@americas.hpqcorp.net> <F0F73770-F3A3-48A6-9727-7ADAF5E6A5A1@gmail.com> <0b4a01c7d258$8b062820$83caf40f@americas.hpqcorp.net> <588ce11d0707292044y668c26ecsce7c7bfa290b36df@mail.gmail.com>
Subject: Choosing an Audio Interface for Looping - No General Recommendations? 
Date: Mon, 30 Jul 2007 08:19:38 -0600
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With all this discussion, and also my observation of similar discussions on 
other lists, including MAX/MSP, my only sound advise to anyone wanting to 
buy a audio interface for their pc or mac notebook, is to find someone who 
is using the same system as  you (same software, audio interface, notebook, 
etc), and just replicate what they are using. As I've said before, there 
doesn't seem to be any rhyme or reason to it. Some people use one audio 
device and experience great results and low latency; another person will 
observe the opposite on a different system.

Each time someone thinks they have cleverly narrowed down the cause of low 
latency or some other quality problem on their system (yes, even a mac), and 
consequently tries to generalize this as a recommendation for everyone, 
someone else comes along with a different system and has no problems with 
the interface. The power of counter-example with audio interfaces is quite 
amazing on this group and others. It's as if no general statement about any 
audio device holds true as a general recommendation, and price seems to have 
nothing to do with it.

This being said, when I purchase a new macbook pro in January, I plan to do 
some user research (in the max/msp community) and find someone already using 
something with desirable results (close to my standards and user setup).  I 
was leaning toward the Fireface 400, but even that recommendation was based 
on an older mac system.  I can't say for certain what I'll buy.

Kris

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 14:53:52 2007
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Date: Mon, 30 Jul 2007 07:53:49 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: AW: minimizing gear with-laptop or floor harware?
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Kris you nailed it thanx! looks like is the one i
could use,ridiculous price,is Tapco the epiphone
version of gibson? i just hope the quality is better
than Behringer!
Luis



--- Krispen Hartung <khartung@cableone.net> wrote:

> Check out Tapco.
> http://www.tapcoworld.com/products/index.html#mixers

> Kris
> 
> 
> ----- Original Message ----- 
> From: "L.A. Angulo" <labaloops@yahoo.com>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Sunday, July 29, 2007 7:16 AM
> Subject: Re: AW: minimizing gear with-laptop or
> floor harware?
> 
> 
> > The tiny POD seems cool but i need 2 inputs for my
> > stereo out acoustic guitar.
> > i am also still hunting for the smallest high
> quality
> > 12 ch.mixer,about the size of the mackies
> VLZ1202/1204
> > with at least 6 xlr ins, at least 3 band EQ per
> > channel, 2 aux sends,alt 3/4 (for after efxs),XLR
> outs
> > and good sounding integrated FXs,i can´t believe
> all
> > of the ones ive seen are missing something,i have
> the
> > Mackie CFX1202 but is just too bulky.
> >
> > so far this are the ones ive come across:
> >
> > http://www.thomann.de/de/mackie_dfx_12.htm
> >
> > http://www.thomann.de/de/samson_mdr_10.htm
> >
> > offcourse i havent even bother to look at
> > behringer,phonic or anything low quality but
> please
> > feel free to suggest.
> > Thanx!
> > Luis


www.myspace.com/luisangulocom


       
____________________________________________________________________________________
Be a better Globetrotter. Get better travel answers from someone who knows. Yahoo! Answers - Check it out.
http://answers.yahoo.com/dir/?link=list&sid=396545469

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 15:09:37 2007
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> I think it's worth not forgetting that
> you'd notice as soon as you hit Reverse, or triggered a loop from =
start.
> (or any other of the functions that can't be compensated)

True.  Latency can't be compensated if you "play" the looper like a
phrase sampler.  Any action that requires an immediate change in
direction or location can't be compensated, the best we can do is skip
ahead a little so that what you hear still lines up with what you
play.  Usually this is not very noticeable since you're making an
abrupt change to the sound anyway.

For EDP-style looping this is an issue when ending the initial
recording, reverse, retrigger, loop switch, and a few others when they
are not being quantized.  If you are quantizing and press the switch
in advance of when it will actually happen we may have enough time to
compensate.

Jeff



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From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 15:25:26 2007
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From: "Tilmann Dehnhard" <tilmann@dehnhard.com>
To: <Loopers-Delight@loopers-delight.com>
References: <00d701c7d243$7c2e4f40$64ddfea9@DAYGLOGREEN>
Subject: looper's nightmare, slightly OT probably
Date: Mon, 30 Jul 2007 17:25:22 +0200
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here is what happened:

i flew from berlin to sebastopol, ukraine for a gig in a defunct nuclear 
submarine port.
solo contrabass flute and electronics with live video projection. so far, so 
wild!

at the check-in the nasty little man didn't accept my cb-flute as hand 
luggage.
it's smaller than a tenor sax...

arriving in sebastopol i was very happy to find my flute case on the belt 
and was only mildly concerned about the case with my electronix not coming 
up. i filled in the missing report kind of happy - man, how did i misjudge 
the situation...
i spent the next week running around in the glaring sebastopol sun trying to 
buy cables, firewire cables, volume pedals, loopers, pitchers, everything.
i managed to get a powerchord for my cell (yes, i know, i will never ever 
put it into the luggage again...) and a firewire cable. NOTHING else i 
digged up not even one effing volume pedal. or some 
whatever-kinda-stompbox-with-a-decent-octaver. nothing.

i contacted PER who was wonderful.
he helped me with mobius, bidule and a lot of good ideas about vsts and so 
on.
he gave me some really good ideas. his mails helped my morale, too.
THANX PER!!!

my setup was finally mobius and nothing else.
ll other solutions sounded questionable or weren't stable enough. (guitar 
rig left me alone standing there many times while rehearsing, so i kicked 
it.)
as a foot control, i threw down a usb keyboard and programmed the space bar 
to be record and some other key to be overdub.
all fades and loop select and multiply i had to do with my hands, looking at 
the screen.

now guess what a friend said after the gig:
"wasn't very sexy to see you stare at the screen all the time - were you 
reading emails or what!?!"

but anyway, i survived. nobody got killed. not even bruised.

i haven't seen my gear since then - it flew: berlin - frankfurt - munich - 
kiev - istanbul - sebastopol. but i am keeping my thumbs pressed. and the 
number of "lost and found" on speed dial.

smooth looping - tilmann 

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 15:31:43 2007
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Date: Mon, 30 Jul 2007 17:31:41 +0200 (CEST)
From: rune fagereng <rune_fagereng@yahoo.no>
Subject: sony oxford plug ins and Ilok
To: loopers-delight@loopers-delight.com
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Hi !

I have bought plugins from sony oxford - downloaded
them and registrered myself at ilok. But I cant use
the plugs. Are anyone familiar with ilok? Do I have to
buy a hardware ilok too?

Rune F.


      
_________________________________________________________
Alt i én. Få Yahoo! Mail med adressekartotek, kalender og
notisblokk. http://no.mail.yahoo.com

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 15:41:50 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: sony oxford plug ins and Ilok
Date: Mon, 30 Jul 2007 17:41:45 +0200
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On 30 jul 2007, at 17.31, rune fagereng wrote:

> I have bought plugins from sony oxford - downloaded
> them and registrered myself at ilok. But I cant use
> the plugs. Are anyone familiar with ilok? Do I have to
> buy a hardware ilok too?


Yes, that's the point with the iLok system! But since you have bought  
the hardware key you can keep it to manage all your software  
licenses. It's a one time expense. I've not taken that plunge myself  
yet, so I'm afraid I can not help much. But here's an information web  
page:
http://www.digidesign.com/index.cfm?langid=100&navid=54&itemid=22764

Producers I know that keep most of their software licenses on an iLok  
key have told me it's a good system that let's you easily move your  
plug-ins between many computers.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 15:46:57 2007
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Subject: RE: Choosing an Audio Interface for Looping - No General Recommendations? 
Date: Mon, 30 Jul 2007 10:45:38 -0500
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> It's as if no general statement about any audio device holds true as a
> general recommendation, and price seems to have nothing to do with it.

Right.  The reason audio interface companies don't publish statistics on
latency is because latency is primarily determined by your computer,
operating system, and the software you run, not the audio interface
hardware.  It is meaningless to claim "M-Audio interface X has 10ms
latency" while "Echo interface Y has only 5ms of latency".

Latency is something you have to tune for each system.  5ms seems to
be about average these days for a relatively modern machine with
carefully selected software.  Provided you're not trying to do
something insane like run Max, Reaktor, all the PSPs, a looper, and a
convolution reverb at the same time :-)

Jeff

=20


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------_=_NextPart_001_01C7D2C0.D96797CD--

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 15:51:56 2007
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Content-Type: multipart/alternative; boundary=Apple-Mail-1--802406331
From: Rev Fever <revfever@ubergadget.com>
Subject: Loops In Isolation
Date: Mon, 30 Jul 2007 08:51:47 -0700
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--Apple-Mail-1--802406331
Content-Transfer-Encoding: 7bit
Content-Type: text/plain;
	charset=US-ASCII;
	delsp=yes;
	format=flowed

Here is a REAL treat!  Amazing radio show looping!

http://counterfolk.com/fma/ken/extrav/audio/041019.shtml#top

Also, check out this guy's other shows, some of which are loop-based,  
and many of them available to listen to.
(he also offers CDs of any shows)

The guy has been doing these incredible radio shows for *over 13  
years*!    Whoa!   What a CHAMPION!

Ken's Last Ever Radio Extravaganza

Live improvised sound experiment

http://counterfolk.com/ken/extrav/

Enjoy!

-Rev. Fever
--Apple-Mail-1--802406331
Content-Transfer-Encoding: quoted-printable
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	charset=ISO-8859-1

<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; "><DIV>Here is a REAL =
treat!=A0=A0Amazing radio show looping!</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><A =
href=3D"http://counterfolk.com/fma/ken/extrav/audio/041019.shtml#top">http=
://counterfolk.com/fma/ken/extrav/audio/041019.shtml#top</A></DIV><DIV><BR=
 class=3D"khtml-block-placeholder"></DIV><DIV>Also, check out this guy's =
other shows, some of which are loop-based, and many of them available to =
listen to.</DIV><DIV>(he also offers CDs of any shows)</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>The guy has been doing =
these incredible radio shows for *over 13 years*! =A0 =A0Whoa!=A0 =A0What =
a CHAMPION!</DIV><DIV><BR class=3D"khtml-block-placeholder"></DIV><P =
style=3D"margin: 0.0px 0.0px 13.0px 0.0px"><FONT =
class=3D"Apple-style-span" face=3D"Arial"><B><FONT =
class=3D"Apple-style-span" color=3D"#000000"><FONT =
class=3D"Apple-style-span" size=3D"3"><SPAN class=3D"Apple-style-span" =
style=3D"font-size: 11px;">Ken's Last Ever Radio =
Extravaganza</SPAN></FONT></FONT></B></FONT></P><P style=3D"margin: =
0.0px 0.0px 13.0px 0.0px"><FONT class=3D"Apple-style-span" =
face=3D"Arial"><B><FONT class=3D"Apple-style-span" color=3D"#000000"><FONT=
 class=3D"Apple-style-span" size=3D"3"><SPAN class=3D"Apple-style-span" =
style=3D"font-size: 11px;">Live improvised sound =
experiment</SPAN></FONT></FONT></B></FONT></P><DIV><A =
href=3D"http://counterfolk.com/ken/extrav/">http://counterfolk.com/ken/ext=
rav/</A></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Enjoy!</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>-Rev. =
Fever</DIV></BODY></HTML>=

--Apple-Mail-1--802406331--

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 15:55:28 2007
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From: "Krispen Hartung" <khartung@cableone.net>
To: Loopers-Delight@loopers-delight.com
References: <00ec01c7d1c4$202b91f0$64ddfea9@DAYGLOGREEN> <54383.64.59.144.88.1185737284.squirrel@mail.vcn.bc.ca> <0ac201c7d222$4bc37450$83caf40f@americas.hpqcorp.net> <F0F73770-F3A3-48A6-9727-7ADAF5E6A5A1@gmail.com> <0b4a01c7d258$8b062820$83caf40f@americas.hpqcorp.net> <588ce11d0707292044y668c26ecsce7c7bfa290b36df@mail.gmail.com> <0be201c7d2b4$aa635010$83caf40f@americas.hpqcorp.net> <3B760999C264454D82652640BB74075C1C3B56@keel.sailpoint.com>
Subject: Re: Choosing an Audio Interface for Looping - No General Recommendations? 
Date: Mon, 30 Jul 2007 09:55:25 -0600
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----- Original Message ----- 
From: "Jeff Larson">
carefully selected software.  Provided you're not trying to do
something insane like run Max, Reaktor, all the PSPs, a looper, and a
convolution reverb at the same time :-)

Ah yes...hah hah. :)  Well, at least I have no PSPs anymore, and I'm down to 
Reaktor and Boogex amp simulator as the only VSTs in my max/msp system. The 
hard core maxers keep asking me when I'm going to eliminate Reaktor, and my 
response is "soon, very soon my fine feathered friends."   Battling an 
addiction with VSTs no easy task. I've considered seeing a therapist about 
it. These days, I'm even working on not using reverb, chorus, and delay (my 
trademark effects heard on all my CDs)...trying a more raw, in your face 
electronic approach.

Kris





From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 17:17:54 2007
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Subject: RE: choosing the right laptop for live looping , real time DSP processing and running Video
Date: Mon, 30 Jul 2007 18:17:51 +0100
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From: "Goddard, Duncan" <goddard.duncan@mtvne.com>
To: <Loopers-Delight@loopers-delight.com>
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>> > if you get a macbook-pro, get some speck polycarbonate shells for
it,=20
> or the outside will start to look tatty really quick.

Don't you mean Macbook?  My old company had the aluminum macs and they
seemed to hold up fine.  I imagine the plastic shelled units get crappy
pretty quick though.<<

no, macbook-pro. I have one here- the case is a lot more
"one-piece-extruded" than the old powerbooks, & seems to be a bit less
durable. mine has picked up a few dings & scrapes from airport scans &
just general wear&tear, not to mention being accidentally forced to
share it's bit of laptop bag with carelessly-stashed power supplies &
the like.
so I bought a set of these:

http://www.speckproducts.com/for-macbook.html

& now it is bling. :-)

(I got the red ones for that fetish look. well, us mac users are
supposed to be fetishistic, right?)

d.

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 17:31:44 2007
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Subject: RE: cme midi pedal?
Date: Mon, 30 Jul 2007 18:31:40 +0100
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http://www.bananas.com/productdetail.asp/pid_10214/productname_CME-


I could go for this, & paint my repeaters in shiny piano-finish black
lacquer.... :-)

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 17:55:16 2007
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From: "Krispen Hartung" <khartung@cableone.net>
To: Loopers-Delight@loopers-delight.com
Subject: Music Unfit for Children - Update
Date: Mon, 30 Jul 2007 11:55:14 -0600
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This is a MIME-formatted message.  If you see this text it means that your
E-mail software does not support MIME-formatted messages.

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Hello all -

Here's an update on the new CD project I am working on, "Music Unfit for =
Children," and three sound clips linked below.

Most of the songs on this project are, or will be done with nothing but =
children's toys (my own kids') and manipulation with my laptop, max/msp =
and/or reaktor.=20

I just finished mastering the third song, "Electronic Toothbrush =
Ensemble," which I really like. It has two separate tracks mixed =
together. The first one is of my 2 year old twins brushing their teeth =
one morning, with their Sponge Bob and Dora the Explorer electronic =
toothbrushes. I caught them in action, and in wandering stereo, and I =
then processed the recording with the Lexicon PSP 84 VST plugin and some =
waves gold reverb.=20

The second track is of me playing on a big boy's toy, or what I call the =
"Joe Rut Machine." This is a contraption that Joe Rut from =
Lumper-Splitter made and played at the Boise Experimental Music =
Festival. He and Lucio gave it to me as a gift after the festival with =
most all the musicians' signatures on it. I decided to use it. I played =
it and processed and looped the sound in real time with max/msp only. =
It's a really cool and fascinating instrument.

The Electronic Toothbrush Ensemble has a playful, Twilight Zone ("Little =
Girl Lost"), yet dark sort of feel to it. You can hear my kids brushing =
their teeth, giggling, talking, and eventually getting bored and =
brushing the surface of the refrigerator. Then you have the bizarre =
processed sound of the Joe Rut Machine in the background.  There is one =
one section at 2:03 that is just hilarious. There is a bit of climax in =
the music that has a ominous feel to it...a tri-tone movement, and =
coincidentally, Kyra, my daughter starts saying "No, no, no, no!!!".=20

Kris


1. Bright Lights
http://www.box.net/shared/23ayk5ppif (MP3)

Featured instrument: The vtech "Bright Lights" phone
http://www.toysrus.com/sm-bright-lights-phone--pi-2373416.html

This toy has some interesting sounds: frog, duck, weird atonal phrase =
(unusual for a kids toy), some goofy melodies, etc.=20


2. Alphabet Pal
http://www.box.net/shared/zq73vpvdg9 (MP3)

Featured instrument: The Leapfrog "Alphabet Pal"
http://www.leapfrog.com/Primary/Toddler/PRD_alphapal/Alphabet+Pal174+Cate=
rpillar.jsp?bmLocale=3Den_US



This toy plays a unique song for each letter, says the letter itself, or =
makes the phoenetic sound of the letter.

3. Electronic Toothbrush Ensemble
http://www.box.net/shared/vj2mamip5r (MP3)

Featured instruments

Children's electronic toothbrushes, Sponge Bob and Dora the Explorer
http://www.colgate.com/app/Colgate/US/OC/Products/KidsProducts/SpongeBob.=
cvsp#


The Joe Rut (Lumper-Splitter) "Machine"



*************************************************************************=
*
Krispen Hartung
www.krispenhartung.com / www.myspace.com/krispenhartung
info@krispenhartung.com / 1.208.724.5603=20
Discography - http://www.krispenhartung.com/catalogue.htm
CD Baby Discography: http://cdbaby.com/all/khartung 
--=_MAILPROV.cableone.net-6673-1185818115-0001-3
Content-Type: text/html; charset=iso-8859-1
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2900.3132" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Hello all -</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Here's an update on the new CD =
project&nbsp;I am=20
working on, <STRONG>"Music Unfit for Children,"</STRONG> and three sound =
clips=20
linked below.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Most of the songs on this project are, =
or=20
will&nbsp;be done with nothing but children's toys (my own kids') and=20
manipulation with my laptop, max/msp&nbsp;and/or reaktor. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I just finished mastering the third =
song,=20
"<STRONG>Electronic Toothbrush Ensemble</STRONG>," which I really like. =
It has=20
two separate tracks mixed together. The first one is of my 2 year old =
twins=20
brushing their teeth one morning, with their Sponge Bob and Dora the =
Explorer=20
electronic toothbrushes. I&nbsp;caught them in action, and in wandering =
stereo,=20
and I then processed the recording with&nbsp;the Lexicon PSP 84&nbsp;VST =

plugin&nbsp;and some waves gold reverb. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>The second track is of me playing on a =
big boy's=20
toy, or what I call the <STRONG>"Joe Rut Machine</STRONG>." This is a=20
contraption that Joe Rut from Lumper-Splitter made and played at the =
Boise=20
Experimental Music Festival. He and Lucio gave it to me as a gift after =
the=20
festival with most all the musicians' signatures on it. I decided to use =
it. I=20
played it and processed and looped the sound in real time with max/msp =
only.=20
It's a really cool and fascinating instrument.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>The Electronic Toothbrush Ensemble has =
a playful,=20
Twilight Zone ("Little Girl Lost"), yet dark sort of&nbsp;feel to it. =
You can=20
hear my kids brushing their teeth, giggling, talking, and eventually =
getting=20
bored and brushing the surface of the refrigerator. Then you have the =
bizarre=20
processed sound of the Joe Rut Machine in the background.&nbsp; There is =
one one=20
section at 2:03 that is just hilarious. There is a bit of climax in the =
music=20
that has a ominous feel to it...a tri-tone movement, and coincidentally, =
Kyra,=20
my daughter starts saying "No, no, no, no!!!". </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><STRONG>1. Bright =
Lights</STRONG></FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.box.net/shared/23ayk5ppif">http://www.box.net/shared/2=
3ayk5ppif</A>&nbsp;(MP3)<A=20
href=3D"http://www.box.net/shared/static/2ssogz1src.mp3"></A></FONT></DIV=
>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Featured instrument<STRONG>:</STRONG> =
The vtech=20
"Bright Lights" phone</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.toysrus.com/sm-bright-lights-phone--pi-2373416.html">h=
ttp://www.toysrus.com/sm-bright-lights-phone--pi-2373416.html</A></FONT><=
/DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>This toy has some interesting sounds: =
frog, duck,=20
weird atonal phrase (unusual for a kids toy), some goofy melodies, etc.=20
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><STRONG>2.</STRONG> <STRONG>Alphabet=20
Pal</STRONG></FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.box.net/shared/zq73vpvdg9">http://www.box.net/shared/z=
q73vpvdg9</A>&nbsp;(MP3)</FONT></DIV>
<DIV><STRONG><FONT face=3DArial size=3D2></FONT></STRONG>&nbsp;</DIV>
<DIV><FONT size=3D2><FONT face=3DArial>Featured =
instrument<STRONG>:</STRONG> The=20
Leapfrog "Alphabet Pal"</FONT></FONT></DIV>
<DIV><FONT size=3D2><FONT face=3DArial><A=20
href=3D"http://www.leapfrog.com/Primary/Toddler/PRD_alphapal/Alphabet+Pal=
174+Caterpillar.jsp?bmLocale=3Den_US">http://www.leapfrog.com/Primary/Tod=
dler/PRD_alphapal/Alphabet+Pal174+Caterpillar.jsp?bmLocale=3Den_US</A></F=
ONT></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><IMG style=3D"WIDTH: 174px; HEIGHT: 137px" height=3D157=20
src=3D"cid:0ce101c7d2d2$c804c770$83caf40f@americas.hpqcorp.net" =
width=3D203></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>This toy plays a unique song for each =
letter, says=20
the letter itself, or makes the phoenetic sound of the letter.</FONT><A=20
onclick=3D"return =
amz_js_PopWin(this.href,'AmazonHelp','width=3D700,height=3D600,resizable=3D=
1,scrollbars=3D1,toolbar=3D0,status=3D1');"=20
href=3D"http://www.amazon.com/gp/product/images/B00005OWEP/ref=3Ddp_image=
_0/103-9969774-6779000?ie=3DUTF8&amp;n=3D165793011&amp;s=3Dtoys-and-games=
"=20
target=3DAmazonHelp></A></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><STRONG>3</STRONG>. <STRONG>Electronic =
Toothbrush=20
Ensemble</STRONG></FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.box.net/shared/vj2mamip5r">http://www.box.net/shared/v=
j2mamip5r</A>&nbsp;(MP3)</FONT></DIV>
<DIV><STRONG><FONT face=3DArial size=3D2></FONT></STRONG>&nbsp;</DIV>
<DIV><FONT size=3D2><FONT face=3DArial>Featured =
instruments</FONT></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Children's electronic toothbrushes, =
Sponge Bob and=20
Dora the Explorer</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.colgate.com/app/Colgate/US/OC/Products/KidsProducts/Sp=
ongeBob.cvsp">http://www.colgate.com/app/Colgate/US/OC/Products/KidsProdu=
cts/SpongeBob.cvsp</A>#</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><A=20
href=3D"javascript:popUp('/popups/largerphoto/default.asp?pid=3D92018&amp=
;catid=3D33675&amp;size=3D300&amp;trx=3D29888&amp;trxp1=3D92018&amp;trxp2=
=3D1','popup',550,380)"></A></DIV>
<DIV><STRONG><FONT face=3DArial size=3D2></FONT></STRONG></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>The Joe Rut (Lumper-Splitter)=20
"Machine"</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><IMG height=3D186=20
src=3D"cid:0ce201c7d2d2$c804c770$83caf40f@americas.hpqcorp.net"=20
width=3D148></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial=20
size=3D2>****************************************************************=
**********<BR>Krispen=20
Hartung<BR><A =
href=3D"http://www.krispenhartung.com">www.krispenhartung.com</A> /=20
<A=20
href=3D"http://www.myspace.com/krispenhartung">www.myspace.com/krispenhar=
tung</A><BR><A=20
href=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</A> /=20
1.208.724.5603 <BR>Discography - <A=20
href=3D"http://www.krispenhartung.com/catalogue.htm">http://www.krispenha=
rtung.com/catalogue.htm</A><BR>CD=20
Baby Discography: <A=20
href=3D"http://cdbaby.com/all/khartung">http://cdbaby.com/all/khartung</A=
>=20
</FONT></DIV></BODY></HTML>

--=_MAILPROV.cableone.net-6673-1185818115-0001-3--

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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: Music Unfit for Children - Update  / Goosebump
Date: Mon, 30 Jul 2007 11:05:33 -0700
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Excellent!
This concept reminds me a wee bit of what The Residents did back in  
1980 with "Gooosebump".

Here are some details:

'Goosebump

The Residents had long planned to produce a children's record -- of  
sorts. Goosebump is a collection of Mother Goose rhymes set to music  
with all of the "original sinister overtones" left in place. They  
teamed up with their long-time collaborator Snakefinger and recorded  
the songs using only musical instruments bought at Toys-R-Us.  
Although children's toys were used to produce the music, The  
Residents' grown-up toys were used afterwards in the mixing of the  
recording.'

http://www.residents.com/bh/diskomo.htm

-Rev. Fever


On Jul 30, 2007, at 10:55 AM, Krispen Hartung wrote:

> Hello all -
>
> Here's an update on the new CD project I am working on, "Music  
> Unfit for Children," and three sound clips linked below.
>
> Most of the songs on this project are, or will be done with nothing  
> but children's toys (my own kids') and manipulation with my laptop,  
> max/msp and/or reaktor.
>
> I just finished mastering the third song, "Electronic Toothbrush  
> Ensemble," which I really like. It has two separate tracks mixed  
> together. The first one is of my 2 year old twins brushing their  
> teeth one morning, with their Sponge Bob and Dora the Explorer  
> electronic toothbrushes. I caught them in action, and in wandering  
> stereo, and I then processed the recording with the Lexicon PSP 84  
> VST plugin and some waves gold reverb.
>
> The second track is of me playing on a big boy's toy, or what I  
> call the "Joe Rut Machine." This is a contraption that Joe Rut from  
> Lumper-Splitter made and played at the Boise Experimental Music  
> Festival. He and Lucio gave it to me as a gift after the festival  
> with most all the musicians' signatures on it. I decided to use it.  
> I played it and processed and looped the sound in real time with  
> max/msp only. It's a really cool and fascinating instrument.
>
> The Electronic Toothbrush Ensemble has a playful, Twilight Zone  
> ("Little Girl Lost"), yet dark sort of feel to it. You can hear my  
> kids brushing their teeth, giggling, talking, and eventually  
> getting bored and brushing the surface of the refrigerator. Then  
> you have the bizarre processed sound of the Joe Rut Machine in the  
> background.  There is one one section at 2:03 that is just  
> hilarious. There is a bit of climax in the music that has a ominous  
> feel to it...a tri-tone movement, and coincidentally, Kyra, my  
> daughter starts saying "No, no, no, no!!!".
>
> Kris
>
>
> 1. Bright Lights
> http://www.box.net/shared/23ayk5ppif (MP3)
>
> Featured instrument: The vtech "Bright Lights" phone
> http://www.toysrus.com/sm-bright-lights-phone--pi-2373416.html
>
> This toy has some interesting sounds: frog, duck, weird atonal  
> phrase (unusual for a kids toy), some goofy melodies, etc.
>
>
> 2. Alphabet Pal
> http://www.box.net/shared/zq73vpvdg9 (MP3)
>
> Featured instrument: The Leapfrog "Alphabet Pal"
> http://www.leapfrog.com/Primary/Toddler/PRD_alphapal/Alphabet+Pal174 
> +Caterpillar.jsp?bmLocale=en_US
>
> <0ce101c7d2d2$c804c770$83caf40f>
>
> This toy plays a unique song for each letter, says the letter  
> itself, or makes the phoenetic sound of the letter.
>
> 3. Electronic Toothbrush Ensemble
> http://www.box.net/shared/vj2mamip5r (MP3)
>
> Featured instruments
>
> Children's electronic toothbrushes, Sponge Bob and Dora the Explorer
> http://www.colgate.com/app/Colgate/US/OC/Products/KidsProducts/ 
> SpongeBob.cvsp#
>
>
> The Joe Rut (Lumper-Splitter) "Machine"
>
> <0ce201c7d2d2$c804c770$83caf40f>
>
> ********************************************************************** 
> ****
> Krispen Hartung
> www.krispenhartung.com / www.myspace.com/krispenhartung
> info@krispenhartung.com / 1.208.724.5603
> Discography - http://www.krispenhartung.com/catalogue.htm
> CD Baby Discography: http://cdbaby.com/all/khartung
>


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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">Excellent!<DIV>This concept =
reminds me a wee bit of what The Residents did back in 1980 with =
"Gooosebump".</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Here are some =
details:<DIV><BR class=3D"khtml-block-placeholder"></DIV><P =
style=3D"margin: 0.0px 0.0px 11.0px 0.0px"><FONT =
class=3D"Apple-style-span" color=3D"#333333" face=3D"Arial" =
size=3D"3"><SPAN class=3D"Apple-style-span" style=3D"font-size: =
11px;"><FONT class=3D"Apple-style-span" color=3D"#000000" =
face=3D"Helvetica" size=3D"3"><SPAN class=3D"Apple-style-span" =
style=3D"font-size: 12px;">'</SPAN></FONT><B><FONT =
class=3D"Apple-style-span" =
color=3D"#000000">Goosebump</FONT></B></SPAN></FONT></P><P =
style=3D"margin: 0.0px 0.0px 11.0px 0.0px"><FONT =
class=3D"Apple-style-span" face=3D"Arial" size=3D"3"><SPAN =
class=3D"Apple-style-span" style=3D"font-size: 11px;"><B><FONT =
class=3D"Apple-style-span" color=3D"#000000">The Residents had long =
planned <SPAN class=3D"Apple-style-span" style=3D"text-decoration: =
underline;">to produce a children's record</SPAN>=A0-- <SPAN =
class=3D"Apple-style-span" style=3D"text-decoration: underline;">of =
sorts</SPAN>. Goosebump is a collection of Mother Goose rhymes set to =
music with all of the "original sinister overtones" left in place. They =
teamed up with their long-time collaborator Snakefinger and recorded the =
songs <SPAN class=3D"Apple-style-span" style=3D"text-decoration: =
underline;">using only musical instruments bought at Toys-R-Us</SPAN>. =
Although children's toys were used to produce the music, The Residents' =
grown-up toys were used afterwards in the mixing of the =
recording.'</FONT></B></SPAN></FONT></P><P style=3D"margin: 0.0px 0.0px =
11.0px 0.0px"><A =
href=3D"http://www.residents.com/bh/diskomo.htm">http://www.residents.com/=
bh/diskomo.htm</A><FONT class=3D"Apple-style-span" color=3D"#333333" =
face=3D"Arial" size=3D"3"><SPAN class=3D"Apple-style-span" =
style=3D"font-size: 11px;"><B></B></SPAN></FONT></P><P style=3D"margin: =
0.0px 0.0px 11.0px 0.0px">-Rev. Fever</P><DIV><BR><DIV><DIV>On Jul 30, =
2007, at 10:55 AM, Krispen Hartung wrote:</DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite"><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><DIV><FONT =
face=3D"Arial" size=3D"2"><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Hello all =
-</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Here's an update on the new CD project=A0I am working on, =
</SPAN><STRONG style=3D"font-family: Arial; font-size: 10px; =
font-weight: bold; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; =
">"Music Unfit for Children,"</SPAN></STRONG><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
"> and three sound clips linked below.</SPAN></FONT></DIV><DIV><FONT =
face=3D"Arial" size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" =
size=3D"2"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">Most of the songs on this project are, or will=A0be =
done with nothing but children's toys (my own kids') and manipulation =
with my laptop, max/msp=A0and/or reaktor.</SPAN></FONT></DIV><DIV><FONT =
face=3D"Arial" size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" =
size=3D"2"><SPAN class=3D"Apple-style-span" style=3D"font-family: Arial; =
font-size: 10px; ">I just finished mastering the third song, =
"</SPAN><STRONG style=3D"font-family: Arial; font-size: 10px; =
font-weight: bold; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; =
">Electronic Toothbrush Ensemble</SPAN></STRONG><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">," which I really like. It has two separate tracks mixed together. The =
first one is of my 2 year old twins brushing their teeth one morning, =
with their Sponge Bob and Dora the Explorer electronic toothbrushes. =
I=A0caught them in action, and in wandering stereo, and I then processed =
the recording with=A0the Lexicon PSP 84=A0VST plugin=A0and some waves =
gold reverb.</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">The second track is of me playing on a big boy's toy, or what I call =
the </SPAN><STRONG style=3D"font-family: Arial; font-size: 10px; =
font-weight: bold; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; ">"Joe =
Rut Machine</SPAN></STRONG><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">." This is a contraption =
that Joe Rut from Lumper-Splitter made and played at the Boise =
Experimental Music Festival. He and Lucio gave it to me as a gift after =
the festival with most all the musicians' signatures on it. I decided to =
use it. I played it and processed and looped the sound in real time with =
max/msp only. It's a really cool and fascinating =
instrument.</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">The Electronic Toothbrush Ensemble has a playful, Twilight Zone =
("Little Girl Lost"), yet dark sort of=A0feel to it. You can hear my =
kids brushing their teeth, giggling, talking, and eventually getting =
bored and brushing the surface of the refrigerator. Then you have the =
bizarre processed sound of the Joe Rut Machine in the background.=A0 =
There is one one section at 2:03 that is just hilarious. There is a bit =
of climax in the music that has a ominous feel to it...a tri-tone =
movement, and coincidentally, Kyra, my daughter starts saying "No, no, =
no, no!!!".</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Kris</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><STRONG =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
font-weight: bold; ">1. Bright =
Lights</SPAN></STRONG></FONT></DIV><DIV><FONT face=3D"Arial" size=3D"2"><A=
 href=3D"http://www.box.net/shared/23ayk5ppif"><SPAN =
class=3D"Apple-style-span" style=3D"color: rgb(0, 0, 238); font-family: =
Arial; font-size: 10px; -khtml-text-decorations-in-effect: underline; =
">http://www.box.net/shared/23ayk5ppif</SPAN></A><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">=A0(MP3)</SPAN><A =
href=3D"http://www.box.net/shared/static/2ssogz1src.mp3"></A></FONT></DIV>=
<DIV><FONT face=3D"Arial" size=3D"2"></FONT>=A0</DIV><DIV><FONT =
face=3D"Arial" size=3D"2"><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Featured =
instrument</SPAN><STRONG style=3D"font-family: Arial; font-size: 10px; =
font-weight: bold; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; =
">:</SPAN></STRONG><SPAN class=3D"Apple-style-span" style=3D"font-family: =
Arial; font-size: 10px; "> The vtech "Bright Lights" =
phone</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" size=3D"2"><A =
href=3D"http://www.toysrus.com/sm-bright-lights-phone--pi-2373416.html"><S=
PAN class=3D"Apple-style-span" style=3D"color: rgb(0, 0, 238); =
font-family: Arial; font-size: 10px; -khtml-text-decorations-in-effect: =
underline; =
">http://www.toysrus.com/sm-bright-lights-phone--pi-2373416.html</SPAN></A=
></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">This toy has some interesting sounds: frog, duck, weird atonal phrase =
(unusual for a kids toy), some goofy melodies, =
etc.</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><STRONG =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
font-weight: bold; ">2.</SPAN></STRONG><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; "> </SPAN><STRONG =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
font-weight: bold; ">Alphabet Pal</SPAN></STRONG></FONT></DIV><DIV><FONT =
face=3D"Arial" size=3D"2"><A =
href=3D"http://www.box.net/shared/zq73vpvdg9"><SPAN =
class=3D"Apple-style-span" style=3D"color: rgb(0, 0, 238); font-family: =
Arial; font-size: 10px; -khtml-text-decorations-in-effect: underline; =
">http://www.box.net/shared/zq73vpvdg9</SPAN></A><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">=A0(MP3)</SPAN></FONT></DIV><DIV><STRONG style=3D"font-weight: bold; =
"><FONT face=3D"Arial" size=3D"2"></FONT></STRONG>=A0</DIV><DIV><FONT =
size=3D"2"><FONT face=3D"Arial"><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Featured =
instrument</SPAN><STRONG style=3D"font-family: Arial; font-size: 10px; =
font-weight: bold; "><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; =
">:</SPAN></STRONG><SPAN class=3D"Apple-style-span" style=3D"font-family: =
Arial; font-size: 10px; "> The Leapfrog "Alphabet =
Pal"</SPAN></FONT></FONT></DIV><DIV><FONT size=3D"2"><FONT =
face=3D"Arial"><A =
href=3D"http://www.leapfrog.com/Primary/Toddler/PRD_alphapal/Alphabet+Pal1=
74+Caterpillar.jsp?bmLocale=3Den_US"><SPAN class=3D"Apple-style-span" =
style=3D"color: rgb(0, 0, 238); font-family: Arial; font-size: 10px; =
-khtml-text-decorations-in-effect: underline; =
">http://www.leapfrog.com/Primary/Toddler/PRD_alphapal/Alphabet+Pal174+Cat=
erpillar.jsp?bmLocale=3Den_US</SPAN></A></FONT></FONT></DIV><DIV><FONT =
face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><SPAN><DIV>&lt;0ce101c7d2d2$c804c770$83caf=
40f&gt;</DIV></SPAN></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">This toy plays a unique song for each letter, says the letter itself, =
or makes the phoenetic sound of the letter.</SPAN></FONT><A =
onclick=3D"return =
amz_js_PopWin(this.href,'AmazonHelp','width=3D700,height=3D600,resizable=3D=
1,scrollbars=3D1,toolbar=3D0,status=3D1');" =
href=3D"http://www.amazon.com/gp/product/images/B00005OWEP/ref=3Ddp_image_=
0/103-9969774-6779000?ie=3DUTF8&n=3D165793011&s=3Dtoys-and-games" =
target=3D"AmazonHelp"></A></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><STRONG =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
font-weight: bold; ">3</SPAN></STRONG><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">. </SPAN><STRONG =
style=3D"font-family: Arial; font-size: 10px; font-weight: bold; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
font-weight: bold; ">Electronic Toothbrush =
Ensemble</SPAN></STRONG></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"><A href=3D"http://www.box.net/shared/vj2mamip5r"><SPAN =
class=3D"Apple-style-span" style=3D"color: rgb(0, 0, 238); font-family: =
Arial; font-size: 10px; -khtml-text-decorations-in-effect: underline; =
">http://www.box.net/shared/vj2mamip5r</SPAN></A><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">=A0(MP3)</SPAN></FONT></DIV><DIV><STRONG style=3D"font-weight: bold; =
"><FONT face=3D"Arial" size=3D"2"></FONT></STRONG>=A0</DIV><DIV><FONT =
size=3D"2"><FONT face=3D"Arial"><SPAN class=3D"Apple-style-span" =
style=3D"font-family: Arial; font-size: 10px; ">Featured =
instruments</SPAN></FONT></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Children's electronic toothbrushes, Sponge Bob and Dora the =
Explorer</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" size=3D"2"><A =
href=3D"http://www.colgate.com/app/Colgate/US/OC/Products/KidsProducts/Spo=
ngeBob.cvsp"><SPAN class=3D"Apple-style-span" style=3D"color: rgb(0, 0, =
238); font-family: Arial; font-size: 10px; =
-khtml-text-decorations-in-effect: underline; =
">http://www.colgate.com/app/Colgate/US/OC/Products/KidsProducts/SpongeBob=
.cvsp</SPAN></A><SPAN class=3D"Apple-style-span" style=3D"font-family: =
Arial; font-size: 10px; ">#</SPAN></FONT></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><A =
href=3D"javascript:popUp('/popups/largerphoto/default.asp?pid=3D92018&cati=
d=3D33675&size=3D300&trx=3D29888&trxp1=3D92018&trxp2=3D1','popup',550,380)=
"></A></DIV><DIV><STRONG style=3D"font-weight: bold; "><FONT =
face=3D"Arial" size=3D"2"></FONT></STRONG></DIV><DIV><FONT face=3D"Arial" =
size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">The Joe Rut (Lumper-Splitter) "Machine"</SPAN></FONT></DIV><DIV><FONT =
face=3D"Arial" size=3D"2"></FONT>=A0</DIV><DIV><FONT face=3D"Arial" =
size=3D"2"><SPAN><DIV>&lt;0ce201c7d2d2$c804c770$83caf40f&gt;</DIV></SPAN><=
/FONT></DIV><DIV><FONT face=3D"Arial" size=3D"2"></FONT>=A0</DIV><DIV><FON=
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**</SPAN><BR style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
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10px; "><A href=3D"http://www.krispenhartung.com"><SPAN =
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style=3D"font-family: Arial; font-size: 10px; "> / </SPAN><A =
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Arial; font-size: 10px; "><A href=3D"mailto:info@krispenhartung.com"><SPAN=
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</SPAN><BR style=3D"font-family: Arial; font-size: 10px; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
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From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 18:06:23 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Re: Choosing an Audio Interface for Looping - No General Recommendations? 
Date: Mon, 30 Jul 2007 20:06:17 +0200
To: Loopers-Delight@loopers-delight.com
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On 30 jul 2007, at 17.55, Krispen Hartung wrote:

> Ah yes...hah hah. :)  Well, at least I have no PSPs anymore, and  
> I'm down to Reaktor and Boogex amp simulator as the only VSTs in my  
> max/msp system.

Just a short note here: I have always loved some PSP effects and  
owned them since the very start. They were a pain in the ass at the  
beginning. I was using them in Windows XP because that was the only  
supported system and they constantly made the PC crash. But today  
some five years have passed since the "Polish Wonder" hit the audio  
world and I must say that today's versions are very light on the CPU.  
I constantly use Nitro and 608 for laptop looping, playing live  
through them with any instrument - on both XP and OSX. Especially  
PSP608 gives a great sound (you Kris have sometimes been asking on  
this list for which effects I used in some posted track and I have  
noted that you tend to post that question when I post something  
played through the 608! Must mean something  ;-)  The 608 is marketed  
as a tape delay simulator but what it is really good at IMHO is dirty/ 
musical reverb and a certain analog type harmonic overtone  
distortion. I have grown totally addicted to the 608, I always use it  
as "input stage plug-in" on my laptops, without much effects rather  
than the reverb and the general tone warming effect.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 18:07:55 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: BlingBook for looping (was: Re: choosing the right laptop for live looping , real time DSP processing and running Video
Date: Mon, 30 Jul 2007 20:07:51 +0200
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On 30 jul 2007, at 19.17, Goddard, Duncan wrote:

> http://www.speckproducts.com/for-macbook.html
> & now it is bling. :-)


Awesome!

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 18:11:59 2007
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To: <Loopers-Delight@loopers-delight.com>
Subject: AW: TIME PERCEPTION and LOOPING
Date: Mon, 30 Jul 2007 20:12:15 +0200
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If I'm the Ranier you're talking about, here is the link:
http://www.moinlabs.de/e_lat.htm

	Rainer=20

> -----Urspr=FCngliche Nachricht-----
> Von: Kelly Coyle [mailto:skcoyle@gmail.com]=20
> Gesendet: Montag, 30. Juli 2007 03:10
> An: Loopers-Delight@loopers-delight.com
> Betreff: Re: TIME PERCEPTION and LOOPING
>=20
> Ranier had a very nice essay on our last, um, loop through this topic.
> Perhaps he could re-link it.
>=20
> >
> > Sooooooo,    what about the perception of time?      as it=20
> relates to live
> > looping.
> > Read that article which is only a page long and we'll have a lot to=20
> > discuss I think.
> >
> > cheers,  Rick
> >
> >
>=20
> ---
> http://quotidianme.kellycoyle.net
> http://organicguitar.kellycoyle.net
>=20
>=20

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 18:13:49 2007
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Nice! Bright red. I love it.

Kris

----- Original Message ----- 


> On 30 jul 2007, at 19.17, Goddard, Duncan wrote:
> 
>> http://www.speckproducts.com/for-macbook.html
>> & now it is bling. :-)
> 
> 
> Awesome!
> 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> 
> 
> 
>

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 18:16:48 2007
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Subject: AW: Low Lantecy Soundcard for Laptop Gig
Date: Mon, 30 Jul 2007 20:17:09 +0200
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Krispen, 

>	Original USB - 12 Mbps
>	USB 2.0  - 480 Mbps
>	FireWire 400   - 393.216 Mbps
>	FireWire 800 - 786.432 Mbps
>	PCMCIA (PC Card) / CardBus, Type I or Type II (32 bit PCMCIA) - 132
Mbps

That is 133MBps for PCMCIA or a little more than 1 Gbps...
	 
	Rainer
	 
	 


From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 18:27:02 2007
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Subject: RE: looper's nightmare, slightly OT probably
Date: Mon, 30 Jul 2007 20:26:57 +0200
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oh my god. truly a looper's nightmare. I don't think I would dare to play in
countries like that. (not that anyone has ever asked me to)

michael www.michaelpeters.de

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 18:28:37 2007
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From: Per Boysen <perboysen@gmail.com>
Subject: Free good plug-ins within OSX  (was: Re: choosing the right laptop for live looping , real time DSP processing and running Video
Date: Mon, 30 Jul 2007 20:28:32 +0200
To: Loopers-Delight@loopers-delight.com
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A couple of days back someone posted what he thought was nice with  
using OSX for audio. I answered that post by mentioning some OSX only  
applications I like very much. But today I suddenly found out some  
great news about OSX. As you probably know Apple is bundling 16  
different audio plug-ins with OSX. When I first tried them out some  
three years back they were not very light on the CPU and brought some  
crackling noise artifacts as well. During the two last years I have  
been mostly looping in Windows with Mobius and producing recordings  
in OSX with Logic, so I have not really had any reason to even load  
any of Apple's free plug-ins. Today I did and found that the buys at  
Cupertino must have been working a lot on them lately because even my  
old G4 1.25 GHz powerbook can run an Eclipse-sounding patch I mocked  
up with the free Matrix reverb and a Pitch-Shifter put in a feedback  
loop that feeds back into its own input. Holy crap what a pristine  
sound! For those lucky to own a modern intel mac I imagine not many  
commercial plug-ins would be needed really. I just had to post this,  
because two years have passed without me even knowing this have been  
happening. So if anyone else should be interested, now you know too.  
You find them in any audio applications under "AU Effects / Apple"

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)




From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 18:40:19 2007
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What do you mean, Rainer? Isn't MBPS Mega Bytes per Second? 1 Gig per second 
seems wildly fast.

Kris

----- Original Message ----- 

Sent: Monday, July 30, 2007 12:17 PM
Subject: AW: Low Lantecy Soundcard for Laptop Gig


> Krispen,
>
>> Original USB - 12 Mbps
>> USB 2.0  - 480 Mbps
>> FireWire 400   - 393.216 Mbps
>> FireWire 800 - 786.432 Mbps
>> PCMCIA (PC Card) / CardBus, Type I or Type II (32 bit PCMCIA) - 132
> Mbps
>
> That is 133MBps for PCMCIA or a little more than 1 Gbps...
>
> Rainer
>
>
>
> 

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 18:49:00 2007
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.A. Angulo wrote:
> Kris you nailed it thanx! looks like is the one i
> could use,ridiculous price,is Tapco the epiphone
> version of gibson? i just hope the quality is better
> than Behringer!
> Luis
> 
> 

Tapco is a cheap range by Mackie.

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 19:05:04 2007
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From: Jeffrey Larson <jeff@zonemobius.com>
Subject: Re: AW: Low Lantecy Soundcard for Laptop Gig
Date: Mon, 30 Jul 2007 14:04:37 -0500
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 > 	Original USB - 12 Mbps
 > 	USB 2.0  - 480 Mbps
 > 	FireWire 400   - 393.216 Mbps
 > 	FireWire 800 - 786.432 Mbps
 > 	PCMCIA (PC Card) / CardBus, Type I or Type II (32 bit PCMCIA) -  
132Mbps

We've probably beaten this horse enough already, but just to make sure,
you can't predict what the latency of these devices will be by looking
at their maximum bandwidth.  A FireWire 800 interface will not  
necessarily
give you lower latency than a USB 2.0 interface.  Depending on other  
factors,
it may be slightly better but it certainly won't be twice as fast.

The only reason you might need FireWire 800 rather than 400 is if you
are doing massive multitracking.  A solo performer looping a single
stereo 44.1 Kbps signal will never get anywhere near the bandwidth
limit of USB 1.0 let alone Firewire 400.

That isn't to say that all USB 1.0 interfaces work as well as an RME
400.  There are other important considerations like how well the OS
handles USB and firewire devices and especially how well the device
drivers are written.

USB 1.0 devices have a spotty history.  They are generally best
avoided though I have an M-Audio Black Box that works just fine at 5ms
latency.  It's a crap shoot, though certain brands do tend to work
more consistently than others.

Jeff

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 19:05:48 2007
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
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Subject: AW: Low Lantecy Soundcard for Laptop Gig
Date: Mon, 30 Jul 2007 21:06:06 +0200
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Mbps is megabit per second.
MBps is megabyte per second.

In your comparison, all the cited values are megabit per second except =
for
the value for PCMCIA (cardbus), which is the megabyte per second value.
And as 1byte=3D8bit, we get more than 1Gbps for PCMCIA (133*8).

	Rainer

> -----Urspr=FCngliche Nachricht-----
> Von: Krispen Hartung [mailto:khartung@cableone.net]=20
> Gesendet: Montag, 30. Juli 2007 20:40
> An: Loopers-Delight@loopers-delight.com
> Betreff: Re: Low Lantecy Soundcard for Laptop Gig
>=20
> What do you mean, Rainer? Isn't MBPS Mega Bytes per Second? 1=20
> Gig per second seems wildly fast.
>=20
> Kris
>=20
> ----- Original Message -----=20
>=20
> Sent: Monday, July 30, 2007 12:17 PM
> Subject: AW: Low Lantecy Soundcard for Laptop Gig
>=20
>=20
> > Krispen,
> >
> >> Original USB - 12 Mbps
> >> USB 2.0  - 480 Mbps
> >> FireWire 400   - 393.216 Mbps
> >> FireWire 800 - 786.432 Mbps
> >> PCMCIA (PC Card) / CardBus, Type I or Type II (32 bit PCMCIA) - 132
> > Mbps
> >
> > That is 133MBps for PCMCIA or a little more than 1 Gbps...
> >
> > Rainer
> >
> >
> >
> >=20
>=20
>=20

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 19:11:56 2007
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Subject: Re: Low Lantecy Soundcard for Laptop Gig
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I could have mistakenly mis-typed the spec for cardus. I think I meant Mbps. 
Thanks for your acute attention to detail! A usual, Rainer. :)

Kris

----- Original Message ----- 



Mbps is megabit per second.
MBps is megabyte per second.

In your comparison, all the cited values are megabit per second except for
the value for PCMCIA (cardbus), which is the megabyte per second value.
And as 1byte=8bit, we get more than 1Gbps for PCMCIA (133*8).

Rainer

> -----Ursprüngliche Nachricht-----
> Von: Krispen Hartung [mailto:khartung@cableone.net]
> Gesendet: Montag, 30. Juli 2007 20:40
> An: Loopers-Delight@loopers-delight.com
> Betreff: Re: Low Lantecy Soundcard for Laptop Gig
>
> What do you mean, Rainer? Isn't MBPS Mega Bytes per Second? 1
> Gig per second seems wildly fast.
>
> Kris
>
> ----- Original Message ----- 
>
> Sent: Monday, July 30, 2007 12:17 PM
> Subject: AW: Low Lantecy Soundcard for Laptop Gig
>
>
> > Krispen,
> >
> >> Original USB - 12 Mbps
> >> USB 2.0  - 480 Mbps
> >> FireWire 400   - 393.216 Mbps
> >> FireWire 800 - 786.432 Mbps
> >> PCMCIA (PC Card) / CardBus, Type I or Type II (32 bit PCMCIA) - 132
> > Mbps
> >
> > That is 133MBps for PCMCIA or a little more than 1 Gbps...
> >
> > Rainer
> >
> >
> >
> >
>
>

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 19:22:52 2007
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Subject: Re: Music Unfit for Children - Update  / Goosebump
Date: Mon, 30 Jul 2007 13:22:49 -0600
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------=_NextPart_000_0DB0_01C7D2AC.B9CA76D0
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Cool. =20


http://www.progarchives.com/album.asp?id=3D8257

Click on this link to the sampler stream...these guys are out of their =
freakin' minds.

Kris
  ----- Original Message -----=20
  From: Rev Fever=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Monday, July 30, 2007 12:05 PM
  Subject: Re: Music Unfit for Children - Update / Goosebump


  Excellent!
  This concept reminds me a wee bit of what The Residents did back in =
1980 with "Gooosebump".


  Here are some details:


  'Goosebump

  The Residents had long planned to produce a children's record -- of =
sorts. Goosebump is a collection of Mother Goose rhymes set to music =
with all of the "original sinister overtones" left in place. They teamed =
up with their long-time collaborator Snakefinger and recorded the songs =
using only musical instruments bought at Toys-R-Us. Although children's =
toys were used to produce the music, The Residents' grown-up toys were =
used afterwards in the mixing of the recording.'

  http://www.residents.com/bh/diskomo.htm

  -Rev. Fever



  On Jul 30, 2007, at 10:55 AM, Krispen Hartung wrote:


    Hello all -

    Here's an update on the new CD project I am working on, "Music Unfit =
for Children," and three sound clips linked below.

    Most of the songs on this project are, or will be done with nothing =
but children's toys (my own kids') and manipulation with my laptop, =
max/msp and/or reaktor.

    I just finished mastering the third song, "Electronic Toothbrush =
Ensemble," which I really like. It has two separate tracks mixed =
together. The first one is of my 2 year old twins brushing their teeth =
one morning, with their Sponge Bob and Dora the Explorer electronic =
toothbrushes. I caught them in action, and in wandering stereo, and I =
then processed the recording with the Lexicon PSP 84 VST plugin and some =
waves gold reverb.

    The second track is of me playing on a big boy's toy, or what I call =
the "Joe Rut Machine." This is a contraption that Joe Rut from =
Lumper-Splitter made and played at the Boise Experimental Music =
Festival. He and Lucio gave it to me as a gift after the festival with =
most all the musicians' signatures on it. I decided to use it. I played =
it and processed and looped the sound in real time with max/msp only. =
It's a really cool and fascinating instrument.

    The Electronic Toothbrush Ensemble has a playful, Twilight Zone =
("Little Girl Lost"), yet dark sort of feel to it. You can hear my kids =
brushing their teeth, giggling, talking, and eventually getting bored =
and brushing the surface of the refrigerator. Then you have the bizarre =
processed sound of the Joe Rut Machine in the background.  There is one =
one section at 2:03 that is just hilarious. There is a bit of climax in =
the music that has a ominous feel to it...a tri-tone movement, and =
coincidentally, Kyra, my daughter starts saying "No, no, no, no!!!".

    Kris


    1. Bright Lights
    http://www.box.net/shared/23ayk5ppif (MP3)

    Featured instrument: The vtech "Bright Lights" phone
    http://www.toysrus.com/sm-bright-lights-phone--pi-2373416.html

    This toy has some interesting sounds: frog, duck, weird atonal =
phrase (unusual for a kids toy), some goofy melodies, etc.


    2. Alphabet Pal
    http://www.box.net/shared/zq73vpvdg9 (MP3)

    Featured instrument: The Leapfrog "Alphabet Pal"
    =
http://www.leapfrog.com/Primary/Toddler/PRD_alphapal/Alphabet+Pal174+Cate=
rpillar.jsp?bmLocale=3Den_US

    <0ce101c7d2d2$c804c770$83caf40f>

    This toy plays a unique song for each letter, says the letter =
itself, or makes the phoenetic sound of the letter.

    3. Electronic Toothbrush Ensemble
    http://www.box.net/shared/vj2mamip5r (MP3)

    Featured instruments

    Children's electronic toothbrushes, Sponge Bob and Dora the Explorer
    =
http://www.colgate.com/app/Colgate/US/OC/Products/KidsProducts/SpongeBob.=
cvsp#


    The Joe Rut (Lumper-Splitter) "Machine"

    <0ce201c7d2d2$c804c770$83caf40f>

    =
*************************************************************************=
*
    Krispen Hartung
    www.krispenhartung.com / www.myspace.com/krispenhartung
    info@krispenhartung.com / 1.208.724.5603=20
    Discography - http://www.krispenhartung.com/catalogue.htm
    CD Baby Discography: http://cdbaby.com/all/khartung




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<STYLE></STYLE>
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<BODY=20
style=3D"WORD-WRAP: break-word; khtml-nbsp-mode: space; =
khtml-line-break: after-white-space"=20
bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Cool.&nbsp; </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.progarchives.com/album.asp?id=3D8257">http://www.proga=
rchives.com/album.asp?id=3D8257</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Click on this link to the sampler =
stream...these=20
guys are out of their freakin' minds.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV></FONT>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Drevfever@ubergadget.com =
href=3D"mailto:revfever@ubergadget.com">Rev=20
  Fever</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Monday, July 30, 2007 =
12:05=20
PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Music Unfit for =
Children -=20
  Update / Goosebump</DIV>
  <DIV><BR></DIV>Excellent!
  <DIV>This concept reminds me a wee bit of what The Residents did back =
in 1980=20
  with "Gooosebump".</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>Here are some details:
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <P style=3D"MARGIN: 0px 0px 11px"><FONT class=3DApple-style-span =
face=3DArial=20
  color=3D#333333 size=3D3><SPAN class=3DApple-style-span=20
  style=3D"FONT-SIZE: 11px"><FONT class=3DApple-style-span =
face=3DHelvetica=20
  color=3D#000000 size=3D3><SPAN class=3DApple-style-span=20
  style=3D"FONT-SIZE: 12px">'</SPAN></FONT><B><FONT =
class=3DApple-style-span=20
  color=3D#000000>Goosebump</FONT></B></SPAN></FONT></P>
  <P style=3D"MARGIN: 0px 0px 11px"><FONT class=3DApple-style-span =
face=3DArial=20
  size=3D3><SPAN class=3DApple-style-span style=3D"FONT-SIZE: =
11px"><B><FONT=20
  class=3DApple-style-span color=3D#000000>The Residents had long =
planned <SPAN=20
  class=3DApple-style-span style=3D"TEXT-DECORATION: underline">to =
produce a=20
  children's record</SPAN>&nbsp;-- <SPAN class=3DApple-style-span=20
  style=3D"TEXT-DECORATION: underline">of sorts</SPAN>. Goosebump is a =
collection=20
  of Mother Goose rhymes set to music with all of the "original sinister =

  overtones" left in place. They teamed up with their long-time =
collaborator=20
  Snakefinger and recorded the songs <SPAN class=3DApple-style-span=20
  style=3D"TEXT-DECORATION: underline">using only musical instruments =
bought at=20
  Toys-R-Us</SPAN>. Although children's toys were used to produce the =
music, The=20
  Residents' grown-up toys were used afterwards in the mixing of the=20
  recording.'</FONT></B></SPAN></FONT></P>
  <P style=3D"MARGIN: 0px 0px 11px"><A=20
  =
href=3D"http://www.residents.com/bh/diskomo.htm">http://www.residents.com=
/bh/diskomo.htm</A><FONT=20
  class=3DApple-style-span face=3DArial color=3D#333333 size=3D3><SPAN=20
  class=3DApple-style-span style=3D"FONT-SIZE: =
11px"><B></B></SPAN></FONT></P>
  <P style=3D"MARGIN: 0px 0px 11px">-Rev. Fever</P>
  <DIV><BR>
  <DIV>
  <DIV>On Jul 30, 2007, at 10:55 AM, Krispen Hartung wrote:</DIV><BR=20
  class=3DApple-interchange-newline>
  <BLOCKQUOTE type=3D"cite"><SPAN class=3DApple-style-span=20
    style=3D"WORD-SPACING: 0px; FONT: 12px Helvetica; TEXT-TRANSFORM: =
none; COLOR: rgb(0,0,0); TEXT-INDENT: 0px; WHITE-SPACE: normal; =
LETTER-SPACING: normal; BORDER-COLLAPSE: separate; border-spacing: 0px =
0px; khtml-text-decorations-in-effect: none; apple-text-size-adjust: =
auto; orphans: 2; widows: 2">
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Hello all =
-</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Here's an update on =
the new CD=20
    project&nbsp;I am working on, </SPAN><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial">"Music Unfit=20
    for Children,"</SPAN></STRONG><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"> and three sound clips =
linked=20
    below.</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Most of the songs on =
this=20
    project are, or will&nbsp;be done with nothing but children's toys =
(my own=20
    kids') and manipulation with my laptop, max/msp&nbsp;and/or=20
    reaktor.</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">I just finished =
mastering the=20
    third song, "</SPAN><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial">Electronic=20
    Toothbrush Ensemble</SPAN></STRONG><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">," which I really =
like. It has=20
    two separate tracks mixed together. The first one is of my 2 year =
old twins=20
    brushing their teeth one morning, with their Sponge Bob and Dora the =

    Explorer electronic toothbrushes. I&nbsp;caught them in action, and =
in=20
    wandering stereo, and I then processed the recording with&nbsp;the =
Lexicon=20
    PSP 84&nbsp;VST plugin&nbsp;and some waves gold =
reverb.</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">The second track is of =
me=20
    playing on a big boy's toy, or what I call the </SPAN><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial">"Joe Rut=20
    Machine</SPAN></STRONG><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">." This is a =
contraption that=20
    Joe Rut from Lumper-Splitter made and played at the Boise =
Experimental Music=20
    Festival. He and Lucio gave it to me as a gift after the festival =
with most=20
    all the musicians' signatures on it. I decided to use it. I played =
it and=20
    processed and looped the sound in real time with max/msp only. It's =
a really=20
    cool and fascinating instrument.</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">The Electronic =
Toothbrush=20
    Ensemble has a playful, Twilight Zone ("Little Girl Lost"), yet dark =
sort=20
    of&nbsp;feel to it. You can hear my kids brushing their teeth, =
giggling,=20
    talking, and eventually getting bored and brushing the surface of =
the=20
    refrigerator. Then you have the bizarre processed sound of the Joe =
Rut=20
    Machine in the background.&nbsp; There is one one section at 2:03 =
that is=20
    just hilarious. There is a bit of climax in the music that has a =
ominous=20
    feel to it...a tri-tone movement, and coincidentally, Kyra, my =
daughter=20
    starts saying "No, no, no, no!!!".</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">Kris</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: Arial">1. =
Bright=20
    Lights</SPAN></STRONG></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><A=20
    href=3D"http://www.box.net/shared/23ayk5ppif"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; COLOR: rgb(0,0,238); FONT-FAMILY: Arial; =
khtml-text-decorations-in-effect: =
underline">http://www.box.net/shared/23ayk5ppif</SPAN></A><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">&nbsp;(MP3)</SPAN><A=20
    =
href=3D"http://www.box.net/shared/static/2ssogz1src.mp3"></A></FONT></DIV=
>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Featured=20
    instrument</SPAN><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial">:</SPAN></STRONG><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial"> The=20
    vtech "Bright Lights" phone</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><A=20
    =
href=3D"http://www.toysrus.com/sm-bright-lights-phone--pi-2373416.html"><=
SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; COLOR: rgb(0,0,238); FONT-FAMILY: Arial; =
khtml-text-decorations-in-effect: =
underline">http://www.toysrus.com/sm-bright-lights-phone--pi-2373416.html=
</SPAN></A></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">This toy has some =
interesting=20
    sounds: frog, duck, weird atonal phrase (unusual for a kids toy), =
some goofy=20
    melodies, etc.</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial">2.</SPAN></STRONG><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">=20
    </SPAN><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial">Alphabet=20
    Pal</SPAN></STRONG></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><A=20
    href=3D"http://www.box.net/shared/zq73vpvdg9"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; COLOR: rgb(0,0,238); FONT-FAMILY: Arial; =
khtml-text-decorations-in-effect: =
underline">http://www.box.net/shared/zq73vpvdg9</SPAN></A><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">&nbsp;(MP3)</SPAN></FONT></DIV>
    <DIV><STRONG style=3D"FONT-WEIGHT: bold"><FONT face=3DArial=20
    size=3D2></FONT></STRONG>&nbsp;</DIV>
    <DIV><FONT size=3D2><FONT face=3DArial><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Featured=20
    instrument</SPAN><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial">:</SPAN></STRONG><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial"> The=20
    Leapfrog "Alphabet Pal"</SPAN></FONT></FONT></DIV>
    <DIV><FONT size=3D2><FONT face=3DArial><A=20
    =
href=3D"http://www.leapfrog.com/Primary/Toddler/PRD_alphapal/Alphabet+Pal=
174+Caterpillar.jsp?bmLocale=3Den_US"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; COLOR: rgb(0,0,238); FONT-FAMILY: Arial; =
khtml-text-decorations-in-effect: =
underline">http://www.leapfrog.com/Primary/Toddler/PRD_alphapal/Alphabet+=
Pal174+Caterpillar.jsp?bmLocale=3Den_US</SPAN></A></FONT></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><SPAN>
    <DIV>&lt;0ce101c7d2d2$c804c770$83caf40f&gt;</DIV></SPAN></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">This toy plays a =
unique song for=20
    each letter, says the letter itself, or makes the phoenetic sound of =
the=20
    letter.</SPAN></FONT><A=20
    onclick=3D"return =
amz_js_PopWin(this.href,'AmazonHelp','width=3D700,height=3D600,resizable=3D=
1,scrollbars=3D1,toolbar=3D0,status=3D1');"=20
    =
href=3D"http://www.amazon.com/gp/product/images/B00005OWEP/ref=3Ddp_image=
_0/103-9969774-6779000?ie=3DUTF8&amp;n=3D165793011&amp;s=3Dtoys-and-games=
"=20
    target=3DAmazonHelp></A></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial">3</SPAN></STRONG><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">.=20
    </SPAN><STRONG=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10px; FONT-FAMILY: =
Arial">Electronic=20
    Toothbrush Ensemble</SPAN></STRONG></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><A=20
    href=3D"http://www.box.net/shared/vj2mamip5r"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; COLOR: rgb(0,0,238); FONT-FAMILY: Arial; =
khtml-text-decorations-in-effect: =
underline">http://www.box.net/shared/vj2mamip5r</SPAN></A><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">&nbsp;(MP3)</SPAN></FONT></DIV>
    <DIV><STRONG style=3D"FONT-WEIGHT: bold"><FONT face=3DArial=20
    size=3D2></FONT></STRONG>&nbsp;</DIV>
    <DIV><FONT size=3D2><FONT face=3DArial><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Featured=20
    instruments</SPAN></FONT></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Children's electronic=20
    toothbrushes, Sponge Bob and Dora the Explorer</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2><A=20
    =
href=3D"http://www.colgate.com/app/Colgate/US/OC/Products/KidsProducts/Sp=
ongeBob.cvsp"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; COLOR: rgb(0,0,238); FONT-FAMILY: Arial; =
khtml-text-decorations-in-effect: =
underline">http://www.colgate.com/app/Colgate/US/OC/Products/KidsProducts=
/SpongeBob.cvsp</SPAN></A><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">#</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><A=20
    =
href=3D"javascript:popUp('/popups/largerphoto/default.asp?pid=3D92018&amp=
;catid=3D33675&amp;size=3D300&amp;trx=3D29888&amp;trxp1=3D92018&amp;trxp2=
=3D1','popup',550,380)"></A></DIV>
    <DIV><STRONG style=3D"FONT-WEIGHT: bold"><FONT face=3DArial=20
    size=3D2></FONT></STRONG></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">The Joe Rut =
(Lumper-Splitter)=20
    "Machine"</SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN>
    =
<DIV>&lt;0ce201c7d2d2$c804c770$83caf40f&gt;</DIV></SPAN></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial">******************************************************************=
********</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Krispen =
Hartung</SPAN><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><A=20
    href=3D"http://www.krispenhartung.com"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; COLOR: rgb(0,0,238); FONT-FAMILY: Arial; =
khtml-text-decorations-in-effect: =
underline">www.krispenhartung.com</SPAN></A><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial"> /=20
    </SPAN><A href=3D"http://www.myspace.com/krispenhartung"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; COLOR: rgb(0,0,238); FONT-FAMILY: Arial; =
khtml-text-decorations-in-effect: =
underline">www.myspace.com/krispenhartung</SPAN></A><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><A=20
    href=3D"mailto:info@krispenhartung.com"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; COLOR: rgb(0,0,238); FONT-FAMILY: Arial; =
khtml-text-decorations-in-effect: =
underline">info@krispenhartung.com</SPAN></A><SPAN=20
    class=3DApple-style-span style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial"> /=20
    1.208.724.5603 </SPAN><BR style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Discography - =
</SPAN><A=20
    href=3D"http://www.krispenhartung.com/catalogue.htm"><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; COLOR: rgb(0,0,238); FONT-FAMILY: Arial; =
khtml-text-decorations-in-effect: =
underline">http://www.krispenhartung.com/catalogue.htm</SPAN></A><BR=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">CD Baby Discography: =
</SPAN><A=20
    href=3D"http://cdbaby.com/all/khartung"><SPAN =
class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; COLOR: rgb(0,0,238); FONT-FAMILY: Arial; =
khtml-text-decorations-in-effect: =
underline">http://cdbaby.com/all/khartung</SPAN></A><SPAN=20
    class=3DApple-style-span=20
    style=3D"FONT-SIZE: 10px; FONT-FAMILY: =
Arial"></SPAN></FONT></DIV><BR=20
    =
class=3DApple-interchange-newline></SPAN></BLOCKQUOTE></DIV><BR></DIV></D=
IV></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_0DB0_01C7D2AC.B9CA76D0--

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 19:30:56 2007
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Date: Mon, 30 Jul 2007 15:30:55 -0400 (EDT)
Subject: Re: Low Lantecy Soundcard for Laptop Gig
From: scott@dreamstate.to
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Just wanted to be another voice of admiration for the Indigo series
of sound cards. I have one of each and even though I use a Presonus Firebox
in my studio now, I always have a (tiny) Indigo IO and/or DJ in my laptop
bag ready to go (and ready as a backup). I've never had problems with the
jacks yet and recommend looking for a short male 1/8 to two RCA adapter
with gold plating. Support the connection on the tabletop if you can.
I worry more about the little firewire connector that goes to my Firebox.
BTW - I often see the Indigos at music store clearances at very good prices.

Photo of laptop w Indigo & pair of small Altec/Lansing powered speakers
at the waterfront of a cottage we rented last year. Mmmmmm portable. :)
http://photos1.blogger.com/blogger/3593/1204/1600/working%20Aug%2006.04.jpg

Cheers,
Scott M2

http://www.dreamSTATE.to
ambientelectronicsoundscapes
http://www.THEAMBiENTPiNG.com

>> You guys keep mentioning the
>> RME Fireface 400 and RME Fireface 800.
>>
>> They look incredible but, man,  it takes my breath away to see
>> what these things cost!  $700 and $1200,
>> respectively.................argggggghhh!
>
> ...
>
>> Any other alternatives besides the really pricey soundcards?
>>
>
> Yup..
>
> Echo Indigo IO is a good option, if you're comfortable with only 2-ins
> 2-outs and if you have a CardBus slot on your laptop. You also get a lower
> latency than is possible with Firewire bus (I run at 64 sample latency, 32
> is possible). The downside with the Indigo IO is the poor 1/8" jacks that
> tend to become finnicky after some wear. I've already had 2 replacements
> shipped out from Echo.
>
> For live instrumental work, I really feel that 1-2 ms latency is about the
> upper limit of what I'm willing to accept. Companies these days are saying
> 5-10 ms is fine, but as a piano player I can feel the difference even with
> a couple milliseconds of delay. So I have shyed away from Macbook with its
> lack of CardBus support. Firewire just doesn't seem to be built for
> ultra-low latency performance (that's my opinion).
>
> Another CardBus option that looks good is the Digigram VX Pocket series
> (V2 or V440, at around $400-500).
>
> I'd be interested to hear what RME Fireface users are getting in terms of
> real-world latencies (in-out).
>
> You can get cheaper firewire and USB audio interfaces, but my impression
> is that the low latency performance is not as good. RME is known for
> having great latency performance.
>
> Cheers,
> -Mercury



From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 19:37:05 2007
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
To: <Loopers-Delight@loopers-delight.com>
Subject: AW: Low Lantecy Soundcard for Laptop Gig
Date: Mon, 30 Jul 2007 21:37:22 +0200
Organization: Moinlabs
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No, you typed correctly, but you were wrong ;)

Again, for understanding, our top 5 benchmark reads like this:

5. USB 1.x		12Mbps =3D 1.5MBps
4. FW400	     400Mbps =3D  50MBps=09
3. USB 2.0	     480Mbps =3D  60MBps
2. FW800	     800Mbps =3D 100MBps
1. PCI/PCMCIA    1.1Gbps =3D 133MBps

(all values rounded where applicable)

	Rainer
=20

> -----Urspr=FCngliche Nachricht-----
> Von: Krispen Hartung [mailto:khartung@cableone.net]=20
> Gesendet: Montag, 30. Juli 2007 21:12
> An: Loopers-Delight@loopers-delight.com
> Betreff: Re: Low Lantecy Soundcard for Laptop Gig
>=20
> I could have mistakenly mis-typed the spec for cardus. I=20
> think I meant Mbps.=20
> Thanks for your acute attention to detail! A usual, Rainer. :)
>=20
> Kris
>=20
> ----- Original Message -----=20
>=20
>=20
>=20
> Mbps is megabit per second.
> MBps is megabyte per second.
>=20
> In your comparison, all the cited values are megabit per=20
> second except for the value for PCMCIA (cardbus), which is=20
> the megabyte per second value.
> And as 1byte=3D8bit, we get more than 1Gbps for PCMCIA (133*8).
>=20
> Rainer
>=20
> > -----Urspr=FCngliche Nachricht-----
> > Von: Krispen Hartung [mailto:khartung@cableone.net]
> > Gesendet: Montag, 30. Juli 2007 20:40
> > An: Loopers-Delight@loopers-delight.com
> > Betreff: Re: Low Lantecy Soundcard for Laptop Gig
> >
> > What do you mean, Rainer? Isn't MBPS Mega Bytes per Second?=20
> 1 Gig per=20
> > second seems wildly fast.
> >
> > Kris
> >
> > ----- Original Message -----
> >
> > Sent: Monday, July 30, 2007 12:17 PM
> > Subject: AW: Low Lantecy Soundcard for Laptop Gig
> >
> >
> > > Krispen,
> > >
> > >> Original USB - 12 Mbps
> > >> USB 2.0  - 480 Mbps
> > >> FireWire 400   - 393.216 Mbps
> > >> FireWire 800 - 786.432 Mbps
> > >> PCMCIA (PC Card) / CardBus, Type I or Type II (32 bit=20
> PCMCIA) - 132
> > > Mbps
> > >
> > > That is 133MBps for PCMCIA or a little more than 1 Gbps...
> > >
> > > Rainer
> > >
> > >
> > >
> > >
> >
> >
>=20
>=20

From Loopers-Delight-request@loopers-delight.com  Mon Jul 30 23:20:11 2007
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To: Loopers-Delight@loopers-delight.com
Cc: rickwalker@looppool.info;, purplehand@hotmail.com;
Subject: Great quote about progress in creativity
Date: Mon, 30 Jul 2007 16:20:00 -0700
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"The reasonable man adapts himself to the world; the unreasonable man persists to 
adapt the world to himself. Therefore, all progress depends on the unreasonable." 

     ------ George Bernard Shaw: 


I read this quote today while reading a thread about 
why the continued study of cellular automata is not 
a good idea considering the current state of funding in academia.

It so reminded me of the collapsing current economic model of the music business 
and why it is so vital that we continue to create and put out our music to the 
world even if there is no economic paradigm to support our efforts currently.

Yours in creativity and community and 'putting it out there' 
no matter how impractical it may seem,

Rick Walker

From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 00:43:52 2007
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Subject: Re: Great quote about progress in creativity
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This is my favorite:

"In some remote corner of the universe, poured out and glittering in 
innumerable solar systems, there once was a star upon which clever animals 
invented knowledge. That was the haughtiest and most mendacious minute of 
'world history'; -- yet only a minute. After nature had drawn a few breaths 
the star grew cold, and the clever animals had to die."

Nietzsche, "On Truth and Lie in an Extra-Moral Sense"
----- Original Message ----- 

From: "Rick Walker"



>
> "The reasonable man adapts himself to the world; the unreasonable man 
> persists to
> adapt the world to himself. Therefore, all progress depends on the 
> unreasonable."
>
>     ------ George Bernard Shaw:
> 

From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 01:46:20 2007
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hey rick et al-thanks for that.
this hits me where i live.
i first heard that back in 'seminary'-no wait in art school back in the 60s and it means even more to me now than it did then.
i was so happy when looping came along (in the early 80s for me) and allowed one person, as in all true ART, to present a complete picture of their vision or expression.
along came Dave Torns loop video "Painting w. Guitar" or whatever it was called and it all fell into place.
really all the greatest beauty in art/discovery/invention has come from the creative individual.
not that there havent been great collaborations and combinations of talent to bring artistic merit to the fore-
but it is the uniqueness of the artist that brings it full force.
'the fountainhead' by ayn rand is my reference book.
seeya
staninsanfran 

>"The reasonable man adapts himself to the world; the unreasonable man persists to 
>adapt the world to himself. Therefore, all progress depends on the unreasonable."      ------ George Bernard Shaw:

 
...Rick Walker


From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 01:49:11 2007
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"... gulp..." 

-Qua

-----Original Message-----
From: Krispen Hartung [mailto:khartung@cableone.net] 
Sent: Monday, July 30, 2007 5:44 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Great quote about progress in creativity

This is my favorite:

"In some remote corner of the universe, poured out and glittering in
innumerable solar systems, there once was a star upon which clever animals
invented knowledge. That was the haughtiest and most mendacious minute of
'world history'; -- yet only a minute. After nature had drawn a few breaths
the star grew cold, and the clever animals had to die."

Nietzsche, "On Truth and Lie in an Extra-Moral Sense"
----- Original Message ----- 

From: "Rick Walker"



>
> "The reasonable man adapts himself to the world; the unreasonable man 
> persists to adapt the world to himself. Therefore, all progress 
> depends on the unreasonable."
>
>     ------ George Bernard Shaw:
> 


From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 06:08:10 2007
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From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 06:32:49 2007
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Date: Mon, 30 Jul 2007 23:32:48 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: newb questions
To: Loopers-Delight@loopers-delight.com
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most likely u have this choices:
hardware- looperlative http://www.looperlative.com/
software-mobius http://zonemobius.com/
cheers
Luis


--- Philip Pan <7stringviper@earthlink.net> wrote:

> Hello, I am very interested in live looping.  I know
> what I want functionally but I don't know what
> equipment has these capabilities.  My
> computer/software knowledge is also quite limited.
> 
> Here's what I'm after:
> 
> 1. Four or more independent loop banks that will
> automatically sync and can be individually recorded,
> played back, stopped and erased at any time in any
> order.
> 
> 2. Multiple inputs from different instruments and
> MIDI.  The ones I have in mind now are a Zendrum
> (MIDI drum controller) and an electric 7-string
> violin.  Maybe vocals too.
> 
> 3. Everything (record, play, stop, erase, switch
> tracks) controllable on the fly from stomp buttons. 
> 
> 
> 4. Save and download part or all to an external
> computer as desired.
> 
> Is there any hardware looper that can do all this? 
> The closest I've seen is Digitech's GNX3 or 4.  I'm
> not sure if individual tracks can be played and
> stopped at will; I know they can be erased.
> 
> My other option could be software-based with some
> kind of foot controller linked to a laptop.  Are
> there foot controllers that would work well for
> this?  How powerful a laptop would be required?  
> 
> Thanks, I'm sure your answers will spawn a whole new
> set of questions!
> 
> 
> 


www.myspace.com/luisangulocom


       
____________________________________________________________________________________
Boardwalk for $500? In 2007? Ha! Play Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games.
http://get.games.yahoo.com/proddesc?gamekey=monopolyherenow  

From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 06:37:41 2007
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Date: Mon, 30 Jul 2007 23:37:40 -0700 (PDT)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: AW: Low Lantecy Soundcard for Laptop Gig
To: Loopers-Delight@loopers-delight.com
In-Reply-To: <9AE67015-2485-417E-95AF-7D3E1940B6C8@zonemobius.com>
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damn i should have kept my multiface!
Luis

--- Jeffrey Larson <jeff@zonemobius.com> wrote:

>  > 	Original USB - 12 Mbps
>  > 	USB 2.0  - 480 Mbps
>  > 	FireWire 400   - 393.216 Mbps
>  > 	FireWire 800 - 786.432 Mbps
>  > 	PCMCIA (PC Card) / CardBus, Type I or Type II
> (32 bit PCMCIA) -  
> 132Mbps
> 
> We've probably beaten this horse enough already, but
> just to make sure,
> you can't predict what the latency of these devices
> will be by looking
> at their maximum bandwidth.  A FireWire 800
> interface will not  
> necessarily
> give you lower latency than a USB 2.0 interface. 
> Depending on other  
> factors,
> it may be slightly better but it certainly won't be
> twice as fast.
> 
> The only reason you might need FireWire 800 rather
> than 400 is if you
> are doing massive multitracking.  A solo performer
> looping a single
> stereo 44.1 Kbps signal will never get anywhere near
> the bandwidth
> limit of USB 1.0 let alone Firewire 400.
> 
> That isn't to say that all USB 1.0 interfaces work
> as well as an RME
> 400.  There are other important considerations like
> how well the OS
> handles USB and firewire devices and especially how
> well the device
> drivers are written.
> 
> USB 1.0 devices have a spotty history.  They are
> generally best
> avoided though I have an M-Audio Black Box that
> works just fine at 5ms
> latency.  It's a crap shoot, though certain brands
> do tend to work
> more consistently than others.
> 
> Jeff
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
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From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 06:53:32 2007
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From: "Jordan Pease" <jordan@rvml.org>
To: <Loopers-Delight@loopers-delight.com>
Subject: RE: newb questions- The Electrix Repeater 
Date: Mon, 30 Jul 2007 23:54:57 -0700
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The Electrix Repeater is a very good choice for your applications. If you
use a flash card reader you can import data into computer.

 

I've used many hardware looping tools and this unit is hard to match. I plug
mine into a MIDI drum machine and have hours of fun playing guitar for hours
with myself.

 

You'll need a mixer of some kind to easily get multiple input sources routed
into it or suffer having to repatch when switching inputs. I don't suggest
using AUX busses for this because just using a dedicated mixer or switcher
of some kind for selecting inputs just works much better in my experience.

 

They're on e-bay usually for about $600 and well worth the price.

 

Good luck!

 

 

 

-Jordan

 

Jordan Pease

541.482.2690 message

541.552.9119 office

541.890.8023 cell

541.482.2691 fax

 <mailto:jordan@rvml.org> jordan@rvml.org 

  _____  

From: Philip Pan [mailto:7stringviper@earthlink.net] 
Sent: Monday, July 30, 2007 10:56 PM
To: Loopers Delight Forum
Subject: newb questions

 

Hello, I am very interested in live looping.  I know what I want
functionally but I don't know what equipment has these capabilities.  My
computer/software knowledge is also quite limited.

 

Here's what I'm after:

 

1. Four or more independent loop banks that will automatically sync and can
be individually recorded, played back, stopped and erased at any time in any
order.

 

2. Multiple inputs from different instruments and MIDI.  The ones I have in
mind now are a Zendrum (MIDI drum controller) and an electric 7-string
violin.  Maybe vocals too.

 

3. Everything (record, play, stop, erase, switch tracks) controllable on the
fly from stomp buttons.  

 

4. Save and download part or all to an external computer as desired.

 

Is there any hardware looper that can do all this?  The closest I've seen is
Digitech's GNX3 or 4.  I'm not sure if individual tracks can be played and
stopped at will; I know they can be erased.

 

My other option could be software-based with some kind of foot controller
linked to a laptop.  Are there foot controllers that would work well for
this?  How powerful a laptop would be required?  

 

Thanks, I'm sure your answers will spawn a whole new set of questions!

 

 

 


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<p class=3DMsoNormal><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'>The Electrix Repeater is a very =
good
choice for your applications. If you use a flash card reader you can =
import
data into computer.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'>I=92ve used many hardware looping =
tools and
this unit is hard to match. I plug mine into a MIDI drum machine and =
have hours
of fun <i><span style=3D'font-style:italic'>playing guitar for hours =
with myself</span></i>=85<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'>You=92ll need a mixer of some kind =
to easily
get multiple input sources routed into it or suffer having to repatch =
when
switching inputs. I don=92t suggest using AUX busses for this because =
just using
a dedicated mixer or switcher of some kind for selecting inputs just =
works much
better in my experience=85<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'>They=92re on e-bay usually for =
about $600
and well worth the price.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'>Good =
luck!<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'><o:p>&nbsp;</o:p></span></font></p>

<div>

<p class=3DMsoAutoSig><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'>-Jordan</span></font><font =
color=3Dblue><span
style=3D'color:blue'><o:p></o:p></span></font></p>

<p class=3DMsoAutoSig><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>&nbsp;<o:p></o:p></span></font></p=
>

<p class=3DMsoAutoSig><strong><b><font size=3D3 color=3Dblue =
face=3DArial><span
style=3D'font-size:12.0pt;font-family:Arial;color:blue'>Jordan =
Pease</span></font></b></strong><font
color=3Dblue><span style=3D'color:blue'><o:p></o:p></span></font></p>

<p class=3DMsoAutoSig><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'>541.482.2690 =
message</span></font><font
color=3Dblue><span style=3D'color:blue'><o:p></o:p></span></font></p>

<p class=3DMsoAutoSig><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'>541.552.9119 =
office</span></font><font
color=3Dblue><span style=3D'color:blue'><o:p></o:p></span></font></p>

<p class=3DMsoAutoSig><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'>541.890.8023 =
cell<o:p></o:p></span></font></p>

<p class=3DMsoAutoSig><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'>541.482.2691 fax</span></font><font
color=3Dblue><span style=3D'color:blue'><o:p></o:p></span></font></p>

<p class=3DMsoAutoSig><font size=3D3 color=3Dblue face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:blue'><a =
href=3D"mailto:jordan@rvml.org"><font
face=3D"Times New Roman"><span style=3D'font-family:"Times New =
Roman"'>jordan@rvml.org</span></font></a>
</span></font><o:p></o:p></p>

</div>

<div>

<div class=3DMsoNormal align=3Dcenter style=3D'text-align:center'><font =
size=3D3
face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>

<hr size=3D2 width=3D"100%" align=3Dcenter tabindex=3D-1>

</span></font></div>

<p class=3DMsoNormal><b><font size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;
font-family:Tahoma;font-weight:bold'>From:</span></font></b><font =
size=3D2
face=3DTahoma><span style=3D'font-size:10.0pt;font-family:Tahoma'> =
Philip Pan
[mailto:7stringviper@earthlink.net] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Monday, July 30, =
2007 10:56
PM<br>
<b><span style=3D'font-weight:bold'>To:</span></b> Loopers Delight =
Forum<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> newb =
questions</span></font><o:p></o:p></p>

</div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>Hello, I am very interested in live looping.&nbsp; I know =
what&nbsp;I
want functionally but I don't know what equipment has these =
capabilities.&nbsp;
My computer/software knowledge is also quite =
limited.<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>Here's what I'm after:<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>1.&nbsp;Four&nbsp;or more&nbsp;independent loop banks that will
automatically sync&nbsp;and can be individually recorded, played back, =
stopped
and erased&nbsp;at any time in any order.<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>2. Multiple inputs from different instruments and MIDI.&nbsp; =
The ones
I have in mind now are a Zendrum (MIDI drum controller)&nbsp;and an =
electric
7-string&nbsp;violin.&nbsp; Maybe vocals =
too.<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>3.&nbsp;Everything (record, play, stop, erase, switch tracks)
controllable on the fly from stomp buttons.&nbsp; =
<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>4.&nbsp;Save and download&nbsp;part or all to an external =
computer as
desired.<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>Is there any hardware looper that can do all this?&nbsp; The =
closest
I've seen is Digitech's GNX3 or 4.&nbsp; I'm not sure if individual =
tracks can
be played and stopped at will; I know they can be =
erased.<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>My other option&nbsp;could be&nbsp;software-based with some kind =
of
foot controller linked to a laptop.&nbsp; Are there foot controllers =
that would
work well for this?&nbsp; How powerful a laptop would be required?&nbsp; =
<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>Thanks, I'm sure your answers will spawn a whole new set of =
questions!<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

</div>

</body>

</html>

------=_NextPart_000_04E0_01C7D305.1C9DA860--

From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 06:53:33 2007
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From: "Jordan Pease" <jordan@rvml.org>
To: <Loopers-Delight@loopers-delight.com>
Subject: RE: newb questions - The Electrix Repeater 
Date: Mon, 30 Jul 2007 23:55:33 -0700
Organization: RVML Resource Center
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The Electrix Repeater is a very good choice for your applications. If you
use a flash card reader you can import data into computer.

I've used many hardware looping tools and this unit is hard to match. I plug
mine into a MIDI drum machine and have hours of fun playing guitar for hours
with myself.

You'll need a mixer of some kind to easily get multiple input sources routed
into it or suffer having to repatch when switching inputs. I don't suggest
using AUX busses for this because just using a dedicated mixer or switcher
of some kind for selecting inputs just works much better in my experience.

They're on e-bay usually for about $600 and well worth the price.

Good luck!

-Jordan
 
Jordan Pease
541.482.2690 message
541.552.9119 office
541.890.8023 cell
541.482.2691 fax
jordan@rvml.org 

-----Original Message-----
From: L.A. Angulo [mailto:labaloops@yahoo.com] 
Sent: Monday, July 30, 2007 11:33 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: newb questions

most likely u have this choices:
hardware- looperlative http://www.looperlative.com/
software-mobius http://zonemobius.com/
cheers
Luis


--- Philip Pan <7stringviper@earthlink.net> wrote:

> Hello, I am very interested in live looping.  I know
> what I want functionally but I don't know what
> equipment has these capabilities.  My
> computer/software knowledge is also quite limited.
> 
> Here's what I'm after:
> 
> 1. Four or more independent loop banks that will
> automatically sync and can be individually recorded,
> played back, stopped and erased at any time in any
> order.
> 
> 2. Multiple inputs from different instruments and
> MIDI.  The ones I have in mind now are a Zendrum
> (MIDI drum controller) and an electric 7-string
> violin.  Maybe vocals too.
> 
> 3. Everything (record, play, stop, erase, switch
> tracks) controllable on the fly from stomp buttons. 
> 
> 
> 4. Save and download part or all to an external
> computer as desired.
> 
> Is there any hardware looper that can do all this? 
> The closest I've seen is Digitech's GNX3 or 4.  I'm
> not sure if individual tracks can be played and
> stopped at will; I know they can be erased.
> 
> My other option could be software-based with some
> kind of foot controller linked to a laptop.  Are
> there foot controllers that would work well for
> this?  How powerful a laptop would be required?  
> 
> Thanks, I'm sure your answers will spawn a whole new
> set of questions!
> 
> 
> 


www.myspace.com/luisangulocom


       
____________________________________________________________________________
________
Boardwalk for $500? In 2007? Ha! Play Monopoly Here and Now (it's updated
for today's economy) at Yahoo! Games.
http://get.games.yahoo.com/proddesc?gamekey=monopolyherenow  


From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 07:33:40 2007
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From: aaron leese <aaronleese@hotmail.com>
To: <loopers-delight@loopers-delight.com>
Subject: RE: Great quote about progress in creativity
Date: Tue, 31 Jul 2007 03:33:39 -0400
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--_78968633-c350-40eb-83c7-cd4efc80d339_
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=20
Wow Rick ... thats my favorite quote ... honestly ... I heard it on a movie=
 when I was a kid (little man tate) ... my second favorite is by the same g=
uy:
=20
Geoarge Bernhard Shaw said one day "I hate that man" ...
"but you don't know that man" I replied ...
"well of course ..... how could I possibly hate any man I knew?" replied Ge=
orge.
=20
=20
I don't know who wrote that one down .. but that is my other favorite shaw =
quote.
can we talk about the music industry sa-more ....=20
Perhaps we are heading back to the barn dance days .... when musicians had =
no real conception of "making it" ... if you did really well you might get =
to play for the rest of your tiny village ...... how bout that ??
=20
Who was ever in this for money .... just play music and enjoy it .... the b=
ills WILL pile up .... just get used to it .... smoke a lil' more and don't=
 sweat it ...... there is no need to make money ... you have enough already=
 .... hehehe.
=20
There ... thats my 2 cent brainwashing ....... how 'bout it ?
=20
=20
> > "The reasonable man adapts himself to the world; the unreasonable man p=
ersists to > adapt the world to himself. Therefore, all progress depends on=
 the unreasonable." > > ------ George Bernard Shaw: > > > I read this quote=
 today while reading a thread about > why the continued study of cellular a=
utomata is not > a good idea considering the current state of funding in ac=
ademia.> > It so reminded me of the collapsing current economic model of th=
e music business > and why it is so vital that we continue to create and pu=
t out our music to the > world even if there is no economic paradigm to sup=
port our efforts currently.> > Yours in creativity and community and 'putti=
ng it out there' > no matter how impractical it may seem,> > Rick Walker>=20
_________________________________________________________________
Don't get caught with egg on your face. Play Chicktionary!=A0=A0
http://club.live.com/chicktionary.aspx?icid=3Dchick_wlmailtextlink=

--_78968633-c350-40eb-83c7-cd4efc80d339_
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P
{
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}
body
{
FONT-SIZE: 10pt;
FONT-FAMILY:Tahoma
}
</style>
</head>
<body>
&nbsp;<BR>
Wow Rick&nbsp;... thats my favorite quote ... honestly ... I heard it on a =
movie when I was a kid (little man tate)&nbsp;... my second favorite is by =
the same guy:<BR>
&nbsp;<BR>
Geoarge Bernhard Shaw said one day "I hate that man" ...<BR>
"but you don't know that man" I replied ...<BR>
"well of course ..... how could I possibly hate any man I knew?" replied Ge=
orge.<BR>
&nbsp;<BR>
&nbsp;<BR>
I don't know who wrote that one down .. but that is my other favorite shaw =
quote.<BR><BR>
can we talk about the music industry sa-more .... <BR>
Perhaps we are heading back to the barn dance days .... when musicians had =
no real conception of "making it" ... if you did really well you might get =
to play for the rest of your tiny village ...... how bout that ??<BR>
&nbsp;<BR>
Who was ever in this for money .... just play music and enjoy it .... the b=
ills WILL pile up .... just get used to it .... smoke a lil' more and don't=
 sweat it ...... there is no need to make money ... you have enough already=
 .... hehehe.<BR>
&nbsp;<BR>
There ... thats my 2 cent brainwashing ....... how 'bout it ?<BR>
&nbsp;<BR>
&nbsp;<BR>
&gt; <BR>&gt; "The reasonable man adapts himself to the world; the unreason=
able man persists to <BR>&gt; adapt the world to himself. Therefore, all pr=
ogress depends on the unreasonable." <BR>&gt; <BR>&gt; ------ George Bernar=
d Shaw: <BR>&gt; <BR>&gt; <BR>&gt; I read this quote today while reading a =
thread about <BR>&gt; why the continued study of cellular automata is not <=
BR>&gt; a good idea considering the current state of funding in academia.<B=
R>&gt; <BR>&gt; It so reminded me of the collapsing current economic model =
of the music business <BR>&gt; and why it is so vital that we continue to c=
reate and put out our music to the <BR>&gt; world even if there is no econo=
mic paradigm to support our efforts currently.<BR>&gt; <BR>&gt; Yours in cr=
eativity and community and 'putting it out there' <BR>&gt; no matter how im=
practical it may seem,<BR>&gt; <BR>&gt; Rick Walker<BR>&gt; <BR><BR><br /><=
hr />Don't get caught with egg on your face. =A0=A0 <a href=3D'http://club.=
live.com/chicktionary.aspx?icid=3Dchick_wlmailtextlink' target=3D'_new'>Pla=
y Chicktionary!=A0</a></body>
</html>=

--_78968633-c350-40eb-83c7-cd4efc80d339_--

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I used to play the Residents and all the other Ralph records artists on the 
Radio-Anyone remember Renaldo and the Loaf? I once saw the Residents ,as 
they were leaving  gig, where they collaborted with a Gamelan group,without 
their eyeballs,that is without their heads-with out their giant eyball 
heads.They looked rather normal,i don't know if I'd recognize them again.

_________________________________________________________________
http://im.live.com/messenger/im/home/?source=hmtextlinkjuly07

From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 08:21:58 2007
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
Subject: Re: newb questions
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--b_01_1f4b9fa26137f0b2cfad7c4f4541c25e
Content-Type: text/html; charset="ISO-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//DE"><HTML><HEAD><=
META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; charset=3Dus-ascii">=
<TITLE>Message</TITLE></HEAD><BODY><P>Hi Philip,</P>
<P>the most difficult option is your need to record audio and MIDI into loo=
ps. This will put any hardware device (and any single piece of software) th=
at I know of out of the picture. None of the suggestions you received so fa=
r here will work for the whole picture (because of this requirement).</P>
<P>First of all, please tell us what you expect when looping the audio mate=
rial. Is it more of recording a clip and then let it repeat, or do you also=
 want to work on that (like overdubbing on the very same clip)? If it's the=
 first choice, then you could go with some phrase sampler-like thing. Don't=
 know about hardware soultions, but&nbsp; a software solution would be Able=
ton Live. Check out Kid Beyond's demo videos on this (also to be found on t=
he Ableton website). If it's the second choice, you'll need both what we ca=
ll a looper and a MIDI pattern sequencer - two hardware boxes or two pieces=
 of software (which may work well together).</P>
<P>Regarding requirement 1: The Repeater only fulfils this if you use the n=
ew v2 software.</P>
<P>Foot controller: judging from the number of functions you want, you'll n=
eed a dedicated foot controller anyway. Lots of people use a Behringer FCB1=
010. It works well with the Repeater and with a laptop, I also think it wil=
l work with a Looperlative (anyone here using the FCB1010 with a Looperlati=
ve?)</P>
<P>Finally, one complete solution I could suggest would be:</P>
<P>Laptop with audio/MIDI interface (see also the various interface discuss=
ion here...)<BR>Footcontroller (e.g. Behringer FCB1010).<BR>Ableton Live fo=
r MIDI sequencing and as VST host<BR>Mobius as VST plugin within Live for a=
udio looping.</P>
<P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Rainer<BR><=
BR>----- original Nachricht --------<BR><BR><B>Betreff:</B> newb questions<=
BR><B>Gesendet:</B> Di, 31. Jul 2007<BR><B>Von:</B> Philip Pan&lt;7stringvi=
per@earthlink.net&gt;<BR><BR></P>
<META content=3D"MSHTML 6.00.2900.3132" name=3DGENERATOR>
<STYLE></STYLE>

<DIV>Hello, I am very interested in live looping.&nbsp; I know what&nbsp;I =
want functionally but I don't know what equipment has these capabilities.&n=
bsp; My computer/software knowledge is also quite limited.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Here's what I'm after:</DIV>
<DIV>&nbsp;</DIV>
<DIV>1.&nbsp;Four&nbsp;or more&nbsp;independent loop banks that will automa=
tically sync&nbsp;and can be individually recorded, played back, stopped an=
d erased&nbsp;at any time in any order.</DIV>
<DIV>&nbsp;</DIV>
<DIV>2. Multiple inputs from different instruments and MIDI.&nbsp; The ones=
 I have in mind now are a Zendrum (MIDI drum controller)&nbsp;and an electr=
ic 7-string&nbsp;violin.&nbsp; Maybe vocals too.</DIV>
<DIV>&nbsp;</DIV>
<DIV>3.&nbsp;Everything (record, play, stop, erase, switch tracks) controll=
able on the fly from stomp buttons.&nbsp; </DIV>
<DIV>&nbsp;</DIV>
<DIV>4.&nbsp;Save and download&nbsp;part or all to an external computer as =
desired.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Is there any hardware looper that can do all this?&nbsp; The closest I=
've seen is Digitech's GNX3 or 4.&nbsp; I'm not sure if individual tracks c=
an be played and stopped at will; I know they can be erased.</DIV>
<DIV>&nbsp;</DIV>
<DIV>My other option&nbsp;could be&nbsp;software-based with some kind of fo=
ot controller linked to a laptop.&nbsp; Are there foot controllers that wou=
ld work well for this?&nbsp; How powerful a laptop would be required?&nbsp;=
 </DIV>
<DIV>&nbsp;</DIV>
<DIV>Thanks, I'm sure your answers will spawn a whole new set of questions!=
</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV><BR><BR>--- original Nachricht Ende ----<BR></BODY></HTML>
--b_01_1f4b9fa26137f0b2cfad7c4f4541c25e
Content-Type: text/plain; charset="ISO-8859-1"
Content-Transfer-Encoding: quoted-printable

Hi Philip,=0Athe most difficult option is your need to record audio and MID=
I into loops. This will put any hardware device (and any single piece of so=
ftware) that I know of out of the picture. None of the suggestions you rece=
ived so far here will work for the whole picture (because of this requireme=
nt).=0AFirst of all, please tell us what you expect when looping the audio =
material. Is it more of recording a clip and then let it repeat, or do you =
also want to work on that (like overdubbing on the very same clip)? If it's=
 the first choice, then you could go with some phrase sampler-like thing. D=
on't know about hardware soultions, but  a software solution would be Ablet=
on Live. Check out Kid Beyond's demo videos on this (also to be found on th=
e Ableton website). If it's the second choice, you'll need both what we cal=
l a looper and a MIDI pattern sequencer - two hardware boxes or two pieces =
of software (which may work well together).=0ARegarding requirement 1: The =
Repeater only fulfils this if you use the new v2 software.=0AFoot controlle=
r: judging from the number of functions you want, you'll need a dedicated f=
oot controller anyway. Lots of people use a Behringer FCB1010. It works wel=
l with the Repeater and with a laptop, I also think it will work with a Loo=
perlative (anyone here using the FCB1010 with a Looperlative?)=0AFinally, o=
ne complete solution I could suggest would be:=0ALaptop with audio/MIDI int=
erface (see also the various interface discussion here...)=0AFootcontroller=
 (e.g. Behringer FCB1010).=0AAbleton Live for MIDI sequencing and as VST ho=
st=0AMobius as VST plugin within Live for audio looping.=0A           Raine=
r=0A=0A----- original Nachricht --------=0A=0ABetreff: newb questions=0AGes=
endet: Di, 31. Jul 2007=0AVon: Philip Pan<7stringviper@earthlink.net>=0A=0A=
=0AHello, I am very interested in live looping.  I know what I want functio=
nally but I don't know what equipment has these capabilities.  My computer/=
software knowledge is also quite limited. Here's what I'm after: 1. Four or=
 more independent loop banks that will automatically sync and can be indivi=
dually recorded, played back, stopped and erased at any time in any order. =
2. Multiple inputs from different instruments and MIDI.  The ones I have in=
 mind now are a Zendrum (MIDI drum controller) and an electric 7-string vio=
lin.  Maybe vocals too. 3. Everything (record, play, stop, erase, switch tr=
acks) controllable on the fly from stomp buttons.   4. Save and download pa=
rt or all to an external computer as desired. Is there any hardware looper =
that can do all this?  The closest I've seen is Digitech's GNX3 or 4.  I'm =
not sure if individual tracks can be played and stopped at will; I know the=
y can be erased. My other option could be software-based with some kind of =
foot controller linked to a laptop.  Are there foot controllers that would =
work well for this?  How powerful a laptop would be required?   Thanks, I'm=
 sure your answers will spawn a whole new set of questions!   =0A=0A--- ori=
ginal Nachricht Ende ----=0A
--b_01_1f4b9fa26137f0b2cfad7c4f4541c25e--

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Message-ID: <d054a9ca0707310232l7777be3eu4dd331ce20364107@mail.gmail.com>
Date: Tue, 31 Jul 2007 10:32:24 +0100
From: Os <os@collective.co.uk>
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Subject: gig spam: tonight, London UK
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http://www.improvizone.com/

Monthly evening of electronic/ambient/chillout beats and soundscapes,
improvised live by people with amplified instruments.

Tuesday 31 July 2007 at Imbibe, 173 Blackfriars Road, London, SE1 8ER.
Nearest tube Southwark (Jubilee Line), nearest rail Waterloo East,
buses 45, 63, 100 stop right outside. Free admission. Playing starts
7.30pm and finishes by 10.30pm.

The players at this gig will be
    * Simeon Harris (guitar)
    * Tibo Remy (guitar)
    * Os (keyboard)
    * Nick Cottam (bass)
    * Andrew Booker (electronic drums)

Simeon and Os are both quite big on looping!


cheers,
os.

-- 
os@collective.co.uk
http://www.collective.co.uk/
http://www.myspace.com/darkroomtheband

From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 10:48:34 2007
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Date: Tue, 31 Jul 2007 03:48:31 -0700
From: "Michael Billow" <mbillow@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Residents
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Yes, I always liked "Is Guava A Doughnut?". We had the RosTox Manifesto
(Ralph Records) posted on the wall...

On 7/31/07, samba - <sambacomet@hotmail.com> wrote:
>
> I used to play the Residents and all the other Ralph records artists on
> the
> Radio-Anyone remember Renaldo and the Loaf? I once saw the Residents ,as
> they were leaving  gig, where they collaborted with a Gamelan
> group,without
> their eyeballs,that is without their heads-with out their giant eyball
> heads.They looked rather normal,i don't know if I'd recognize them again.
>
> _________________________________________________________________
> http://im.live.com/messenger/im/home/?source=hmtextlinkjuly07
>
>

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Yes, I always liked &quot;Is Guava A Doughnut?&quot;. We had the RosTox Manifesto<br>(Ralph Records) posted on the wall...<br><br><div><span class="gmail_quote">On 7/31/07, <b class="gmail_sendername">samba -</b> &lt;<a href="mailto:sambacomet@hotmail.com">
sambacomet@hotmail.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">I used to play the Residents and all the other Ralph records artists on the
<br>Radio-Anyone remember Renaldo and the Loaf? I once saw the Residents ,as<br>they were leaving&nbsp;&nbsp;gig, where they collaborted with a Gamelan group,without<br>their eyeballs,that is without their heads-with out their giant eyball
<br>heads.They looked rather normal,i don&#39;t know if I&#39;d recognize them again.<br><br>_________________________________________________________________<br><a href="http://im.live.com/messenger/im/home/?source=hmtextlinkjuly07">
http://im.live.com/messenger/im/home/?source=hmtextlinkjuly07</a><br><br></blockquote></div><br>

------=_Part_20806_26187003.1185878911678--

From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 12:22:53 2007
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Date: Tue, 31 Jul 2007 06:22:49 -0600
From: "C 3" <modulus10@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Monster Music Weekend - THE LODO BASS BASH!
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Just wanted to drop a note about an amazing event coming up this weekend

The Lodo Bass Bash

19 bassists from around the world - all performing this weekend in Denver!

Yves Carbonne
Jeff Schmidt
Edo Castro
Jean Baudin
Trip Wamsley
Jay Terrien
Todd Johnson
Stew McKinsey
Carey Nordstrand
Brady Muckelroy
Darren Michaels
Marc Grabowski
Kent Beatty
Jeff Martinez
Adam Tanner
And yours truly - Christopher "C3" Cardone

This event takes place from August 3rd to August 5th at the Hyatt Regency
Denver Tech Center

Click here for more info
http://www.lodobassbash.com

Peace

C3

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Just wanted to drop a note about an amazing event coming up this weekend<br><br>The Lodo Bass Bash<br><br>19 bassists from around the world - all performing this weekend in Denver!<br><br>Yves Carbonne<br>Jeff Schmidt<br>Edo Castro
<br>Jean Baudin<br>Trip Wamsley<br>Jay Terrien<br>Todd Johnson<br>Stew McKinsey<br>Carey Nordstrand<br>Brady Muckelroy<br>Darren Michaels<br>Marc Grabowski<br>Kent Beatty<br>Jeff Martinez<br>Adam Tanner<br>And yours truly - Christopher &quot;C3&quot; Cardone
<br><br>This event takes place from August 3rd to August 5th at the Hyatt Regency Denver Tech Center<br><br>Click here for more info<br><a href="http://www.lodobassbash.com">http://www.lodobassbash.com</a><br><br>Peace<br>
<br>C3<br>

------=_Part_13308_7593008.1185884569665--

From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 15:00:52 2007
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On Jul 31, 2007, at 12:55 AM, samba - wrote:

> I used to play the Residents and all the other Ralph records  
> artists on the Radio-Anyone remember Renaldo and the Loaf?

Renaldo and the Loaf!!!    Ahhhhhh!!!  MORE excellence!  Thanx for  
shining a little Light on them too!

-Rev. Fever

PS-I also used to feature the Rezzies a lot on some of my past Radio  
Soiree(with the Martian Neon Creature) shows way back in my Dallas TX  
daze.

Years later, I was also given the opportunity (twice!) to be the DJ  
at a kool club in Seattle (Re-Bar) and did an ALL Residents Night
with not only spinning tons of their musics, but also a large screen  
video projection of their early films and vidz,
with the sound piped through the club's sound system, AND I even  
managed to find, from some mail order surplus company,
WHITE *EYEBALL CANDLES* which I lit and placed on all of the club's  
tables!!

What FUN!   I'd do it again in a heartbeat. Dunno if I could find  
those eyeball candles again, though? Maybe...? :-)

From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 17:00:05 2007
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From: Dan Ash <Daniel.Ash@Verizon.net>
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Philip,

You haven't completely described your requirement for MIDI input - but 
the Electrix Repeater will only record audio in.  It's MIDI 
functionality is for control purposes only.  Not sure about 
Looperlative, but I assume it's an audio-only looper. 

A laptop/Mobius solution would also allow you to record MIDI from your 
Zendrum to a MIDI track in real time.  This would require that you run 
the VST version of Mobius in a host sequencer of some sort, such as 
REAPER or Ableton Live!

The Repeater does appear to meet most of your other requirements.  
Looperlative may offer better audio quality.  My Repeater can get pretty 
warbly when it's sync'd to an upstream clock.YMMV

I use the Behringer FCB1010 MIDI foot controller, which should fill the 
bill - it's very cheep for what it does...  I don't have a laptop 
looping setup, but as a drummer you may have special requirements wrt 
latency. You'll need a powerful system and compatible sound card 
(there's a good thread about sound card latency going on right now).  
This is certainly an issue if you want to use VST instruments as well as 
Mobius.

Dan Ash
White Plains, NY

> Subject:
> newb questions
> From:
> "Philip Pan" <7stringviper@earthlink.net>
> Date:
> Tue, 31 Jul 2007 01:56:20 -0400
>
> To:
> "Loopers Delight Forum" <Loopers-Delight@loopers-delight.com>
>
>
> Hello, I am very interested in live looping.  I know what I want 
> functionally but I don't know what equipment has these capabilities.  
> My computer/software knowledge is also quite limited.
>  
> Here's what I'm after:
>  
> 1. Four or more independent loop banks that will automatically 
> sync and can be individually recorded, played back, stopped and 
> erased at any time in any order.
>  
> 2. Multiple inputs from different instruments and MIDI.  The ones I 
> have in mind now are a Zendrum (MIDI drum controller) and an electric 
> 7-string violin.  Maybe vocals too.
>  
> 3. Everything (record, play, stop, erase, switch tracks) controllable 
> on the fly from stomp buttons. 
>  
> 4. Save and download part or all to an external computer as desired.
>  
> Is there any hardware looper that can do all this?  The closest I've 
> seen is Digitech's GNX3 or 4.  I'm not sure if individual tracks can 
> be played and stopped at will; I know they can be erased.
>  
> My other option could be software-based with some kind of foot 
> controller linked to a laptop.  Are there foot controllers that would 
> work well for this?  How powerful a laptop would be required? 
>  
> Thanks, I'm sure your answers will spawn a whole new set of questions!

From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 18:56:36 2007
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From anonymous@mmm1315.hospedagem.terra.com.br  Tue Jul 31 19:21:42 2007
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To: looparc@loopers-delight.com
Subject: REF NO: EML/ 56-TF-8890776
From: EURO MILLIONS <info@euromillions-lottery.com>
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From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 21:27:19 2007
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Yeah, very frequently,  I get people who ask me,
"why do you put so much effort into the things you do"
with the implication that I'm not making much money
or getting very famous doing it so why.

I should just print this out on a business card and wordlessly
hand it out the next time I get annoying queery.

Sadly,  I get this vibe the most from commercial casuals
musicians who are making all of their money from making music
and who seem really frustrated and bitter that the commercial
music world is changing so rapidly.  You gotta talk about something
on the break playing smooth jazz for a Humvie convention (lol, that was
the last one).    I like to talk about looping.

It's easy to see, however, why professional musicians are freaking
out a bit.   The music world is changing so rapidly and all of it points
towards it's being untenable for very many musicians to make any money......
....let alone a decent living.

One musician (who is very creative and doesn't at all have this vibe),
Bill Pritchard, told me that before musicians were losing all their
gigs to DJs at parties.   Now,   it's the DJs who are starting to lose their
gigs to people who are renting p.a. systems to play their
own I-pods through.

Having been a professional musician for almost 30 years this is
soooooo bleak!

But then there is pure artistry and creativity and community and innovation:
All things we have in incredible abundance in the wonderful community at 
Loopers Delight
(another thankful toast to Kim Flint for making this possible)!

Well,  the Loopfest is coming up in three months and my work for it  has 
already begun
in earnest.    It's looking like close to 60 artists are coming from 8 
countries (as far
away as Turkey, Singapore, Japan, England, Germany, Canada and Italy).

It's going to be awesome and it aint gonna make a dime.
LOL,  how entirely unreasonable, don't you think?

Rick


"The reasonable man adapts himself to the world; the unreasonable man 
persists to
adapt the world to himself. Therefore, all progress depends on the 
unreasonable."

     ------ George Bernard Shaw: 

From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 21:55:17 2007
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From: "Mark Sottilaro" <sine@zerocrossing.net>
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Subject: RE: newb questions
Date: Tue, 31 Jul 2007 14:55:05 -0700
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You're right about the Zendrum.  Think of it like a computer keyboard, =
it
just tells a computer what do display.  In this case your computer is a
sound generator... or it could be a computer running a VST.  VST stands =
for
Virtual Studio Technology and it's a standard that Steinberg came up =
with so
that developers could make effects and instruments that would run within =
any
VST compatible application.

So, you could get your Zendrum to control any MIDI sound generator OR =
with
the right interface and software you could get it to control a virtual =
sound
generator (Like Battery)

M

-----Original Message-----
From: Philip Pan [mailto:7stringviper@earthlink.net]=20
Sent: Tuesday, July 31, 2007 11:56 AM
To: Loopers Delight Forum
Subject: Re: newb questions

Well, here's another area of new territory and ignorance for me - MIDI.  =
The
Zendrum is simply a MIDI controller.  It would run through a drum module =
to
generate sound.  Am I correct in assuming that the signal coming form =
the
drum module would/could be analog?  In that case, the violin, mic and
Zendrum would all just go through a mixer into the looping hardware, =
right?
So my original statement about needing MIDI input may be incorrect.

What does "VST" mean?

Did a little surfing on the Repeater and sound quality seems to be a =
common
complaint.

Thanks for your help! =20

----- Original Message -----=20
From: "Dan Ash" <Daniel.Ash@Verizon.net>
To: <Loopers-Delight@loopers-delight.com>
Sent: Tuesday, July 31, 2007 12:59 PM
Subject: Re: newb questions


Philip,

You haven't completely described your requirement for MIDI input - but=20
the Electrix Repeater will only record audio in.  It's MIDI=20
functionality is for control purposes only.  Not sure about=20
Looperlative, but I assume it's an audio-only looper.=20

A laptop/Mobius solution would also allow you to record MIDI from your=20
Zendrum to a MIDI track in real time.  This would require that you run=20
the VST version of Mobius in a host sequencer of some sort, such as=20
REAPER or Ableton Live!

The Repeater does appear to meet most of your other requirements. =20
Looperlative may offer better audio quality.  My Repeater can get pretty =

warbly when it's sync'd to an upstream clock.YMMV

I use the Behringer FCB1010 MIDI foot controller, which should fill the=20
bill - it's very cheep for what it does...  I don't have a laptop=20
looping setup, but as a drummer you may have special requirements wrt=20
latency. You'll need a powerful system and compatible sound card=20
(there's a good thread about sound card latency going on right now). =20
This is certainly an issue if you want to use VST instruments as well as =

Mobius.

Dan Ash
White Plains, NY

> Subject:
> newb questions
> From:
> "Philip Pan" <7stringviper@earthlink.net>
> Date:
> Tue, 31 Jul 2007 01:56:20 -0400
>
> To:
> "Loopers Delight Forum" <Loopers-Delight@loopers-delight.com>
>
>
> Hello, I am very interested in live looping.  I know what I want=20
> functionally but I don't know what equipment has these capabilities. =20
> My computer/software knowledge is also quite limited.
> =20
> Here's what I'm after:
> =20
> 1. Four or more independent loop banks that will automatically=20
> sync and can be individually recorded, played back, stopped and=20
> erased at any time in any order.
> =20
> 2. Multiple inputs from different instruments and MIDI.  The ones I=20
> have in mind now are a Zendrum (MIDI drum controller) and an electric=20
> 7-string violin.  Maybe vocals too.
> =20
> 3. Everything (record, play, stop, erase, switch tracks) controllable=20
> on the fly from stomp buttons.=20
> =20
> 4. Save and download part or all to an external computer as desired.
> =20
> Is there any hardware looper that can do all this?  The closest I've=20
> seen is Digitech's GNX3 or 4.  I'm not sure if individual tracks can=20
> be played and stopped at will; I know they can be erased.
> =20
> My other option could be software-based with some kind of foot=20
> controller linked to a laptop.  Are there foot controllers that would=20
> work well for this?  How powerful a laptop would be required?=20
> =20
> Thanks, I'm sure your answers will spawn a whole new set of questions!



--=20
No virus found in this incoming message.
Checked by AVG Free Edition.=20
Version: 7.5.476 / Virus Database: 269.11.0/927 - Release Date: =
7/30/2007
5:02 PM



From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 22:08:15 2007
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From: aaron leese <aaronleese@hotmail.com>
To: <loopers-delight@loopers-delight.com>
Subject: RE: Great quote about progress in creativity
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> > It's going to be awesome and it aint gonna make a dime.> LOL, how entir=
ely unreasonable, don't you think?>=20
=20
nah .... you know organizing a festival is it's own reward ... right?
=20
=20
=20
=20
_________________________________________________________________
See what you=92re getting into=85before you go there.
http://newlivehotmail.com=

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}
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</head>
<body>
<BR>&gt; <BR>&gt; It's going to be awesome and it aint gonna make a dime.<B=
R>&gt; LOL, how entirely unreasonable, don't you think?<BR>&gt; <BR>
&nbsp;<BR>
nah .... you know organizing a festival is it's own reward ... right?<BR>
&nbsp;<BR>
&nbsp;<BR>
&nbsp;<BR>
&nbsp;<BR><br /><hr />See what you=92re getting into=85before you go there.=
 <a href=3D'http://newlivehotmail.com' target=3D'_new'>Check it out!</a></b=
ody>
</html>=

--_dfe4c6a5-93ae-4675-b5d6-9250263b852a_--

From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 22:09:26 2007
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Subject: RE: Great quote about progress in creativity
Date: Tue, 31 Jul 2007 15:09:14 -0700
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Amen by brother.  For years I beat my head against a pro music world =
that
didn't want me.  The moment I changed my approach, my fun ratio went =
through
the roof.  I know I complain that I don't get the time I want to play =
every
week, but the time I have is really great.  It used to bother me that I =
was
a tree falling in the woods, but I rarely even care if anyone hears =
me...
now in the new condo I mostly play with headphones.

M

-----Original Message-----
From: RICK WALKER [mailto:looppool@cruzio.com]=20
Sent: Tuesday, July 31, 2007 2:27 PM
To: LOOPERS DELIGHT (posting)
Subject: Great quote about progress in creativity

Yeah, very frequently,  I get people who ask me,
"why do you put so much effort into the things you do"
with the implication that I'm not making much money
or getting very famous doing it so why.

I should just print this out on a business card and wordlessly
hand it out the next time I get annoying queery.

Sadly,  I get this vibe the most from commercial casuals
musicians who are making all of their money from making music
and who seem really frustrated and bitter that the commercial
music world is changing so rapidly.  You gotta talk about something
on the break playing smooth jazz for a Humvie convention (lol, that was
the last one).    I like to talk about looping.

It's easy to see, however, why professional musicians are freaking
out a bit.   The music world is changing so rapidly and all of it points
towards it's being untenable for very many musicians to make any =
money......
....let alone a decent living.

One musician (who is very creative and doesn't at all have this vibe),
Bill Pritchard, told me that before musicians were losing all their
gigs to DJs at parties.   Now,   it's the DJs who are starting to lose =
their
gigs to people who are renting p.a. systems to play their
own I-pods through.

Having been a professional musician for almost 30 years this is
soooooo bleak!

But then there is pure artistry and creativity and community and =
innovation:
All things we have in incredible abundance in the wonderful community at =

Loopers Delight
(another thankful toast to Kim Flint for making this possible)!

Well,  the Loopfest is coming up in three months and my work for it  has =

already begun
in earnest.    It's looking like close to 60 artists are coming from 8=20
countries (as far
away as Turkey, Singapore, Japan, England, Germany, Canada and Italy).

It's going to be awesome and it aint gonna make a dime.
LOL,  how entirely unreasonable, don't you think?

Rick


"The reasonable man adapts himself to the world; the unreasonable man=20
persists to
adapt the world to himself. Therefore, all progress depends on the=20
unreasonable."

     ------ George Bernard Shaw:=20



From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 22:13:18 2007
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From: "Mark Sottilaro" <sine@zerocrossing.net>
To: <Loopers-Delight@loopers-delight.com>
Subject: Good light headphones
Date: Tue, 31 Jul 2007 15:13:07 -0700
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So, I've found the best time to play music in my world is on the =
weekends.
My studio is basically a room that doesn't get much ventilation if you =
don't
keep the windows open.  It's on the ground floor and I worry that I'll =
be
way to noisy to my neighbors so I've been wearing headphones.   They're
good... a $100 or so pair of AKGs, but they're HOT after a while.  Any
recommendations of a decent pair of studio headphones that allow one's =
ears
to breathe?  Audio getting in isn't that much of a problem.=20

Mark


From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 22:50:44 2007
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To: Loopers-Delight@loopers-delight.com
From: Rev Fever <revfever@ubergadget.com>
Subject: OT: help / advice needed (C-14 error, CD recorder)
Date: Tue, 31 Jul 2007 15:50:37 -0700
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Sorry to stray a bit from loopness, or even interesting music, etc,  
discussions, but I have a little dilemma
that I thought I would ask on LD list about. It concerns my stand- 
alone (no computer in the "loop" :-) )
CDr recorder that I have and a problem that has developed very  
recently. (and after a few years of previous great service).

The unit is a Sony RCD W-500C, dual tray, with analogue input jacks,etc.
I am sure a lot of you know what these kinds of units are.

The prob is that now, on the record side, after I have recorded  
something (or THOUGHT I DID)
from the analogue in jacks, and after watching the VU meter  
responding to the signal coming in,
the display window says "C-14 error" when I stopped recording and  
prepared for the next signal input     ???

Besides the obvious answer that it means that it did not record  
(duh!), what do ya think has happened inside the unit (OR...?)
and what can be done about it? Is it worth shelling out some dough to  
get it fixed, or should I just say bye-bye to it
and try to find another one of these things? I hope I do not have to  
that, though.  (OR...?)

And yes, I did try 2 other blank CDrs from the same stack and this  
occurred on both of them, as well.
I have always used TDK CDr disks in it previously and this prob before.

Any clues or advice will be greatly appreciated, but maybe any  
replies should be sent to me privately
so as to not clutter up the list with some extra OT posts.   
<revfever@ubergadget.com>

  TIA!

-Rev. Fever


From Loopers-Delight-request@loopers-delight.com  Tue Jul 31 23:00:51 2007
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From: "Travis Hartnett" <travishartnett@gmail.com>
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Subject: Re: OT: help / advice needed (C-14 error, CD recorder)
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It's a TOC error (Table of Contents).
Google it--other folks have had the same problem.
No known fix.

TH

On 7/31/07, Rev Fever <revfever@ubergadget.com> wrote:

>
> The unit is a Sony RCD W-500C, dual tray, with analogue input jacks,etc.
> I am sure a lot of you know what these kinds of units are.
>
> The prob is that now, on the record side, after I have recorded
> something (or THOUGHT I DID)
> from the analogue in jacks, and after watching the VU meter
> responding to the signal coming in,
> the display window says "C-14 error" when I stopped recording and
> prepared for the next signal input     ???
>